DBTOEPUB = dbtoepub
-IMAGES = images/cc.png images/pattern-modern-media-ownership.png images/tom-the-dancing-bug.png
+IMAGES = \
+ images/cc.png \
+ images/pattern-modern-media-ownership.png \
+ images/tom-the-dancing-bug.png \
+ images/cover-front-10dpi.png \
+ images/cover-front-72dpi.png \
+ images/nb/cover-front-10dpi.png \
+ images/nb/cover-front-72dpi.png
XSLT = \
data/user_param.xsl
inkscape -z -D --export-height=200 -D --export-png=$(shell pwd)/$@ $^
images/cover-art.pdf: images/cover-art.svg
- inkscape --export-pdf=$@ $^
+ inkscape --export-dpi=600 --export-pdf=$@ $^
+
+images/nb/cover-art.pdf: images/nb/cover-art.svg
+ inkscape --export-dpi=600 --export-pdf=$@ $^
+
+INKSCAPE_FRONTCOORDINATES = 603.54:0:1154.70:832.500
+images/cover-front-72dpi.png: images/cover-art.svg Makefile
+ inkscape --export-dpi=72 --export-png=$@ -a $(INKSCAPE_FRONTCOORDINATES) images/cover-art.svg
+
+images/nb/cover-front-72dpi.png: images/nb/cover-art.svg Makefile
+ inkscape --export-dpi=72 --export-png=$@ -a $(INKSCAPE_FRONTCOORDINATES) images/nb/cover-art.svg
+
+images/cover-front-10dpi.png: images/cover-art.svg Makefile
+ inkscape --export-dpi=10 --export-png=$@ -a $(INKSCAPE_FRONTCOORDINATES) images/cover-art.svg
+
+images/nb/cover-front-10dpi.png: images/nb/cover-art.svg Makefile
+ inkscape --export-dpi=10 --export-png=$@ -a $(INKSCAPE_FRONTCOORDINATES) images/nb/cover-art.svg
.xcf.png:
convert $^ $@
Hans Schou</a>. Other versions of the book can be found from the
<a href="http://free-culture.cc/remixes/">books remixes list</a>.
-The images were found in the HTML version available from
+The first draft had images found in the HTML version available from
<a href="http://www.ibiblio.org/ebooks/Lessig/index.html">Elegant
-Ebooks</a>.
+Ebooks</a>, while later draft had these replaced with the original
+images provided by the author.
The source of this project is available from the
<a href="https://github.com/petterreinholdtsen/free-culture-lessig">free-culture-lessig
formattet file. This file is transformed to the freeculture.pot,
which is the base file for translators. It was copied to
freeculture.nb.po as the starting point of the Norwegian Bokmål
-translation, and the text blocks are translated in this file.
+translation, and the text blocks are translated in this file. The
+translation is maintained using
+<a href="https://www.transifex.com/pere/free-culture-lessig/">Transifex</a>,
+making sure translators only need a browser and Internet connectivity
+to contribute.
-Only the files freeculture.xml and freeculture.nb.po should be
-manually edited!
+Only the file freeculture.xml should be manually edited!
The freeculture.xml file is automatically combined with the
freeculture.nb.po file to create a new generated file
Todo
----
- * Convert remaining figures to SVG.
- * Figure out a way to translate SVGs, or pick the correct of the
- original and translated SVGs for the English and Norwegian version.
* Complete translation of the foot notes.
* Figure out translation of the words/phrases marked with a star (*)
- * Decide which docbook to PDF processor to use (dblatex,
- docbook-xsl/fop or xmlto).
- * Decide how to handle chapter numbering.
- * Decide the paper size to use.
- * Figure out where to print the book.
- * Get ISBN numbers (from Thomas Gramstad).
- * Decide what content to include in the colophon page.
* Complete the spell checking of the content (using the txt version
is easiest).
- * Complete the proof reading.
* Publish first edition.
* (Add missing index entries. Nice to have, not vital. See
scripts/idxcompare for helper script.)
+ * (Figure out how to get xindy to include allso <see> and <seealso>
+ <indexterm> entries, not included due to incompatibility with
+ hyperref.)
<html><head><meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"><title>Free Culture</title><meta name="generator" content="DocBook XSL Stylesheets V1.78.1"><meta name="description" content="About the author Lawrence Lessig (http://www.lessig.org), 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 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."></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="en" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="index"></a>Free Culture</h1></div><div><h2 class="subtitle">How big media uses technology and the law to lock down
- culture and control creativity</h2></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Lawrence</span> <span class="surname">Lessig</span></h3></div></div></div><div><p class="releaseinfo">Version 2004-02-10</p></div><div><p class="copyright">Copyright © 2004 Lawrence Lessig</p></div><div><div class="legalnotice"><a name="idp
2204064"></a><p>
+ culture and control creativity</h2></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Lawrence</span> <span class="surname">Lessig</span></h3></div></div></div><div><p class="releaseinfo">Version 2004-02-10</p></div><div><p class="copyright">Copyright © 2004 Lawrence Lessig</p></div><div><div class="legalnotice"><a name="idp
57787536"></a><p>
<span class="inlinemediaobject"><img src="images/cc.png" align="middle" height="38" alt="Creative Commons, Some rights reserved"></span>
</p><p>
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
<a class="ulink" href="http://creativecommons.org/licenses/by-nc/1.0/" target="_top">http://creativecommons.org/licenses/by-nc/1.0/</a>.
- </p></div></div><div><p class="pubdate">20
04-03-25</p></div><div><div class="abstract"><p class="title"><b>About the author</b></p><p>
+ </p></div></div><div><p class="pubdate">20
15-09-04</p></div><div><div class="abstract"><p class="title"><b>About the author</b></p><p>
Lawrence Lessig
(<a class="ulink" href="http://www.lessig.org" target="_top">http://www.lessig.org</a>),
professor of law and a Roy L. Furman Professor of Law and Leadership
</p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="alsobylessig"></a>
Also by Lawrence Lessig
</h1></div></div></div><div class="itemizedlist"><ul class="itemizedlist" style="list-style-type: disc; "><li class="listitem"><p>
-
-The USA is lesterland: The nature of congressional corruption
+The USA is lesterland: The nature of congressional corruption (2014)
</p></li><li class="listitem"><p>
-
-Republic, lost: How money corrupts Congress - and a plan to stop it
+Republic, lost: How money corrupts Congress - and a plan to stop it (2011)
</p></li><li class="listitem"><p>
-
-Remix: Making art and commerce thrive in the hybrid economy
+Remix: Making art and commerce thrive in the hybrid economy (2008)
</p></li><li class="listitem"><p>
-
-Code: Version 2.0
+Code: Version 2.0 (2006)
</p></li><li class="listitem"><p>
-
-The Future of Ideas: The Fate of the Commons in a Connected World
+The Future of Ideas: The Fate of the Commons in a Connected World (2001)
</p></li><li class="listitem"><p>
-
-Code: And Other Laws of Cyberspace
-</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp1026064"></a></h1></div></div></div><p>
+Code: And Other Laws of Cyberspace (1999)
+</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp55277216"></a></h1></div></div></div><p>
To Eric Eldred — whose work first drew me to this cause, and for whom
it continues still.
-</p></div><div class="toc"><dl class="toc"><dt><span class="preface"><a href="#preface">Preface</a></span></dt><dt><span class="chapter"><a href="#c-introduction">Introduction</a></span></dt><dt><span class="part">I. <a href="#c-piracy"><span class="quote">«<span class="quote">Piracy</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">1. <a href="#creators">Chapter One: Creators</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists">Chapter Two: <span class="quote">«<span class="quote">Mere Copyists</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Chapter Three: Catalogs</a></span></dt><dt><span class="chapter">4. <a href="#pirates">Chapter Four: <span class="quote">«<span class="quote">Pirates</span>»</span></a></span></dt><dd><dl><dt><span class="section">4.1. <a href="#film">Film</a></span></dt><dt><span class="section">4.2. <a href="#recordedmusic">Recorded Music</a></span></dt><dt><span class="section">4.3. <a href="#radio">Radio</a></span></dt><dt><span class="section">4.4. <a href="#cabletv">Cable TV</a></span></dt></dl></dd><dt><span class="chapter">5. <a href="#piracy">Chapter Five: <span class="quote">«<span class="quote">Piracy</span>»</span></a></span></dt><dd><dl><dt><span class="section">5.1. <a href="#piracy-i">Piracy I</a></span></dt><dt><span class="section">5.2. <a href="#piracy-ii">Piracy II</a></span></dt></dl></dd></dl></dd><dt><span class="part">II. <a href="#c-property"><span class="quote">«<span class="quote">Property</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">6. <a href="#founders">Chapter Six: Founders</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Chapter Seven: Recorders</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Chapter Eight: Transformers</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Chapter Nine: Collectors</a></span></dt><dt><span class="chapter">10. <a href="#property-i">Chapter Ten: <span class="quote">«<span class="quote">Property</span>»</span></a></span></dt><dd><dl><dt><span class="section">10.1. <a href="#hollywood">Why Hollywood Is Right</a></span></dt><dt><span class="section">10.2. <a href="#beginnings">Beginnings</a></span></dt><dt><span class="section">10.3. <a href="#lawduration">Law: Duration</a></span></dt><dt><span class="section">10.4. <a href="#lawscope">Law: Scope</a></span></dt><dt><span class="section">10.5. <a href="#lawreach">Law and Architecture: Reach</a></span></dt><dt><span class="section">10.6. <a href="#lawforce">Architecture and Law: Force</a></span></dt><dt><span class="section">10.7. <a href="#marketconcentration">Market: Concentration</a></span></dt><dt><span class="section">10.8. <a href="#together">Together</a></span></dt></dl></dd></dl></dd><dt><span class="part">III. <a href="#c-puzzles">Puzzles</a></span></dt><dd><dl><dt><span class="chapter">11. <a href="#chimera">Chapter Eleven: Chimera</a></span></dt><dt><span class="chapter">12. <a href="#harms">Chapter Twelve: Harms</a></span></dt><dd><dl><dt><span class="section">12.1. <a href="#constrain">Constraining Creators</a></span></dt><dt><span class="section">12.2. <a href="#innovators">Constraining Innovators</a></span></dt><dt><span class="section">12.3. <a href="#corruptingcitizens">Corrupting Citizens</a></span></dt></dl></dd></dl></dd><dt><span class="part">IV. <a href="#c-balances">Balances</a></span></dt><dd><dl><dt><span class="chapter">13. <a href="#eldred">Chapter Thirteen: Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Chapter Fourteen: Eldred II</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-conclusion">Conclusion</a></span></dt><dt><span class="chapter"><a href="#c-afterword">Afterword</a></span></dt><dd><dl><dt><span class="section">1. <a href="#usnow">Us, now</a></span></dt><dd><dl><dt><span class="section">1.1. <a href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></span></dt><dt><span class="section">1.2. <a href="#oneidea">Rebuilding Free Culture: One Idea</a></span></dt></dl></dd><dt><span class="section">2. <a href="#themsoon">Them, soon</a></span></dt><dd><dl><dt><span class="section">2.1. <a href="#formalities">1. More Formalities</a></span></dt><dd><dl><dt><span class="section">2.1.1. <a href="#registration">Registration and renewal</a></span></dt><dt><span class="section">2.1.2. <a href="#marking">Marking</a></span></dt></dl></dd><dt><span class="section">2.2. <a href="#shortterms">2. Shorter Terms</a></span></dt><dt><span class="section">2.3. <a href="#freefairuse">3. Free Use Vs. Fair Use</a></span></dt><dt><span class="section">2.4. <a href="#liberatemusic">4. Liberate the Music—Again</a></span></dt><dt><span class="section">2.5. <a href="#firelawyers">5. Fire Lots of Lawyers</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#c-notes">Notes</a></span></dt><dd><dl><dt><span class="index"><a href="#idp
9588176">Index</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-acknowledgments">Acknowledgments</a></span></dt><dt><span class="chapter"><a href="#c-about-this-edition">About this edition</a></span></dt><dt><span class="index"><a href="#idp9606640">Index</a></span></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="preface"></a>Preface</h1></div></div></div><a class="indexterm" name="idxpoguedavid"></a><p>
+</p></div><div class="toc"><dl class="toc"><dt><span class="preface"><a href="#preface">Preface</a></span></dt><dt><span class="chapter"><a href="#c-introduction">Introduction</a></span></dt><dt><span class="part">I. <a href="#c-piracy"><span class="quote">«<span class="quote">Piracy</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">1. <a href="#creators">Chapter One: Creators</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists">Chapter Two: <span class="quote">«<span class="quote">Mere Copyists</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Chapter Three: Catalogs</a></span></dt><dt><span class="chapter">4. <a href="#pirates">Chapter Four: <span class="quote">«<span class="quote">Pirates</span>»</span></a></span></dt><dd><dl><dt><span class="section">4.1. <a href="#film">Film</a></span></dt><dt><span class="section">4.2. <a href="#recordedmusic">Recorded Music</a></span></dt><dt><span class="section">4.3. <a href="#radio">Radio</a></span></dt><dt><span class="section">4.4. <a href="#cabletv">Cable TV</a></span></dt></dl></dd><dt><span class="chapter">5. <a href="#piracy">Chapter Five: <span class="quote">«<span class="quote">Piracy</span>»</span></a></span></dt><dd><dl><dt><span class="section">5.1. <a href="#piracy-i">Piracy I</a></span></dt><dt><span class="section">5.2. <a href="#piracy-ii">Piracy II</a></span></dt></dl></dd></dl></dd><dt><span class="part">II. <a href="#c-property"><span class="quote">«<span class="quote">Property</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">6. <a href="#founders">Chapter Six: Founders</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Chapter Seven: Recorders</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Chapter Eight: Transformers</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Chapter Nine: Collectors</a></span></dt><dt><span class="chapter">10. <a href="#property-i">Chapter Ten: <span class="quote">«<span class="quote">Property</span>»</span></a></span></dt><dd><dl><dt><span class="section">10.1. <a href="#hollywood">Why Hollywood Is Right</a></span></dt><dt><span class="section">10.2. <a href="#beginnings">Beginnings</a></span></dt><dt><span class="section">10.3. <a href="#lawduration">Law: Duration</a></span></dt><dt><span class="section">10.4. <a href="#lawscope">Law: Scope</a></span></dt><dt><span class="section">10.5. <a href="#lawreach">Law and Architecture: Reach</a></span></dt><dt><span class="section">10.6. <a href="#lawforce">Architecture and Law: Force</a></span></dt><dt><span class="section">10.7. <a href="#marketconcentration">Market: Concentration</a></span></dt><dt><span class="section">10.8. <a href="#together">Together</a></span></dt></dl></dd></dl></dd><dt><span class="part">III. <a href="#c-puzzles">Puzzles</a></span></dt><dd><dl><dt><span class="chapter">11. <a href="#chimera">Chapter Eleven: Chimera</a></span></dt><dt><span class="chapter">12. <a href="#harms">Chapter Twelve: Harms</a></span></dt><dd><dl><dt><span class="section">12.1. <a href="#constrain">Constraining Creators</a></span></dt><dt><span class="section">12.2. <a href="#innovators">Constraining Innovators</a></span></dt><dt><span class="section">12.3. <a href="#corruptingcitizens">Corrupting Citizens</a></span></dt></dl></dd></dl></dd><dt><span class="part">IV. <a href="#c-balances">Balances</a></span></dt><dd><dl><dt><span class="chapter">13. <a href="#eldred">Chapter Thirteen: Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Chapter Fourteen: Eldred II</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-conclusion">Conclusion</a></span></dt><dt><span class="chapter"><a href="#c-afterword">Afterword</a></span></dt><dd><dl><dt><span class="section">1. <a href="#usnow">Us, now</a></span></dt><dd><dl><dt><span class="section">1.1. <a href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></span></dt><dt><span class="section">1.2. <a href="#oneidea">Rebuilding Free Culture: One Idea</a></span></dt></dl></dd><dt><span class="section">2. <a href="#themsoon">Them, soon</a></span></dt><dd><dl><dt><span class="section">2.1. <a href="#formalities">1. More Formalities</a></span></dt><dd><dl><dt><span class="section">2.1.1. <a href="#registration">Registration and renewal</a></span></dt><dt><span class="section">2.1.2. <a href="#marking">Marking</a></span></dt></dl></dd><dt><span class="section">2.2. <a href="#shortterms">2. Shorter Terms</a></span></dt><dt><span class="section">2.3. <a href="#freefairuse">3. Free Use Vs. Fair Use</a></span></dt><dt><span class="section">2.4. <a href="#liberatemusic">4. Liberate the Music—Again</a></span></dt><dt><span class="section">2.5. <a href="#firelawyers">5. Fire Lots of Lawyers</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#c-notes">Notes</a></span></dt><dd><dl><dt><span class="index"><a href="#idp
64814432">Index</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-acknowledgments">Acknowledgments</a></span></dt><dt><span class="chapter"><a href="#c-about-this-edition">About this edition</a></span></dt><dt><span class="index"><a href="#idp64833856">Index</a></span></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="preface"></a>Preface</h1></div></div></div><a class="indexterm" name="idxpoguedavid"></a><a class="indexterm" name="idp55285056"></a><p>
<span class="bold"><strong>At the end</strong></span> of his review of my first
book, <em class="citetitle">Code: And Other Laws of Cyberspace</em>, David
Pogue, a brilliant writer and author of countless technical and
off. It is an argument about how the battles that now rage regarding life
on-line have fundamentally affected <span class="quote">«<span class="quote">people who aren't online.</span>»</span> There
is no switch that will insulate us from the Internet's effect.
-</p><a class="indexterm" name="idp
319216"></a><p>
+</p><a class="indexterm" name="idp
55163728"></a><p>
But unlike <em class="citetitle">Code</em>, the argument here is not much
about the Internet itself. It is instead about the consequence of the
Internet to a part of our tradition that is much more fundamental,
That tradition is the way our culture gets made. As I explain in the
pages that follow, we come from a tradition of <span class="quote">«<span class="quote">free culture</span>»</span>—not
<span class="quote">«<span class="quote">free</span>»</span> as in <span class="quote">«<span class="quote">free beer</span>»</span> (to borrow a phrase from the founder of the
-free software movement<a href="#ftn.idp169120" class="footnote" name="idp169120"><sup class="footnote">[2]</sup></a>), but <span class="quote">«<span class="quote">free</span>»</span> as in <span class="quote">«<span class="quote">free speech,</span>»</span> <span class="quote">«<span class="quote">free markets,</span>»</span>
+free software movement<a href="#ftn.idp55221808" class="footnote" name="idp55221808"><sup class="footnote">[2]</sup></a>), but <span class="quote">«<span class="quote">free</span>»</span> as in <span class="quote">«<span class="quote">free speech,</span>»</span> <span class="quote">«<span class="quote">free markets,</span>»</span>
<span class="quote">«<span class="quote">free trade,</span>»</span> <span class="quote">«<span class="quote">free enterprise,</span>»</span> <span class="quote">«<span class="quote">free will,</span>»</span> and <span class="quote">«<span class="quote">free elections.</span>»</span> A
free culture supports and protects creators and innovators. It does
this directly by granting intellectual property rights. But it does so
disinterested, then the story I tell here will trouble you. For the
changes I describe affect values that both sides of our political
culture deem fundamental.
-</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="idp
177824"></a><a class="indexterm" name="idp5650160"></a><a class="indexterm" name="idp5650912"></a><p>
+</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="idp
60727360"></a><a class="indexterm" name="idp60728112"></a><a class="indexterm" name="idp60728864"></a><p>
We saw a glimpse of this bipartisan outrage in the early summer of
2003. As the FCC considered changes in media ownership rules that
would relax limits on media concentration, an extraordinary coalition
power—political, corporate, media, cultural—should be anathema to
conservatives. The diffusion of power through local control, thereby
encouraging individual participation, is the essence of federalism and
-the greatest expression of democracy.<a href="#ftn.idp174464" class="footnote" name="idp174464"><sup class="footnote">[3]</sup></a>
+the greatest expression of democracy.<a href="#ftn.idp60731504" class="footnote" name="idp60731504"><sup class="footnote">[3]</sup></a>
</p></blockquote></div><p>
This idea is an element of the argument of <em class="citetitle">Free Culture</em>, though my
focus is not just on the concentration of power produced by
altering the way our culture gets made; that change should worry
you—whether or not you care about the Internet, and whether you're on
Safire's left or on his right.
-</p><a class="indexterm" name="idp
5656816"></a><p>
+</p><a class="indexterm" name="idp
60734768"></a><p>
<span class="strong"><strong>The inspiration</strong></span> for the title and for
much of the argument of this book comes from the work of Richard
Stallman and the Free Software Foundation. Indeed, as I reread
book is written.
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.preface01" class="footnote"><p><a href="#preface01" class="para"><sup class="para">[1] </sup></a>
David Pogue, <span class="quote">«<span class="quote">Don't Just Chat, Do Something,</span>»</span> <em class="citetitle">New York Times</em>, 30 January 2000.
-</p></div><div id="ftn.idp169120" class="footnote"><p><a href="#idp169120" class="para"><sup class="para">[2] </sup></a>
+</p></div><div id="ftn.idp55221808" class="footnote"><p><a href="#idp55221808" class="para"><sup class="para">[2] </sup></a>
Richard M. Stallman, <em class="citetitle">Free Software, Free Societies</em> 57 (Joshua Gay, ed. 2002).
-</p></div><div id="ftn.idp174464" class="footnote"><p><a href="#idp174464" class="para"><sup class="para">[3] </sup></a> William Safire,
+</p></div><div id="ftn.idp60731504" class="footnote"><p><a href="#idp60731504" class="para"><sup class="para">[3] </sup></a> William Safire,
<span class="quote">«<span class="quote">The Great Media Gulp,</span>»</span> <em class="citetitle">New York Times</em>, 22 May 2003.
-<a class="indexterm" name="idp5655040"></a>
+<a class="indexterm" name="idp60732992"></a>
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-introduction"></a>Chapter . Introduction</h1></div></div></div><a class="indexterm" name="idxwrightbrothers"></a><p>
<span class="strong"><strong>On December 17</strong></span>, 1903, on a windy North Carolina beach for just
shy of one hundred seconds, the Wright brothers demonstrated that a
At the time the Wright brothers invented the airplane, American
law held that a property owner presumptively owned not just the surface
of his land, but all the land below, down to the center of the earth,
-and all the space above, to <span class="quote">«<span class="quote">an indefinite extent, upwards.</span>»</span><a href="#ftn.idp5672160" class="footnote" name="idp5672160"><sup class="footnote">[4]</sup></a>
+and all the space above, to <span class="quote">«<span class="quote">an indefinite extent, upwards.</span>»</span><a href="#ftn.idp60750112" class="footnote" name="idp60750112"><sup class="footnote">[4]</sup></a>
For many
years, scholars had puzzled about how best to interpret the idea that
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?
-</p><a class="indexterm" name="idp
5673424"></a><p>
+</p><a class="indexterm" name="idp
60751376"></a><p>
Then came airplanes, and for the first time, this principle of American
law—deep within the foundations of our tradition, and acknowledged
by the most important legal thinkers of our past—mattered. If
my field? Do I have the right to banish it from my property? Am I allowed
to enter into an exclusive license with Delta Airlines? Could we
set up an auction to decide how much these rights are worth?
-</p><a class="indexterm" name="idp
5675280"></a><a class="indexterm" name="idp5676032"></a><p>
+</p><a class="indexterm" name="idp
60753328"></a><a class="indexterm" name="idp60754080"></a><p>
In 1945, these questions became a federal case. When North Carolina
farmers Thomas Lee and Tinie Causby started losing chickens
because of low-flying military aircraft (the terrified chickens apparently
Blackstone, Kent, and Coke had said, their land reached to <span class="quote">«<span class="quote">an indefinite
extent, upwards,</span>»</span> then the government was trespassing on their
property, and the Causbys wanted it to stop.
-</p><a class="indexterm" name="idp
5678144"></a><a class="indexterm" name="idp5678896"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
+</p><a class="indexterm" name="idp
60756192"></a><a class="indexterm" name="idp60756944"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
The Supreme Court agreed to hear the Causbys' case. Congress had
declared the airways public, but if one's property really extended to the
heavens, then Congress's declaration could well have been an unconstitutional
such private claims to the airspace would clog these highways,
seriously interfere with their control and development in the public
interest, and transfer into private ownership that to which only
-the public has a just claim.<a href="#ftn.idp5685552" class="footnote" name="idp5685552"><sup class="footnote">[5]</sup></a>
+the public has a just claim.<a href="#ftn.idp60763600" class="footnote" name="idp60763600"><sup class="footnote">[5]</sup></a>
</p></blockquote></div><p>
<span class="quote">«<span class="quote">Common sense revolts at the idea.</span>»</span>
-</p><a class="indexterm" name="idp
5690832"></a><p>
+</p><a class="indexterm" name="idp
60768880"></a><p>
This is how the law usually works. Not often this abruptly or
impatiently, but eventually, this is how it works. It was Douglas's style not to
dither. Other justices would have blathered on for pages to reach the
genius of a common law system, as ours is, that the law adjusts to the
technologies of the time. And as it adjusts, it changes. Ideas that were
as solid as rock in one age crumble in another.
-</p><a class="indexterm" name="idp
5693776"></a><a class="indexterm" name="idp5694560"></a><a class="indexterm" name="idp5695376"></a><p>
+</p><a class="indexterm" name="idp
60771824"></a><a class="indexterm" name="idp60772608"></a><a class="indexterm" name="idp60773424"></a><p>
Or at least, this is how things happen when there's no one powerful
on the other side of the change. The Causbys were just farmers. And
though there were no doubt many like them who were upset by the
end, the force of what seems <span class="quote">«<span class="quote">obvious</span>»</span> to everyone else—the power of
<span class="quote">«<span class="quote">common sense</span>»</span>—would prevail. Their <span class="quote">«<span class="quote">private interest</span>»</span> would not be
allowed to defeat an obvious public gain.
-</p><a class="indexterm" name="idp
5699264"></a><a class="indexterm" name="idp5700592"></a><a class="indexterm" name="idp5701936"></a><a class="indexterm" name="idp5702912"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp5705120"></a><a class="indexterm" name="idp5705872"></a><a class="indexterm" name="idp5706624"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
+</p><a class="indexterm" name="idp
60777312"></a><a class="indexterm" name="idp60778640"></a><a class="indexterm" name="idp60779984"></a><a class="indexterm" name="idp60780960"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp60783168"></a><a class="indexterm" name="idp60783920"></a><a class="indexterm" name="idp60784672"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
<span class="strong"><strong>Edwin Howard Armstrong</strong></span> is one of
America's forgotten inventor geniuses. He came to the great American
inventor scene just after the titans Thomas Edison and Alexander
fire. … Sousa marches were played from records and a piano solo
and guitar number were performed. … The music was projected with a
live-ness rarely if ever heard before from a radio <span class="quote">«<span class="quote">music
-box.</span>»</span><a href="#ftn.idp5715152" class="footnote" name="idp5715152"><sup class="footnote">[6]</sup></a>
+box.</span>»</span><a href="#ftn.idp60793120" class="footnote" name="idp60793120"><sup class="footnote">[6]</sup></a>
</p></blockquote></div><a class="indexterm" name="idxrca"></a><a class="indexterm" name="idxmediaownershipconcentrationin"></a><p>
As our own common sense tells us, Armstrong had discovered a vastly
superior radio technology. But at the time of his invention, Armstrong
the United States, but the stations in large cities were all owned by
a handful of networks.
-</p><a class="indexterm" name="idp
5720944"></a><p>
+</p><a class="indexterm" name="idp
60798720"></a><p>
RCA's president, David Sarnoff, a friend of Armstrong's, was eager
that Armstrong discover a way to remove static from AM radio. So
Sarnoff was quite excited when Armstrong told him he had a device
I thought Armstrong would invent some kind of a filter to remove
static from our AM radio. I didn't think he'd start a
revolution— start up a whole damn new industry to compete with
-RCA.<a href="#ftn.idp5711744" class="footnote" name="idp5711744"><sup class="footnote">[7]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp
5726880"></a><p>
+RCA.<a href="#ftn.idp60789792" class="footnote" name="idp60789792"><sup class="footnote">[7]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp
60804608"></a><p>
Armstrong's invention threatened RCA's AM empire, so the company
launched a campaign to smother FM radio. While FM may have been a
superior technology, Sarnoff was a superior tactician. As one author
this threat to corporate position. For FM, if allowed to develop
unrestrained, posed … a complete reordering of radio power
… and the eventual overthrow of the carefully restricted AM system
-on which RCA had grown to power.<a href="#ftn.idp5730416" class="footnote" name="idp5730416"><sup class="footnote">[8]</sup></a>
+on which RCA had grown to power.<a href="#ftn.idp60808176" class="footnote" name="idp60808176"><sup class="footnote">[8]</sup></a>
</p></blockquote></div><a class="indexterm" name="idxfcconfmradio"></a><p>
RCA at first kept the technology in house, insisting that further
tests were needed. When, after two years of testing, Armstrong grew
The series of body blows that FM radio received right after the
war, in a series of rulings manipulated through the FCC by the
big radio interests, were almost incredible in their force and
-deviousness.<a href="#ftn.idp5734960" class="footnote" name="idp5734960"><sup class="footnote">[9]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
5735728"></a><a class="indexterm" name="idp5736704"></a><p>
+deviousness.<a href="#ftn.idp60812848" class="footnote" name="idp60812848"><sup class="footnote">[9]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
60813616"></a><a class="indexterm" name="idp60814480"></a><p>
To make room in the spectrum for RCA's latest gamble, television,
FM radio users were to be moved to a totally new spectrum band. The
power of FM radio stations was also cut, meaning FM could no longer
FM relaying stations would mean radio stations would have to buy
wired links from AT&T.) The spread of FM radio was thus choked, at
least temporarily.
-</p><a class="indexterm" name="idp
5738480"></a><a class="indexterm" name="idp5739456"></a><p>
+</p><a class="indexterm" name="idp
60816256"></a><a class="indexterm" name="idp60817232"></a><p>
Armstrong resisted RCA's efforts. In response, RCA resisted
Armstrong's patents. After incorporating FM technology into the
emerging standard for television, RCA declared the patents
would not even cover Armstrong's lawyers' fees. Defeated, broken, and
now broke, in 1954 Armstrong wrote a short note to his wife and then
stepped out of a thirteenth-story window to his death.
-</p><a class="indexterm" name="idp
5740688"></a><a class="indexterm" name="idp5742544"></a><a class="indexterm" name="idp5743520"></a><a class="indexterm" name="idp5744272"></a><p>
+</p><a class="indexterm" name="idp
60818464"></a><a class="indexterm" name="idp60820320"></a><a class="indexterm" name="idp60821296"></a><a class="indexterm" name="idp60822048"></a><p>
This is how the law sometimes works. Not often this tragically, and
rarely with heroic drama, but sometimes, this is how it works. From
the beginning, government and government agencies have been subject to
another, are sustained through this subtle corruption of our political
process. RCA had what the Causbys did not: the power to stifle the
effect of technological change.
-</p><a class="indexterm" name="idp
5747136"></a><a class="indexterm" name="idp5748112"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
+</p><a class="indexterm" name="idp
60824912"></a><a class="indexterm" name="idp60825888"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
<span class="strong"><strong>There's no</strong></span> single inventor of the Internet. Nor is there any good date
upon which to mark its birth. Yet in a very short time, the Internet
has become part of ordinary American life. According to the Pew
Internet and American Life Project, 58 percent of Americans had access
to the Internet in 2002, up from 49 percent two years
-before.<a href="#ftn.idp5751792" class="footnote" name="idp5751792"><sup class="footnote">[10]</sup></a>
+before.<a href="#ftn.idp60829568" class="footnote" name="idp60829568"><sup class="footnote">[10]</sup></a>
That number could well exceed two thirds of the nation by the end
of 2004.
</p><p>
old as the Republic itself. Most, if they recognized this change,
would reject it. Yet most don't even see the change that the Internet
has introduced.
-</p><a class="indexterm" name="idp
5755600"></a><a class="indexterm" name="idp5756576"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp5758816"></a><p>
+</p><a class="indexterm" name="idp
60833376"></a><a class="indexterm" name="idp60834352"></a><a class="indexterm" name="idp60835104"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp60837600"></a><p>
We can glimpse a sense of this change by distinguishing between
commercial and noncommercial culture, and by mapping the law's
regulation of each. By <span class="quote">«<span class="quote">commercial culture</span>»</span> I mean that part of our
then quite extensively, the law protected the incentives of creators by
granting them exclusive rights to their creative work, so that they could
sell those exclusive rights in a commercial
-marketplace.<a href="#ftn.idp5765504" class="footnote" name="idp5765504"><sup class="footnote">[11]</sup></a>
+marketplace.<a href="#ftn.idp60844128" class="footnote" name="idp60844128"><sup class="footnote">[11]</sup></a>
This is also, of course, an important part of creativity and culture,
and it has become an increasingly important part in America. But in no
sense was it dominant within our tradition. It was instead just one
part, a controlled part, balanced with the free.
-</p><a class="indexterm" name="idp
5768160"></a><a class="indexterm" name="idp5769168"></a><p>
+</p><a class="indexterm" name="idp
60846784"></a><a class="indexterm" name="idp60847792"></a><p>
This rough divide between the free and the controlled has now
-been erased.<a href="#ftn.idp5770432" class="footnote" name="idp5770432"><sup class="footnote">[12]</sup></a>
+been erased.<a href="#ftn.idp60849056" class="footnote" name="idp60849056"><sup class="footnote">[12]</sup></a>
The Internet has set the stage for this erasure and, pushed by big
media, the law has now affected it. For the first time in our
tradition, the ordinary ways in which individuals create and share
free and uses of our culture that were only upon permission—has
been undone. The consequence is that we are less and less a free
culture, more and more a permission culture.
-</p><a class="indexterm" name="idp
5772368"></a><a class="indexterm" name="idp5773936"></a><a class="indexterm" name="idp5774688"></a><p>
+</p><a class="indexterm" name="idp
60850960"></a><a class="indexterm" name="idp60852560"></a><a class="indexterm" name="idp60853312"></a><p>
This change gets justified as necessary to protect commercial
creativity. And indeed, protectionism is precisely its
motivation. But the protectionism that justifies the changes that I
shared have united to induce lawmakers to use the law to protect
them. It is the story of RCA and Armstrong; it is the dream of the
Causbys.
-</p><a class="indexterm" name="idp
5776512"></a><p>
+</p><a class="indexterm" name="idp
60855136"></a><p>
For the Internet has unleashed an extraordinary possibility for many
to participate in the process of building and cultivating a culture
that reaches far beyond local boundaries. That power has changed the
more efficient, more vibrant technology for building culture. They are
succeeding in their plan to remake the Internet before the Internet
remakes them.
-</p><a class="indexterm" name="idp
5780112"></a><a class="indexterm" name="idp5780976"></a><p>
+</p><a class="indexterm" name="idp
60858736"></a><a class="indexterm" name="idp60859600"></a><p>
It doesn't seem this way to many. The battles over copyright and the
Internet seem remote to most. To the few who follow them, they seem
be permitted, and whether <span class="quote">«<span class="quote">property</span>»</span> will be protected. The <span class="quote">«<span class="quote">war</span>»</span> that
has been waged against the technologies of the Internet—what
Motion Picture Association of America (MPAA) president Jack Valenti
-calls his <span class="quote">«<span class="quote">own terrorist war</span>»</span><a href="#ftn.idp5784288" class="footnote" name="idp5784288"><sup class="footnote">[13]</sup></a>—has been framed as a battle about the
+calls his <span class="quote">«<span class="quote">own terrorist war</span>»</span><a href="#ftn.idp60862912" class="footnote" name="idp60862912"><sup class="footnote">[13]</sup></a>—has been framed as a battle about the
rule of law and respect for property. To know which side to take in this
war, most think that we need only decide whether we're for property or
against it.
and a much more dramatic change. My fear is that unless we come to see
this change, the war to rid the world of Internet <span class="quote">«<span class="quote">pirates</span>»</span> will also rid our
culture of values that have been integral to our tradition from the start.
-</p><a class="indexterm" name="idp
5788864"></a><a class="indexterm" name="idp5789872"></a><a class="indexterm" name="idp5790880"></a><a class="indexterm" name="idp5791632"></a><p>
+</p><a class="indexterm" name="idp
60867488"></a><a class="indexterm" name="idp60868496"></a><a class="indexterm" name="idp60869504"></a><a class="indexterm" name="idp60870256"></a><p>
These values built a tradition that, for at least the first 180 years of
our Republic, guaranteed creators the right to build freely upon their
past, and protected creators and innovators from either state or private
control. The First Amendment protected creators against state control.
-And as Professor Neil Netanel powerfully argues,<a href="#ftn.idp5792992" class="footnote" name="idp5792992"><sup class="footnote">[14]</sup></a>
+And as Professor Neil Netanel powerfully argues,<a href="#ftn.idp60871616" class="footnote" name="idp60871616"><sup class="footnote">[14]</sup></a>
copyright law, properly balanced, protected creators against private
control. Our tradition was thus neither Soviet nor the tradition of
patrons. It instead carved out a wide berth within which creators
Internet technologies to continue. There will be great harm to our
tradition and culture if it is allowed to continue unchecked. We must
come to understand the source of this war. We must resolve it soon.
-</p><a class="indexterm" name="idp
5798896"></a><a class="indexterm" name="idp5799648"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
+</p><a class="indexterm" name="idp
60877440"></a><a class="indexterm" name="idp60878192"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
<span class="strong"><strong>Like the Causbys'</strong></span> battle, this war is, in part, about <span class="quote">«<span class="quote">property.</span>»</span> The
property of this war is not as tangible as the Causbys', and no
innocent chicken has yet to lose its life. Yet the ideas surrounding
<span class="quote">«<span class="quote">trespassing</span>»</span> upon legitimate claims of <span class="quote">«<span class="quote">property.</span>»</span> It is as plain to
us as it was to them that the law should intervene to stop this
trespass.
-</p><a class="indexterm" name="idp
5805312"></a><a class="indexterm" name="idp5806064"></a><a class="indexterm" name="idp5806816"></a><p>
+</p><a class="indexterm" name="idp
60883856"></a><a class="indexterm" name="idp60884608"></a><a class="indexterm" name="idp60885360"></a><p>
And thus, when geeks and technologists defend their Armstrong or
Wright brothers technology, most of us are simply unsympathetic.
Common sense does not revolt. Unlike in the case of the unlucky
the lucky Wright brothers, the Internet has not inspired a revolution
on its side.
-</p><a class="indexterm" name="idp
5808592"></a><p>
+</p><a class="indexterm" name="idp
60887136"></a><p>
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
importantly, its power to disable critical thought by policy makers
silent in the face of these extremes because, as with Armstrong versus
RCA, the more powerful side has ensured that it has the more powerful
view?
-</p><a class="indexterm" name="id
m19072"></a><a class="indexterm" name="idm18256"></a><p>
+</p><a class="indexterm" name="id
p60892560"></a><a class="indexterm" name="idp60893312"></a><p>
I don't mean to be mysterious. My own views are resolved. I believe it
was right for common sense to revolt against the extremism of the
Causbys. I believe it would be right for common sense to revolt
sheriff arresting an airplane for trespass. But the consequences of
this silliness will be much more profound.
-</p><a class="indexterm" name="id
m15856"></a><p>
+</p><a class="indexterm" name="id
p60895552"></a><p>
<span class="strong"><strong>The struggle</strong></span> that rages just now centers on two ideas: <span class="quote">«<span class="quote">piracy</span>»</span> and
<span class="quote">«<span class="quote">property.</span>»</span> My aim in this book's next two parts is to explore these two
ideas.
depressingly compromised process of making law. This book is the story
of one more consequence of this form of corruption—a consequence
to which most of us remain oblivious.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp5672160" class="footnote"><p><a href="#idp5672160" class="para"><sup class="para">[4] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp60750112" class="footnote"><p><a href="#idp60750112" class="para"><sup class="para">[4] </sup></a>
St. George Tucker, <em class="citetitle">Blackstone's Commentaries</em> 3 (South Hackensack, N.J.:
Rothman Reprints, 1969), 18.
-</p></div><div id="ftn.idp5685552" class="footnote"><p><a href="#idp5685552" class="para"><sup class="para">[5] </sup></a>
+</p></div><div id="ftn.idp60763600" class="footnote"><p><a href="#idp60763600" class="para"><sup class="para">[5] </sup></a>
United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find
that there could be a <span class="quote">«<span class="quote">taking</span>»</span> if the government's use of its land
effectively destroyed the value of the Causbys' land. This example was
Authorship,</span>»</span> <em class="citetitle">Stanford Law Review</em> 48 (1996): 1293, 1333. See also Paul
Goldstein, <em class="citetitle">Real Property</em> (Mineola, N.Y.: Foundation Press, 1984),
1112–13.
-<a class="indexterm" name="idp5688896"></a>
-<a class="indexterm" name="idp5688512"></a>
-</p></div><div id="ftn.idp5715152" class="footnote"><p><a href="#idp5715152" class="para"><sup class="para">[6] </sup></a>
+<a class="indexterm" name="idp60766944"></a>
+<a class="indexterm" name="idp60766560"></a>
+</p></div><div id="ftn.idp60793120" class="footnote"><p><a href="#idp60793120" class="para"><sup class="para">[6] </sup></a>
Lawrence Lessing, <em class="citetitle">Man of High Fidelity: Edwin Howard Armstrong</em>
(Philadelphia: J. B. Lipincott Company, 1956), 209.
-</p></div><div id="ftn.idp5711744" class="footnote"><p><a href="#idp5711744" class="para"><sup class="para">[7] </sup></a> See <span class="quote">«<span class="quote">Saints: The Heroes and Geniuses of the
+</p></div><div id="ftn.idp60789792" class="footnote"><p><a href="#idp60789792" class="para"><sup class="para">[7] </sup></a> See <span class="quote">«<span class="quote">Saints: The Heroes and Geniuses of the
Electronic Era,</span>»</span> First Electronic Church of America, at
www.webstationone.com/fecha, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #1</a>.
-</p></div><div id="ftn.idp5730416" class="footnote"><p><a href="#idp5730416" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
-</p></div><div id="ftn.idp5734960" class="footnote"><p><a href="#idp5734960" class="para"><sup class="para">[9] </sup></a>
+</p></div><div id="ftn.idp60808176" class="footnote"><p><a href="#idp60808176" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
+</p></div><div id="ftn.idp60812848" class="footnote"><p><a href="#idp60812848" class="para"><sup class="para">[9] </sup></a>
Lessing, 256.
-</p></div><div id="ftn.idp5751792" class="footnote"><p><a href="#idp5751792" class="para"><sup class="para">[10] </sup></a>
+</p></div><div id="ftn.idp60829568" class="footnote"><p><a href="#idp60829568" class="para"><sup class="para">[10] </sup></a>
Amanda Lenhart, <span class="quote">«<span class="quote">The Ever-Shifting Internet Population: A New Look at
Internet Access and the Digital Divide,</span>»</span> Pew Internet and American
Life Project, 15 April 2003: 6, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #2</a>.
-</p></div><div id="ftn.idp5765504" class="footnote"><p><a href="#idp5765504" class="para"><sup class="para">[11] </sup></a>
+</p></div><div id="ftn.idp60844128" class="footnote"><p><a href="#idp60844128" class="para"><sup class="para">[11] </sup></a>
This is not the only purpose of copyright, though it is the overwhelmingly
primary purpose of the copyright established in the federal constitution.
State copyright law historically protected not just the commercial interest in
control the spread of facts about them. See Samuel D. Warren and Louis
D. Brandeis, <span class="quote">«<span class="quote">The Right to Privacy,</span>»</span> Harvard Law Review 4 (1890): 193,
198–200.
-<a class="indexterm" name="idp5688768"></a>
-</p></div><div id="ftn.idp5770432" class="footnote"><p><a href="#idp5770432" class="para"><sup class="para">[12] </sup></a>
+<a class="indexterm" name="idp60766816"></a>
+</p></div><div id="ftn.idp60849056" class="footnote"><p><a href="#idp60849056" class="para"><sup class="para">[12] </sup></a>
See Jessica Litman, <em class="citetitle">Digital Copyright</em> (New York: Prometheus Books,
2001), ch. 13.
-<a class="indexterm" name="idp5771200"></a>
-</p></div><div id="ftn.idp5784288" class="footnote"><p><a href="#idp5784288" class="para"><sup class="para">[13] </sup></a>
+<a class="indexterm" name="idp60849824"></a>
+</p></div><div id="ftn.idp60862912" class="footnote"><p><a href="#idp60862912" class="para"><sup class="para">[13] </sup></a>
Amy Harmon, <span class="quote">«<span class="quote">Black Hawk Download: Moving Beyond Music, Pirates
Use New Tools to Turn the Net into an Illicit Video Club,</span>»</span> <em class="citetitle">New York
Times</em>, 17 January 2002.
-</p></div><div id="ftn.idp5792992" class="footnote"><p><a href="#idp5792992" class="para"><sup class="para">[14] </sup></a>
+</p></div><div id="ftn.idp60871616" class="footnote"><p><a href="#idp60871616" class="para"><sup class="para">[14] </sup></a>
Neil W. Netanel, <span class="quote">«<span class="quote">Copyright and a Democratic Civil Society,</span>»</span> <em class="citetitle">Yale Law
Journal</em> 106 (1996): 283.
-<a class="indexterm" name="idp5794272"></a>
-</p></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-piracy"></a>Part I. <span class="quote">«<span class="quote">Piracy</span>»</span></h1></div></div></div><div class="partintro"><div></div><a class="indexterm" name="idp
5833984"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp5836224"></a><a class="indexterm" name="idp5836976"></a><p>
+<a class="indexterm" name="idp60872896"></a>
+</p></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-piracy"></a>Part I. <span class="quote">«<span class="quote">Piracy</span>»</span></h1></div></div></div><div class="partintro"><div></div><a class="indexterm" name="idp
60903712"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp60905952"></a><a class="indexterm" name="idp60906704"></a><p>
<span class="strong"><strong>Since the inception</strong></span> of the law regulating creative property, there has
been a war against <span class="quote">«<span class="quote">piracy.</span>»</span> The precise contours of this concept,
<span class="quote">«<span class="quote">piracy,</span>»</span> are hard to sketch, but the animating injustice is easy to
</p><div class="blockquote"><blockquote class="blockquote"><p>
A person may use the copy by playing it, but he has no right to
rob the author of the profit, by multiplying copies and disposing
-of them for his own use.<a href="#ftn.idp5840464" class="footnote" name="idp5840464"><sup class="footnote">[15]</sup></a>
-</p><a class="indexterm" name="idp
5842128"></a></blockquote></div><a class="indexterm" name="idp5843232"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
+of them for his own use.<a href="#ftn.idp60910192" class="footnote" name="idp60910192"><sup class="footnote">[15]</sup></a>
+</p><a class="indexterm" name="idp
60911856"></a></blockquote></div><a class="indexterm" name="idp60912960"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
Today we are in the middle of another <span class="quote">«<span class="quote">war</span>»</span> against <span class="quote">«<span class="quote">piracy.</span>»</span> The
Internet has provoked this war. The Internet makes possible the
efficient spread of content. Peer-to-peer (p2p) file sharing is among
sharing of copyrighted content. That sharing in turn has excited the
war, as copyright owners fear the sharing will <span class="quote">«<span class="quote">rob the author of the
profit.</span>»</span>
-</p><a class="indexterm" name="idp
5848592"></a><p>
+</p><a class="indexterm" name="idp
60918320"></a><p>
The warriors have turned to the courts, to the legislatures, and
increasingly to technology to defend their <span class="quote">«<span class="quote">property</span>»</span> against this
<span class="quote">«<span class="quote">piracy.</span>»</span> A generation of Americans, the warriors warn, is being
should have their permission. The taking of something of value
from someone else without permission is wrong. It is a form of
piracy.
-</p></blockquote></div><a class="indexterm" name="idp
5855088"></a><a class="indexterm" name="idp5855840"></a><a class="indexterm" name="idp5856592"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
60924816"></a><a class="indexterm" name="idp60925568"></a><a class="indexterm" name="idp60926320"></a><a class="indexterm" name="idp60927072"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
This view runs deep within the current debates. It is what NYU law
professor Rochelle Dreyfuss criticizes as the <span class="quote">«<span class="quote">if value, then right</span>»</span>
-theory of creative property<a href="#ftn.idp5861344" class="footnote" name="idp5861344"><sup class="footnote">[16]</sup></a>
+theory of creative property<a href="#ftn.idp60932080" class="footnote" name="idp60932080"><sup class="footnote">[16]</sup></a>
—if there is value, then someone must have a
right to that value. It is the perspective that led a composers' rights
organization, ASCAP, to sue the Girl Scouts for failing to pay for the
-songs that girls sang around Girl Scout campfires.<a href="#ftn.idp5851584" class="footnote" name="idp5851584"><sup class="footnote">[17]</sup></a>
+songs that girls sang around Girl Scout campfires.<a href="#ftn.idp60921312" class="footnote" name="idp60921312"><sup class="footnote">[17]</sup></a>
There was <span class="quote">«<span class="quote">value</span>»</span> (the songs) so there must have been a
<span class="quote">«<span class="quote">right</span>»</span>—even against the Girl Scouts.
-</p><a class="indexterm" name="idp
5867968"></a><p>
+</p><a class="indexterm" name="idp
60938704"></a><p>
This idea is certainly a possible understanding of how creative
property should work. It might well be a possible design for a system
of law protecting creative property. But the <span class="quote">«<span class="quote">if value, then right</span>»</span>
theory of creative property has never been America's theory of
creative property. It has never taken hold within our law.
-</p><a class="indexterm" name="idp
5870256"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
+</p><a class="indexterm" name="idp
60940992"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idp60943696"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
Instead, in our tradition, intellectual property is an instrument. It
sets the groundwork for a richly creative society but remains
subservient to the value of creativity. The current debate has this
work on the one hand and building upon or transforming that work on
the other. Copyright law at its birth had only publishing as its concern;
copyright law today regulates both.
-</p><a class="indexterm" name="idp
5876000"></a><p>
+</p><a class="indexterm" name="idp
60947744"></a><p>
Before the technologies of the Internet, this conflation didn't matter
all that much. The technologies of publishing were expensive; that
meant the vast majority of publishing was commercial. Commercial
entities could bear the burden of the law—even the burden of the
Byzantine complexity that copyright law has become. It was just one
more expense of doing business.
-</p><a class="indexterm" name="idp
5877280"></a><a class="indexterm" name="idp5878816"></a><a class="indexterm" name="idp5879568"></a><p>
+</p><a class="indexterm" name="idp
60949024"></a><a class="indexterm" name="idp60950560"></a><a class="indexterm" name="idp60951312"></a><p>
But with the birth of the Internet, this natural limit to the reach of
the law has disappeared. The law controls not just the creativity of
commercial creators but effectively that of anyone. Although that
of obscenely severe penalties. We may
be seeing, as Richard Florida writes, the <span class="quote">«<span class="quote">Rise of the Creative
-Class.</span>»</span><a href="#ftn.idp5883216" class="footnote" name="idp5883216"><sup class="footnote">[18]</sup></a>
+Class.</span>»</span><a href="#ftn.idp60954256" class="footnote" name="idp60954256"><sup class="footnote">[18]</sup></a>
Unfortunately, we are also seeing an extraordinary rise of regulation of
this creative class.
-</p><a class="indexterm" name="idp
5886656"></a><p>
+</p><a class="indexterm" name="idp
60957696"></a><p>
These burdens make no sense in our tradition. We should begin by
understanding that tradition a bit more and by placing in their proper
context the current battles about behavior labeled <span class="quote">«<span class="quote">piracy.</span>»</span>
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp5840464" class="footnote"><p><a href="#idp5840464" class="para"><sup class="para">[15] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp60910192" class="footnote"><p><a href="#idp60910192" class="para"><sup class="para">[15] </sup></a>
<em class="citetitle">Bach</em> v. <em class="citetitle">Longman</em>, 98 Eng. Rep. 1274 (1777) (Mansfield).
-</p></div><div id="ftn.idp5861344" class="footnote"><p><a href="#idp5861344" class="para"><sup class="para">[16] </sup></a>
+</p></div><div id="ftn.idp60932080" class="footnote"><p><a href="#idp60932080" class="para"><sup class="para">[16] </sup></a>
See Rochelle Dreyfuss, <span class="quote">«<span class="quote">Expressive Genericity: Trademarks as Language
in the Pepsi Generation,</span>»</span> <em class="citetitle">Notre Dame Law Review</em> 65 (1990): 397.
-</p></div><div id="ftn.idp5851584" class="footnote"><p><a href="#idp5851584" class="para"><sup class="para">[17] </sup></a>
+</p></div><div id="ftn.idp60921312" class="footnote"><p><a href="#idp60921312" class="para"><sup class="para">[17] </sup></a>
Lisa Bannon, <span class="quote">«<span class="quote">The Birds May Sing, but Campers Can't Unless They Pay
Up,</span>»</span> <em class="citetitle">Wall Street Journal</em>, 21 August 1996, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #3</a>; Jonathan
Zittrain, <span class="quote">«<span class="quote">Calling Off the Copyright War: In Battle of Property vs. Free
Speech, No One Wins,</span>»</span> <em class="citetitle">Boston Globe</em>, 24 November 2002.
-<a class="indexterm" name="idp5866192"></a>
-</p></div><div id="ftn.idp5883216" class="footnote"><p><a href="#idp5883216" class="para"><sup class="para">[18] </sup></a>
+<a class="indexterm" name="idp60936928"></a>
+</p></div><div id="ftn.idp60954256" class="footnote"><p><a href="#idp60954256" class="para"><sup class="para">[18] </sup></a>
In <em class="citetitle">The Rise of the Creative Class</em> (New York:
Basic Books, 2002), Richard Florida documents a shift in the nature of
and significance of this change, but I also believe the conditions
under which it will be enabled are much more tenuous.
-<a class="indexterm" name="idp5884784"></a>
-<a class="indexterm" name="idp5885536"></a>
+<a class="indexterm" name="idp60955824"></a>
+<a class="indexterm" name="idp60956576"></a>
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="creators"></a>Chapter 1. Chapter One: Creators</h2></div></div></div><a class="indexterm" name="idxanimatedcartoons"></a><a class="indexterm" name="idxcartoonfilms"></a><a class="indexterm" name="idxfilmsanimated"></a><a class="indexterm" name="idxsteamboatwillie"></a><a class="indexterm" name="idxmickeymouse"></a><p>
<span class="strong"><strong>In 1928</strong></span>, a cartoon character was born. An early Mickey Mouse
made his debut in May of that year, in a silent flop called <em class="citetitle">Plane Crazy</em>.
They responded almost instinctively to this union of sound and
motion. I thought they were kidding me. So they put me in the audience
and ran the action again. It was terrible, but it was wonderful! And
-it was something new!<a href="#ftn.idp5903360" class="footnote" name="idp5903360"><sup class="footnote">[19]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
5904848"></a><p>
+it was something new!<a href="#ftn.idp60974400" class="footnote" name="idp60974400"><sup class="footnote">[19]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
60975888"></a><p>
Disney's then partner, and one of animation's most extraordinary
talents, Ub Iwerks, put it more strongly: <span class="quote">«<span class="quote">I have never been so thrilled
in my life. Nothing since has ever equaled it.</span>»</span>
Disney's invention that set the standard that others struggled to
match. And quite often, Disney's great genius, his spark of
creativity, was built upon the work of others.
-</p><a class="indexterm" name="idp
5906848"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
+</p><a class="indexterm" name="idp
60977888"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
This much is familiar. What you might not know is that 1928 also marks
another important transition. In that year, a comic (as opposed to
cartoon) genius created his last independently produced silent film.
Willie.
The coincidence of titles is not coincidental. Steamboat Willie is a
-direct cartoon parody of Steamboat Bill,<a href="#ftn.idp5917088" class="footnote" name="idp5917088"><sup class="footnote">[20]</sup></a>
+direct cartoon parody of Steamboat Bill,<a href="#ftn.idp60988128" class="footnote" name="idp60988128"><sup class="footnote">[20]</sup></a>
and both are built upon a common song as a source. It is not just from
the invention of synchronized sound in <em class="citetitle">The Jazz Singer</em> that we
get <em class="citetitle">Steamboat Willie</em>. It is also from Buster Keaton's invention of
Steamboat Bill, Jr., itself inspired by the song <span class="quote">«<span class="quote">Steamboat Bill,</span>»</span>
that we get Steamboat Willie, and then from Steamboat Willie, Mickey
Mouse.
-</p><a class="indexterm" name="idp
5923136"></a><a class="indexterm" name="idp5924112"></a><a class="indexterm" name="idp5925088"></a><a class="indexterm" name="idp5926064"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
+</p><a class="indexterm" name="idp
60994176"></a><a class="indexterm" name="idp60995152"></a><a class="indexterm" name="idp60996128"></a><a class="indexterm" name="idp60997104"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
This <span class="quote">«<span class="quote">borrowing</span>»</span> was nothing unique, either for Disney or for the
industry. Disney was always parroting the feature-length mainstream
-films of his day.<a href="#ftn.idp5930544" class="footnote" name="idp5930544"><sup class="footnote">[21]</sup></a>
+films of his day.<a href="#ftn.idp61001584" class="footnote" name="idp61001584"><sup class="footnote">[21]</sup></a>
So did many others. Early cartoons are filled with
knockoffs—slight variations on winning themes; retellings of
ancient stories. The key to success was the brilliance of the
creativity from the culture around him, mixed that creativity with his
own extraordinary talent, and then burned that mix into the soul of
his culture. Rip, mix, and burn.
-</p><a class="indexterm" name="idp
5943248"></a><p>
+</p><a class="indexterm" name="idp
61014288"></a><p>
This is a kind of creativity. It is a creativity that we should
remember and celebrate. There are some who would say that there is no
creativity except this kind. We don't need to go that far to recognize
would be a bit misleading. It is, more precisely, <span class="quote">«<span class="quote">Walt Disney
creativity</span>»</span>—a form of expression and genius that builds upon the
culture around us and makes it something different.
-</p><a class="indexterm" name="idp
5945760"></a><a class="indexterm" name="idp5946736"></a><a class="indexterm" name="idp5947712"></a><a class="indexterm" name="idxcopyrightdurationof"></a><a class="indexterm" name="idxpublicdomaindefined"></a><a class="indexterm" name="idxpublicdomaintraditionaltermforconversionto"></a><p> In 1928, the culture that Disney was free to draw upon was
+</p><a class="indexterm" name="idp
61016800"></a><a class="indexterm" name="idp61017776"></a><a class="indexterm" name="idp61018752"></a><a class="indexterm" name="idp61019728"></a><a class="indexterm" name="idxcopyrightdurationof"></a><a class="indexterm" name="idxpublicdomaindefined"></a><a class="indexterm" name="idxpublicdomaintraditionaltermforconversionto"></a><p> In 1928, the culture that Disney was free to draw upon was
relatively fresh. The public domain in 1928 was not very old and was
therefore quite vibrant. The average term of copyright was just around
thirty years—for that minority of creative work that was in fact
-copyrighted.<a href="#ftn.idp5945376" class="footnote" name="idp5945376"><sup class="footnote">[22]</sup></a>
+copyrighted.<a href="#ftn.idp61016416" class="footnote" name="idp61016416"><sup class="footnote">[22]</sup></a>
That means that for thirty years, on average, the authors or
copyright holders of a creative work had an <span class="quote">«<span class="quote">exclusive right</span>»</span> to control
certain uses of the work. To use this copyrighted work in limited ways
for Disney to use and build upon in 1928. It was free for
anyone— whether connected or not, whether rich or not, whether
approved or not—to use and build upon.
-</p><a class="indexterm" name="idp
5957728"></a><a class="indexterm" name="idp5959088"></a><p>
+</p><a class="indexterm" name="idp
61029776"></a><a class="indexterm" name="idp61031136"></a><p>
This is the ways things always were—until quite recently. For most
of our history, the public domain was just over the horizon. From
until 1978, the average copyright term was never more than thirty-two
to now be free for the next Walt Disney to build upon without
permission. Yet today, the public domain is presumptive only for
content from before the Great Depression.
-</p><a class="indexterm" name="idp
5961312"></a><a class="indexterm" name="idp5962288"></a><a class="indexterm" name="idp5963264"></a><a class="indexterm" name="idp5964240"></a><a class="indexterm" name="idp5965216"></a><a class="indexterm" name="idp5966192"></a><p>
+</p><a class="indexterm" name="idp
61033360"></a><a class="indexterm" name="idp61034336"></a><a class="indexterm" name="idp61035312"></a><a class="indexterm" name="idp61036288"></a><a class="indexterm" name="idp61037264"></a><a class="indexterm" name="idp61038240"></a><p>
<span class="strong"><strong>Of course</strong></span>, Walt Disney had no monopoly on <span class="quote">«<span class="quote">Walt Disney creativity.</span>»</span>
Nor does America. The norm of free culture has, until recently, and
except within totalitarian nations, been broadly exploited and quite
competes with that market, but there is no sustained effort by those
who control the commercial manga market to shut the doujinshi market
down. It flourishes, despite the competition and despite the law.
-</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="idp
5988048"></a><p>
+</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="idp
61060096"></a><p>
The most puzzling feature of the doujinshi market, for those trained
in the law, at least, is that it is allowed to exist at all. Under
Japanese copyright law, which in this respect (on paper) mirrors
the permission of the original copyright owner is illegal. It is an
infringement of the original copyright to make a copy or a derivative
work without the original copyright owner's permission.
-</p><a class="indexterm" name="idp
5991088"></a><a class="indexterm" name="idxwinickjudd"></a><p>
+</p><a class="indexterm" name="idp
61063136"></a><a class="indexterm" name="idxwinickjudd"></a><p>
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
flourish. As American graphic novelist Judd Winick said to me, <span class="quote">«<span class="quote">The
other. … That's how [the artists] learn to draw — by going into comic
books and not tracing them, but looking at them and copying them</span>»</span>
-and building from them.<a href="#ftn.idp5994832" class="footnote" name="idp5994832"><sup class="footnote">[23]</sup></a>
-</p><a class="indexterm" name="idp
5996112"></a><a class="indexterm" name="idp5997088"></a><p>
+and building from them.<a href="#ftn.idp61066880" class="footnote" name="idp61066880"><sup class="footnote">[23]</sup></a>
+</p><a class="indexterm" name="idp
61068160"></a><a class="indexterm" name="idp61069136"></a><p>
American comics now are quite different, Winick explains, in part
because of the legal difficulty of adapting comics the way doujinshi are
allowed. Speaking of Superman, Winick told me, <span class="quote">«<span class="quote">there are these rules
and you have to stick to them.</span>»</span> There are things Superman <span class="quote">«<span class="quote">cannot</span>»</span>
do. <span class="quote">«<span class="quote">As a creator, it's frustrating having to stick to some parameters
which are fifty years old.</span>»</span>
-</p><a class="indexterm" name="idp
5999696"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp6002160"></a><a class="indexterm" name="idxmehrasalil"></a><p>
+</p><a class="indexterm" name="idp
61071744"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp61074208"></a><a class="indexterm" name="idxmehrasalil"></a><p>
The norm in Japan mitigates this legal difficulty. Some say it is
precisely the benefit accruing to the Japanese manga market that
explains the mitigation. Temple University law professor Salil Mehra,
for example, hypothesizes that the manga market accepts these
technical violations because they spur the manga market to be more
wealthy and productive. Everyone would be worse off if doujinshi were
-banned, so the law does not ban doujinshi.<a href="#ftn.idp6004864" class="footnote" name="idp6004864"><sup class="footnote">[24]</sup></a>
-</p><a class="indexterm" name="idp6
007392"></a><a class="indexterm" name="idp6008368"></a><a class="indexterm" name="idp6009344"></a><p>
+banned, so the law does not ban doujinshi.<a href="#ftn.idp61076912" class="footnote" name="idp61076912"><sup class="footnote">[24]</sup></a>
+</p><a class="indexterm" name="idp6
1079440"></a><a class="indexterm" name="idp61080416"></a><a class="indexterm" name="idp61081392"></a><p>
The problem with this story, however, as Mehra plainly acknowledges,
is that the mechanism producing this laissez faire response is not
clear. It may well be that the market as a whole is better off if
individual manga artists have sued doujinshi artists, why is there not
a more general pattern of blocking this <span class="quote">«<span class="quote">free taking</span>»</span> by the doujinshi
culture?
-</p><a class="indexterm" name="idp
6011616"></a><a class="indexterm" name="idp6012592"></a><p>
+</p><a class="indexterm" name="idp
55084816"></a><a class="indexterm" name="idp55086144"></a><p>
I spent four wonderful months in Japan, and I asked this question
as often as I could. Perhaps the best account in the end was offered by
a friend from a major Japanese law firm. <span class="quote">«<span class="quote">We don't have enough
uncompensated sharing? Does piracy here hurt the victims of the
piracy, or does it help them? Would lawyers fighting this piracy help
their clients or hurt them?
-</p><a class="indexterm" name="idp
6016240"></a><p>
+</p><a class="indexterm" name="idp
55090176"></a><p>
<span class="strong"><strong>Let's pause</strong></span> for a moment.
</p><p>
If you're like I was a decade ago, or like most people are when they
We live in a world that celebrates <span class="quote">«<span class="quote">property.</span>»</span> I am one of those
celebrants. I believe in the value of property in general, and I also
believe in the value of that weird form of property that lawyers call
-<span class="quote">«<span class="quote">intellectual property.</span>»</span><a href="#ftn.idp6019904" class="footnote" name="idp6019904"><sup class="footnote">[25]</sup></a>
+<span class="quote">«<span class="quote">intellectual property.</span>»</span><a href="#ftn.idp61101360" class="footnote" name="idp61101360"><sup class="footnote">[25]</sup></a>
A large, diverse society cannot survive without property; a large,
diverse, and modern society cannot flourish without intellectual
property.
-</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="idp6
026016"></a><p>
+</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="idp6
1107392"></a><p>
But it takes just a second's reflection to realize that there is
plenty of value out there that <span class="quote">«<span class="quote">property</span>»</span> doesn't capture. I don't
mean <span class="quote">«<span class="quote">money can't buy you love,</span>»</span> but rather, value that is plainly
things remain free for the taking within a free culture, and that
freedom is good.
-</p><a class="indexterm" name="idp6
031552"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp6034016"></a><a class="indexterm" name="idxdoujinshicomics2"></a><a class="indexterm" name="idxjapanesecomics2"></a><a class="indexterm" name="idxmanga2"></a><p>
+</p><a class="indexterm" name="idp6
1112928"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp61115392"></a><a class="indexterm" name="idxdoujinshicomics2"></a><a class="indexterm" name="idxjapanesecomics2"></a><a class="indexterm" name="idxmanga2"></a><p>
The same with the doujinshi culture. If a doujinshi artist broke into
a publisher's office and ran off with a thousand copies of his latest
work—or even one copy—without paying, we'd have no hesitation in
saying the artist was wrong. In addition to having trespassed, he would
have stolen something of value. The law bans that stealing in whatever
form, whether large or small.
-</p><a class="indexterm" name="idp6
038720"></a><p>
+</p><a class="indexterm" name="idp6
1120096"></a><p>
Yet there is an obvious reluctance, even among Japanese lawyers, to
say that the copycat comic artists are <span class="quote">«<span class="quote">stealing.</span>»</span> This form of Walt
Disney creativity is seen as fair and right, even if lawyers in
particular find it hard to say why.
-</p><a class="indexterm" name="idp6
041280"></a><a class="indexterm" name="idp6042256"></a><a class="indexterm" name="idp6043232"></a><a class="indexterm" name="idp6044208"></a><a class="indexterm" name="idp6045184"></a><a class="indexterm" name="idp6046160"></a><a class="indexterm" name="idp6047136"></a><p>
+</p><a class="indexterm" name="idp6
1122656"></a><a class="indexterm" name="idp61123632"></a><a class="indexterm" name="idp61124608"></a><a class="indexterm" name="idp61125584"></a><a class="indexterm" name="idp61126560"></a><a class="indexterm" name="idp61127536"></a><a class="indexterm" name="idp61128512"></a><p>
It's the same with a thousand examples that appear everywhere once you
begin to look. Scientists build upon the work of other scientists
without asking or paying for the privilege. (<span class="quote">«<span class="quote">Excuse me, Professor
every society has left a certain bit of its culture free for the taking—free
societies more fully than unfree, perhaps, but all societies to some degree.
-</p><a class="indexterm" name="idp6
050368"></a><p>
+</p><a class="indexterm" name="idp6
1131744"></a><p>
The hard question is therefore not <span class="emphasis"><em>whether</em></span> a
culture is free. All cultures are free to some degree. The hard
question instead is <span class="quote">«<span class="quote"><span class="emphasis"><em>How</em></span> free is this culture?</span>»</span>
Free cultures are cultures that leave a great deal open for others to
build upon; unfree, or permission, cultures leave much less. Ours was a
free culture. It is becoming much less so.
-</p><a class="indexterm" name="idp6054624"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp5903360" class="footnote"><p><a href="#idp5903360" class="para"><sup class="para">[19] </sup></a>
+</p><a class="indexterm" name="idp61136000"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp60974400" class="footnote"><p><a href="#idp60974400" class="para"><sup class="para">[19] </sup></a>
Leonard Maltin, <em class="citetitle">Of Mice and Magic: A History of American Animated
Cartoons</em> (New York: Penguin Books, 1987), 34–35.
-</p></div><div id="ftn.idp5917088" class="footnote"><p><a href="#idp5917088" class="para"><sup class="para">[20] </sup></a>
+</p></div><div id="ftn.idp60988128" class="footnote"><p><a href="#idp60988128" class="para"><sup class="para">[20] </sup></a>
I am grateful to David Gerstein and his careful history, described at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #4</a>.
(Baron), and <span class="quote">«<span class="quote">Gawky Rube</span>»</span> (Lakay). A sixth song, <span class="quote">«<span class="quote">The Turkey in the
Straw,</span>»</span> was already in the public domain. Letter from David Smith to
Harry Surden, 10 July 2003, on file with author.
-</p></div><div id="ftn.idp5930544" class="footnote"><p><a href="#idp5930544" class="para"><sup class="para">[21] </sup></a>
+</p></div><div id="ftn.idp61001584" class="footnote"><p><a href="#idp61001584" class="para"><sup class="para">[21] </sup></a>
He was also a fan of the public domain. See Chris Sprigman, <span class="quote">«<span class="quote">The Mouse
that Ate the Public Domain,</span>»</span> Findlaw, 5 March 2002, at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #5</a>.
-</p></div><div id="ftn.idp5945376" class="footnote"><p><a href="#idp5945376" class="para"><sup class="para">[22] </sup></a>
+</p></div><div id="ftn.idp61016416" class="footnote"><p><a href="#idp61016416" class="para"><sup class="para">[22] </sup></a>
Until 1976, copyright law granted an author the possibility of two terms: an
initial term and a renewal term. I have calculated the <span class="quote">«<span class="quote">average</span>»</span> term by
term is 32.2 years. For the renewal data and other relevant data, see the
Web site associated with this book, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #6</a>.
-</p></div><div id="ftn.idp5994832" class="footnote"><p><a href="#idp5994832" class="para"><sup class="para">[23] </sup></a>
+</p></div><div id="ftn.idp61066880" class="footnote"><p><a href="#idp61066880" class="para"><sup class="para">[23] </sup></a>
For an excellent history, see Scott McCloud, <em class="citetitle">Reinventing Comics</em> (New
York: Perennial, 2000).
-</p></div><div id="ftn.idp6004864" class="footnote"><p><a href="#idp6004864" class="para"><sup class="para">[24] </sup></a>
+</p></div><div id="ftn.idp61076912" class="footnote"><p><a href="#idp61076912" class="para"><sup class="para">[24] </sup></a>
See Salil K. Mehra, <span class="quote">«<span class="quote">Copyright and Comics in Japan: Does Law Explain
Why All the Comics My Kid Watches Are Japanese Imports?</span>»</span> <em class="citetitle">Rutgers Law
artists may be better off collectively if they set aside their
individual self-interest and decide not to press their legal
rights. This is essentially a prisoner's dilemma solved.</span>»</span>
-</p></div><div id="ftn.idp6019904" class="footnote"><p><a href="#idp6019904" class="para"><sup class="para">[25] </sup></a>
+</p></div><div id="ftn.idp61101360" class="footnote"><p><a href="#idp61101360" class="para"><sup class="para">[25] </sup></a>
-<a class="indexterm" name="idp6020544"></a>
+<a class="indexterm" name="idp61102000"></a>
The term <em class="citetitle">intellectual property</em> is of relatively recent origin. See
Siva Vaidhyanathan, <em class="citetitle">Copyrights and Copywrongs</em>, 11 (New York: New York
University Press, 2001). See also Lawrence Lessig, <em class="citetitle">The Future of Ideas</em>
describes a set of <span class="quote">«<span class="quote">property</span>»</span> rights — copyright, patents,
trademark, and trade-secret — but the nature of those rights is
very different.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="mere-copyists"></a>Chapter 2. Chapter Two: <span class="quote">«<span class="quote">Mere Copyists</span>»</span></h2></div></div></div><a class="indexterm" name="idp6
057360"></a><a class="indexterm" name="idxcameratechnology"></a><a class="indexterm" name="idxphotography"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="mere-copyists"></a>Chapter 2. Chapter Two: <span class="quote">«<span class="quote">Mere Copyists</span>»</span></h2></div></div></div><a class="indexterm" name="idp6
1138736"></a><a class="indexterm" name="idxcameratechnology"></a><a class="indexterm" name="idxphotography"></a><p>
<span class="strong"><strong>In 1839</strong></span>, Louis Daguerre invented
the first practical technology for producing what we would call
<span class="quote">«<span class="quote">photographs.</span>»</span> Appropriately enough, they were called
zealous and wealthy amateurs. (There was even an American Daguerre
Association that helped regulate the industry, as do all such
associations, by keeping competition down so as to keep prices up.)
-</p><a class="indexterm" name="idp6
062784"></a><p>
+</p><a class="indexterm" name="idp6
1144160"></a><p>
Yet despite high prices, the demand for daguerreotypes was strong.
This pushed inventors to find simpler and cheaper ways to make
<span class="quote">«<span class="quote">automatic pictures.</span>»</span> William Talbot soon discovered a process for
Eastman developed flexible, emulsion-coated paper film and placed
rolls of it in small, simple cameras: the Kodak. The device was
marketed on the basis of its simplicity. <span class="quote">«<span class="quote">You press the button and we
-do the rest.</span>»</span><a href="#ftn.idp6070832" class="footnote" name="idp6070832"><sup class="footnote">[26]</sup></a> As he described in <em class="citetitle">The Kodak Primer</em>:
+do the rest.</span>»</span><a href="#ftn.idp61152208" class="footnote" name="idp61152208"><sup class="footnote">[26]</sup></a> As he described in <em class="citetitle">The Kodak Primer</em>:
</p><div class="blockquote"><blockquote class="blockquote"><p>
The principle of the Kodak system is the separation of the work that
any person whomsoever can do in making a photograph, from the work
practice of photography the necessity for exceptional facilities or,
in fact, any special knowledge of the art. It can be employed without
preliminary study, without a darkroom and without
-chemicals.<a href="#ftn.idp5994544" class="footnote" name="idp5994544"><sup class="footnote">[27]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
075984"></a><p>
+chemicals.<a href="#ftn.idp61066592" class="footnote" name="idp61066592"><sup class="footnote">[27]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
1157360"></a><p>
For $25, anyone could make pictures. The camera came preloaded
with film, and when it had been used, the camera was returned to an
Eastman factory, where the film was developed. Over time, of course,
year later, Kodak was printing more than six thousand negatives a day.
From 1888 through 1909, while industrial production was rising by 4.7
percent, photographic equipment and material sales increased by 11
-percent.<a href="#ftn.idp6077856" class="footnote" name="idp6077856"><sup class="footnote">[28]</sup></a> Eastman Kodak's sales during the same period experienced
-an average annual increase of over 17 percent.<a href="#ftn.idp6078752" class="footnote" name="idp6078752"><sup class="footnote">[29]</sup></a>
-</p><a class="indexterm" name="idp6
079648"></a><p>
+percent.<a href="#ftn.idp61159232" class="footnote" name="idp61159232"><sup class="footnote">[28]</sup></a> Eastman Kodak's sales during the same period experienced
+an average annual increase of over 17 percent.<a href="#ftn.idp61160128" class="footnote" name="idp61160128"><sup class="footnote">[29]</sup></a>
+</p><a class="indexterm" name="idp6
1161024"></a><p>
The real significance of Eastman's invention, however, was not
permanent record of his family and its activities. … For the first
time in history there exists an authentic visual record of the
appearance and activities of the common man made without [literary]
-interpretation or bias.</span>»</span><a href="#ftn.idp6073264" class="footnote" name="idp6073264"><sup class="footnote">[30]</sup></a>
-</p><a class="indexterm" name="idp6
082736"></a><a class="indexterm" name="idp6083744"></a><p>
+interpretation or bias.</span>»</span><a href="#ftn.idp61154640" class="footnote" name="idp61154640"><sup class="footnote">[30]</sup></a>
+</p><a class="indexterm" name="idp6
1164112"></a><a class="indexterm" name="idp61165120"></a><p>
In this way, the Kodak camera and film were technologies of
expression. The pencil or paintbrush was also a technology of
expression, of course. But it took years of training before they could
creativity that the Kodak enabled. Democratic tools gave ordinary
people a way to express themselves more easily than any tools could
have before.
-</p><a class="indexterm" name="idp6
086224"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
+</p><a class="indexterm" name="idp6
1167600"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
What was required for this technology to flourish? Obviously,
Eastman's genius was an important part. But also important was the
legal environment within which Eastman's invention grew. For early in
that could well have changed the course of photography substantially.
Courts were asked whether the photographer, amateur or professional,
required permission before he could capture and print whatever image
-he wanted. Their answer was no.<a href="#ftn.idp6089472" class="footnote" name="idp6089472"><sup class="footnote">[31]</sup></a>
-</p><a class="indexterm" name="idp6
092672"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
+he wanted. Their answer was no.<a href="#ftn.idp61170848" class="footnote" name="idp61170848"><sup class="footnote">[31]</sup></a>
+</p><a class="indexterm" name="idp6
1174048"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
The arguments in favor of requiring permission will sound surprisingly
familiar. The photographer was <span class="quote">«<span class="quote">taking</span>»</span> something from the person or
building whose photograph he shot—pirating something of
Mickey, so, too, should these photographers not be free to take images
that they thought valuable.
-</p><a class="indexterm" name="idp6
097680"></a><a class="indexterm" name="idp6098432"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
+</p><a class="indexterm" name="idp6
1179056"></a><a class="indexterm" name="idp61179808"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
On the other side was an argument that should be familiar, as well.
Sure, there may be something of value being used. But citizens should
have the right to capture at least those images that stand in public view.
(Louis Brandeis, who would become a Supreme Court Justice, thought
-the rule should be different for images from private spaces.<a href="#ftn.idp6101024" class="footnote" name="idp6101024"><sup class="footnote">[32]</sup></a>) It may be that this means that the photographer
+the rule should be different for images from private spaces.<a href="#ftn.idp61182400" class="footnote" name="idp61182400"><sup class="footnote">[32]</sup></a>) It may be that this means that the photographer
gets something for nothing. Just as Disney could take inspiration from
<em class="citetitle">Steamboat Bill, Jr</em>. or the Brothers Grimm, the photographer should be
free to capture an image without compensating the source.
-</p><a class="indexterm" name="idp61
04976"></a><p>
+</p><a class="indexterm" name="idp61
186352"></a><p>
Fortunately for Mr. Eastman, and for photography in general, these
early decisions went in favor of the pirates. In general, no
permission would be required before an image could be captured and
people: commercial photographers who snap pictures of famous people
for commercial purposes have more restrictions than the rest of
us. But in the ordinary case, the image can be captured without
-clearing the rights to do the capturing.<a href="#ftn.idp6106800" class="footnote" name="idp6106800"><sup class="footnote">[33]</sup></a>)
-</p><a class="indexterm" name="idp611
0000"></a><a class="indexterm" name="idp6110752"></a><p>
+clearing the rights to do the capturing.<a href="#ftn.idp61188176" class="footnote" name="idp61188176"><sup class="footnote">[33]</sup></a>)
+</p><a class="indexterm" name="idp611
91376"></a><a class="indexterm" name="idp61192128"></a><p>
We can only speculate about how photography would have developed had
the law gone the other way. If the presumption had been against the
photographer, then the photographer would have had to demonstrate
imagine the law then requiring that some form of permission be
demonstrated before a company developed pictures. We could imagine a
system developing to demonstrate that permission.
-</p><a class="indexterm" name="idp611
3520"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp6115728"></a><a class="indexterm" name="idp6116736"></a><p>
+</p><a class="indexterm" name="idp611
94896"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp61197104"></a><a class="indexterm" name="idp61198112"></a><p>
But though we could imagine this system of permission, it would be
that growth would have been realized. And certainly, nothing like that
growth in a democratic technology of expression would have been
realized.
-</p><a class="indexterm" name="idp611
8256"></a><a class="indexterm" name="idp6120064"></a><a class="indexterm" name="idp6121040"></a><a class="indexterm" name="idp6122016"></a><a class="indexterm" name="idp6122992"></a><a class="indexterm" name="idxjustthink"></a><p>
+</p><a class="indexterm" name="idp611
99632"></a><a class="indexterm" name="idp61201440"></a><a class="indexterm" name="idp61202416"></a><a class="indexterm" name="idp61203392"></a><a class="indexterm" name="idp61204368"></a><a class="indexterm" name="idxjustthink"></a><p>
<span class="strong"><strong>If you drive</strong></span> through San
Francisco's Presidio, you might see two gaudy yellow school buses
painted over with colorful and striking images, and the logo
increasingly so. The cost of a high-quality digital video system has
fallen dramatically. As one analyst puts it, <span class="quote">«<span class="quote">Five years ago, a good
real-time digital video editing system cost $25,000. Today you can get
-professional quality for $595.</span>»</span><a href="#ftn.idp6133040" class="footnote" name="idp6133040"><sup class="footnote">[34]</sup></a>
+professional quality for $595.</span>»</span><a href="#ftn.idp61214416" class="footnote" name="idp61214416"><sup class="footnote">[34]</sup></a>
These buses are filled with technology that would have cost hundreds
of thousands just ten years ago. And it is now feasible to imagine not
just buses like this, but classrooms across the country where kids are
learning more and more of something teachers call <span class="quote">«<span class="quote">media literacy.</span>»</span>
-</p><a class="indexterm" name="idp61
35728"></a><p>
+</p><a class="indexterm" name="idp61
217104"></a><p>
<span class="quote">«<span class="quote">Media literacy,</span>»</span> as Dave Yanofsky, the executive director of Just
Think!, puts it, <span class="quote">«<span class="quote">is the ability … to understand, analyze, and
deconstruct media images. Its aim is to make [kids] literate about the
way media works, the way it's constructed, the way it's delivered, and
the way people access it.</span>»</span>
-</p><a class="indexterm" name="idp61
38192"></a><p>
+</p><a class="indexterm" name="idp61
219568"></a><p>
This may seem like an odd way to think about <span class="quote">«<span class="quote">literacy.</span>»</span> For most
people, literacy is about reading and writing. Faulkner and Hemingway
and noticing split infinitives are the things that <span class="quote">«<span class="quote">literate</span>»</span> people know
about.
-</p><a class="indexterm" name="idp61
40464"></a><a class="indexterm" name="idp6141216"></a><a class="indexterm" name="idp6141968"></a><p>
+</p><a class="indexterm" name="idp61
221840"></a><a class="indexterm" name="idp61222592"></a><a class="indexterm" name="idp61223344"></a><p>
Maybe. But in a world where children see on average 390 hours of
television commercials per year, or between 20,000 and 45,000
-commercials generally,<a href="#ftn.idp6143392" class="footnote" name="idp6143392"><sup class="footnote">[35]</sup></a>
+commercials generally,<a href="#ftn.idp61224768" class="footnote" name="idp61224768"><sup class="footnote">[35]</sup></a>
it is increasingly important to understand the <span class="quote">«<span class="quote">grammar</span>»</span> of media. For
just as there is a grammar for the written word, so, too, is there one
for media. And just as kids learn how to write by writing lots of
how difficult media is. Or more fundamentally, few of us have a sense
of how media works, how it holds an audience or leads it through a
story, how it triggers emotion or builds suspense.
-</p><a class="indexterm" name="idp61
46352"></a><p>
+</p><a class="indexterm" name="idp61
227728"></a><p>
It took filmmaking a generation before it could do these things well.
But even then, the knowledge was in the filming, not in writing about
the film. The skill came from experiencing the making of a film, not
from reading a book about it. One learns to write by writing and then
reflecting upon what one has written. One learns to write with images
by making them and then reflecting upon what one has created.
-</p><a class="indexterm" name="idxdaleyelizabeth"></a><a class="indexterm" name="idp61
50128"></a><p>
+</p><a class="indexterm" name="idxdaleyelizabeth"></a><a class="indexterm" name="idp61
231504"></a><p>
This grammar has changed as media has changed. When it was just film,
as Elizabeth Daley, executive director of the University of Southern
California's Annenberg Center for Communication and dean of the
USC School of Cinema-Television, explained to me, the grammar was
about <span class="quote">«<span class="quote">the placement of objects, color, … rhythm, pacing, and
-texture.</span>»</span><a href="#ftn.idp6137712" class="footnote" name="idp6137712"><sup class="footnote">[36]</sup></a>
+texture.</span>»</span><a href="#ftn.idp61219088" class="footnote" name="idp61219088"><sup class="footnote">[36]</sup></a>
But as computers open up an interactive space where a story is
<span class="quote">«<span class="quote">played</span>»</span> as well as experienced, that grammar changes. The simple
control of narrative is lost, and so other techniques are necessary. Author
But when he tried to design a computer game based on one of his
works, it was a new craft he had to learn. How to lead people through
a game without their feeling they have been led was not obvious, even
-to a wildly successful author.<a href="#ftn.idp6155376" class="footnote" name="idp6155376"><sup class="footnote">[37]</sup></a>
-</p><a class="indexterm" name="idp61
58288"></a><p>
+to a wildly successful author.<a href="#ftn.idp61236752" class="footnote" name="idp61236752"><sup class="footnote">[37]</sup></a>
+</p><a class="indexterm" name="idp61
239664"></a><p>
This skill is precisely the craft a filmmaker learns. As Daley
describes, <span class="quote">«<span class="quote">people are very surprised about how they are led through a
film. [I]t is perfectly constructed to keep you from seeing it, so you
and this literacy in particular, is to <span class="quote">«<span class="quote">empower people to choose the
appropriate language for what they need to create or
-express.</span>»</span><a href="#ftn.idp6164016" class="footnote" name="idp6164016"><sup class="footnote">[38]</sup></a> It is to enable students <span class="quote">«<span class="quote">to communicate in the
-language of the twenty-first century.</span>»</span><a href="#ftn.idp6166000" class="footnote" name="idp6166000"><sup class="footnote">[39]</sup></a>
+express.</span>»</span><a href="#ftn.idp61245392" class="footnote" name="idp61245392"><sup class="footnote">[38]</sup></a> It is to enable students <span class="quote">«<span class="quote">to communicate in the
+language of the twenty-first century.</span>»</span><a href="#ftn.idp61247376" class="footnote" name="idp61247376"><sup class="footnote">[39]</sup></a>
</p><a class="indexterm" name="idxbarishstephanie"></a><p>
As with any language, this language comes more easily to some than to
others. It doesn't necessarily come more easily to those who excel in
failure. But Daley and Barish ran a program that gave kids an
opportunity to use film to express meaning about something the
students know something about—gun violence.
-</p><a class="indexterm" name="idp61
68384"></a><p>
+</p><a class="indexterm" name="idp61
249760"></a><p>
The class was held on Friday afternoons, and it created a relatively
new problem for the school. While the challenge in most classes was
getting the kids to come, the challenge in this class was keeping them
can do well. Yet neither is text a form in which
<span class="emphasis"><em>these</em></span> ideas can be expressed well. The power of
this message depended upon its connection to this form of expression.
-</p><a class="indexterm" name="idp61
75104"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
+</p><a class="indexterm" name="idp61
256480"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
<span class="quote">«<span class="quote">But isn't education about teaching kids to write?</span>»</span> I asked. In part,
make a little movie.</span>»</span> But instead, really help you take these elements
that you understand, that are your language, and construct meaning
about the topic.…
-</p><a class="indexterm" name="idp61
81568"></a><p>
+</p><a class="indexterm" name="idp61
262944"></a><p>
That empowers enormously. And then what happens, of
course, is eventually, as it has happened in all these classes, they
bump up against the fact, <span class="quote">«<span class="quote">I need to explain this and I really need
didn't speak very well. But they had come to understand that they
had a lot of power with this language.
-</p></blockquote></div><a class="indexterm" name="idp61
85248"></a><a class="indexterm" name="idp6186224"></a><a class="indexterm" name="idp6187200"></a><a class="indexterm" name="idp6188176"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp6190384"></a><a class="indexterm" name="idxnewscoverage"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp61
266240"></a><a class="indexterm" name="idp61267216"></a><a class="indexterm" name="idp61268192"></a><a class="indexterm" name="idp61269168"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp61271376"></a><a class="indexterm" name="idxnewscoverage"></a><p>
<span class="strong"><strong>When two planes</strong></span> crashed into the
World Trade Center, another into the Pentagon, and a fourth into a
Pennsylvania field, all media around the world shifted to this
and seriousness. This was news choreographed in the way we have
increasingly come to expect it, <span class="quote">«<span class="quote">news as entertainment,</span>»</span> even if the
entertainment is tragedy.
-</p><a class="indexterm" name="idp61
95424"></a><a class="indexterm" name="idp6196176"></a><p>
+</p><a class="indexterm" name="idp61
276976"></a><a class="indexterm" name="idp61277728"></a><a class="indexterm" name="idp61278480"></a><a class="indexterm" name="idp61279232"></a><a class="indexterm" name="idxinternetnewseventson"></a><p>
But in addition to this produced news about the <span class="quote">«<span class="quote">tragedy of September
11,</span>»</span> those of us tied to the Internet came to see a very different
production as well. The Internet was filled with accounts of the same
the term in his book <em class="citetitle">Cyber Rights</em>, around a news event that had
captured the attention of the world. There was ABC and CBS, but there
was also the Internet.
-</p><a class="indexterm" name="idp61
98800"></a><p>
+</p><a class="indexterm" name="idp61
283344"></a><p>
I don't mean simply to praise the Internet—though I do think the
people who supported this form of speech should be praised. I mean
instead to point to a significance in this form of speech. For like a
and obviously not just that events are commented upon critically, but
that this mix of captured images, sound, and commentary can be widely
spread practically instantaneously.
-</p><a class="indexterm" name="idp6
201424"></a><a class="indexterm" name="idxblogsweblogs"></a><a class="indexterm" name="idxinternetblogson"></a><a class="indexterm" name="idxweblogsblogs"></a><p>
+</p><a class="indexterm" name="idp6
1285968"></a><a class="indexterm" name="idxblogsweblogs"></a><a class="indexterm" name="idxinternetblogson"></a><a class="indexterm" name="idxweblogsblogs"></a><p>
September 11 was not an aberration. It was a beginning. Around the
same time, a form of communication that has grown dramatically was
just beginning to come into public consciousness: the Web-log, or
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 <em class="citetitle">Jerry Springer</em>, available anywhere in the world.
-</p><a class="indexterm" name="idp6
208160"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
+</p><a class="indexterm" name="idp6
1292704"></a><a class="indexterm" name="idp61293680"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
But in the United States, blogs have taken on a very different
character. There are some who use the space simply to talk about
their private life. But there are many who use the space to engage in
in those elections. The cycle of these elections has become totally
professionalized and routinized. Most of us think this is democracy.
-</p><a class="indexterm" name="idp6
217776"></a><a class="indexterm" name="idp6218752"></a><a class="indexterm" name="idp6219728"></a><a class="indexterm" name="idp6220704"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp6222944"></a><p>
+</p><a class="indexterm" name="idp6
1302496"></a><a class="indexterm" name="idp61303472"></a><a class="indexterm" name="idp61304448"></a><a class="indexterm" name="idp61305424"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp61307664"></a><p>
But democracy has never just been about elections. Democracy
means rule by the people, but rule means something more than mere
elections. In our tradition, it also means control through reasoned
deliberated. Members argued about the <span class="quote">«<span class="quote">right</span>»</span> result; they tried to
persuade each other of the <span class="quote">«<span class="quote">right</span>»</span> result, and in criminal cases at
least, they had to agree upon a unanimous result for the process to
-come to an end.<a href="#ftn.idp6225936" class="footnote" name="idp6225936"><sup class="footnote">[40]</sup></a>
-</p><a class="indexterm" name="idp6
227216"></a><p>
+come to an end.<a href="#ftn.idp61310656" class="footnote" name="idp61310656"><sup class="footnote">[40]</sup></a>
+</p><a class="indexterm" name="idp6
1311936"></a><p>
Yet even this institution flags in American life today. And in its
place, there is no systematic effort to enable citizen deliberation. Some
-are pushing to create just such an institution.<a href="#ftn.idp6228656" class="footnote" name="idp6228656"><sup class="footnote">[41]</sup></a>
+are pushing to create just such an institution.<a href="#ftn.idp61313376" class="footnote" name="idp61313376"><sup class="footnote">[41]</sup></a>
And in some towns in New England, something close to deliberation
remains. But for most of us for most of the time, there is no time or
place for <span class="quote">«<span class="quote">democratic deliberation</span>»</span> to occur.
strong norm against talking about politics. It's fine to talk about
politics with people you agree with. But it is rude to argue about
politics with people you disagree with. Political discourse becomes
-isolated, and isolated discourse becomes more extreme.<a href="#ftn.idp6232768" class="footnote" name="idp6232768"><sup class="footnote">[42]</sup></a> We say what our friends want to hear, and hear very
+isolated, and isolated discourse becomes more extreme.<a href="#ftn.idp61317488" class="footnote" name="idp61317488"><sup class="footnote">[42]</sup></a> We say what our friends want to hear, and hear very
little beyond what our friends say.
-</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="idp6
235392"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp6238864"></a><a class="indexterm" name="idp6239840"></a><a class="indexterm" name="idp6240816"></a><p>
+</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="idp6
1320112"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp61323584"></a><a class="indexterm" name="idp61324560"></a><a class="indexterm" name="idp61325536"></a><p>
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
want to read. The most difficult time is synchronous time.
the left. Some of the most popular sites are conservative or libertarian,
but there are many of all political stripes. And even blogs that are not
political cover political issues when the occasion merits.
-</p><a class="indexterm" name="idp6
243696"></a><p>
+</p><a class="indexterm" name="idp6
1328416"></a><p>
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.
-</p><a class="indexterm" name="idp6
245072"></a><a class="indexterm" name="idp6245824"></a><a class="indexterm" name="idxmediablogpressureon"></a><a class="indexterm" name="idxinternetnewseventson2"></a><p>
+</p><a class="indexterm" name="idp6
1329792"></a><a class="indexterm" name="idp61330544"></a><a class="indexterm" name="idxmediablogpressureon"></a><a class="indexterm" name="idxinternetnewseventson2"></a><p>
One direct effect is on stories that had a different life cycle in the
mainstream media. The Trent Lott affair is an example. When Lott
<span class="quote">«<span class="quote">misspoke</span>»</span> at a party for Senator Strom Thurmond, essentially praising
space. The bloggers kept researching the story. Over time, more and
more instances of the same <span class="quote">«<span class="quote">misspeaking</span>»</span> emerged. Finally, the story
broke back into the mainstream press. In the end, Lott was forced to
-resign as senate majority leader.<a href="#ftn.idp6251248" class="footnote" name="idp6251248"><sup class="footnote">[43]</sup></a>
+resign as senate majority leader.<a href="#ftn.idp61335968" class="footnote" name="idp61335968"><sup class="footnote">[43]</sup></a>
</p><a class="indexterm" name="idxmediacommercialimperativesof"></a><p>
This different cycle is possible because the same commercial pressures
don't exist with blogs as with other ventures. Television and
newspapers are commercial entities. They must work to keep attention.
If they lose readers, they lose revenue. Like sharks, they must move
on.
-</p><a class="indexterm" name="idp6
254688"></a><a class="indexterm" name="idp6255664"></a><p>
+</p><a class="indexterm" name="idp6
1339408"></a><a class="indexterm" name="idp61340384"></a><p>
But bloggers don't have a similar constraint. They can obsess, they
can focus, they can get serious. If a particular blogger writes a
particularly interesting story, more and more people link to that
rises in the ranks of stories. People read what is popular; what is
popular has been selected by a very democratic process of
peer-generated rankings.
-</p><a class="indexterm" name="idp6
257488"></a><a class="indexterm" name="idxjournalism"></a><a class="indexterm" name="idxwinerdave"></a><p>
+</p><a class="indexterm" name="idp6
1342208"></a><a class="indexterm" name="idxjournalism"></a><a class="indexterm" name="idxwinerdave"></a><p>
There's a second way, as well, in which blogs have a different cycle
from the mainstream press. As Dave Winer, one of the fathers of this
<span class="quote">«<span class="quote">An amateur journalist simply doesn't have a conflict of interest, or the
conflict of interest is so easily disclosed that you know you can sort of
get it out of the way.</span>»</span>
-</p><a class="indexterm" name="idp6
263184"></a><a class="indexterm" name="idp6263936"></a><a class="indexterm" name="idp6264944"></a><a class="indexterm" name="idp6265696"></a><p>
+</p><a class="indexterm" name="idp6
1347904"></a><a class="indexterm" name="idp61348656"></a><a class="indexterm" name="idp61349664"></a><a class="indexterm" name="idp61350416"></a><p>
These conflicts become more important as media becomes more
concentrated (more on this below). A concentrated media can hide more
from the public than an unconcentrated media can—as CNN admitted
it did after the Iraq war because it was afraid of the consequences to
-its own employees.<a href="#ftn.idp6224720" class="footnote" name="idp6224720"><sup class="footnote">[44]</sup></a>
+its own employees.<a href="#ftn.idp61309440" class="footnote" name="idp61309440"><sup class="footnote">[44]</sup></a>
It also needs to sustain a more coherent account. (In the middle of
the Iraq war, I read a post on the Internet from someone who was at
that time listening to a satellite uplink with a reporter in Iraq. The
account of the war was too bleak: She needed to offer a more
optimistic story. When she told New York that wasn't warranted, they
told her that <span class="emphasis"><em>they</em></span> were writing <span class="quote">«<span class="quote">the story.</span>»</span>)
-</p><a class="indexterm" name="idp6
269424"></a><p>
+</p><a class="indexterm" name="idp6
1354144"></a><p>
Blog space gives amateurs a way to enter the
debate—<span class="quote">«<span class="quote">amateur</span>»</span> not in the sense of inexperienced,
but in the sense of an Olympic athlete, meaning not paid by anyone to
give their reports. It allows for a much broader range of input into a
story, as reporting on the Columbia disaster revealed, when hundreds
from across the southwest United States turned to the Internet to
-retell what they had seen.<a href="#ftn.idp6271392" class="footnote" name="idp6271392"><sup class="footnote">[45]</sup></a>
+retell what they had seen.<a href="#ftn.idp61356112" class="footnote" name="idp61356112"><sup class="footnote">[45]</sup></a>
And it drives readers to read across the range of accounts and
<span class="quote">«<span class="quote">triangulate,</span>»</span> as Winer puts it, the truth. Blogs, Winer says, are
<span class="quote">«<span class="quote">communicating directly with our constituency, and the middle man is
with blogs. <span class="quote">«<span class="quote">It's going to become an essential skill,</span>»</span> Winer predicts,
for public figures and increasingly for private figures as well. It's
not clear that <span class="quote">«<span class="quote">journalism</span>»</span> is happy about this—some journalists
-have been told to curtail their blogging.<a href="#ftn.idp6274912" class="footnote" name="idp6274912"><sup class="footnote">[46]</sup></a>
+have been told to curtail their blogging.<a href="#ftn.idp61359632" class="footnote" name="idp61359632"><sup class="footnote">[46]</sup></a>
But it is clear that we are still in transition. <span class="quote">«<span class="quote">A
And as the inclusion of content in this space is the least infringing use
of the Internet (meaning infringing on copyright), Winer said, <span class="quote">«<span class="quote">we will
be the last thing that gets shut down.</span>»</span>
-</p><a class="indexterm" name="idp6
283840"></a><p>
+</p><a class="indexterm" name="idp6
1368560"></a><p>
This speech affects democracy. Winer thinks that happens because <span class="quote">«<span class="quote">you
don't have to work for somebody who controls, [for] a gatekeeper.</span>»</span>
That is true. But it affects democracy in another way as well. As
Today there are probably a couple of million blogs where such writing
happens. When there are ten million, there will be something
extraordinary to report.
-</p><a class="indexterm" name="idp6
286464"></a><a class="indexterm" name="idp6287440"></a><a class="indexterm" name="idp6288416"></a><a class="indexterm" name="idp6289392"></a><a class="indexterm" name="idp6290368"></a><a class="indexterm" name="idp6291344"></a><a class="indexterm" name="idp6292320"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
+</p><a class="indexterm" name="idp6
1371184"></a><a class="indexterm" name="idp61372160"></a><a class="indexterm" name="idp61373136"></a><a class="indexterm" name="idp61374112"></a><a class="indexterm" name="idp61375088"></a><a class="indexterm" name="idp61376064"></a><a class="indexterm" name="idp61377040"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
<span class="strong"><strong>John Seely Brown</strong></span> is the chief
scientist of the Xerox Corporation. His work, as his Web site
describes it, is <span class="quote">«<span class="quote">human learning and … the creation of
you are visual, if you are interested in film … [then] there is a
lot you can start to do on this medium. [It] can now amplify and honor
these multiple forms of intelligence.</span>»</span>
-</p><a class="indexterm" name="idp6
306288"></a><a class="indexterm" name="idp6307264"></a><p>
+</p><a class="indexterm" name="idp6
1391008"></a><a class="indexterm" name="idp61391984"></a><p>
Brown is talking about what Elizabeth Daley, Stephanie Barish, and
Just Think! teach: that this tinkering with culture teaches as well
<a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>)
has developed a powerful argument in favor of the <span class="quote">«<span class="quote">right to
tinker</span>»</span> as it applies to computer science and to knowledge in
-general.<a href="#ftn.idp6311424" class="footnote" name="idp6311424"><sup class="footnote">[47]</sup></a>
+general.<a href="#ftn.idp61396144" class="footnote" name="idp61396144"><sup class="footnote">[47]</sup></a>
But Brown's concern is earlier, or younger, or more fundamental. It is
about the learning that kids can do, or can't do, because of the law.
</p><p>
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.</span>»</span>
-</p><a class="indexterm" name="idp6316208"></a><p>
+</p><p>
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.
-</p><p>
+</p><a class="indexterm" name="idp61401568"></a><a class="indexterm" name="idp61402320"></a><p>
<span class="quote">«<span class="quote">No way to run a culture,</span>»</span> as Brewster Kahle, whom we'll meet in
chapter <a class="xref" href="#collectors" title="Chapter 9. Chapter Nine: Collectors">9</a>,
quipped to me in a rare moment of despondence.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6070832" class="footnote"><p><a href="#idp6070832" class="para"><sup class="para">[26] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp61152208" class="footnote"><p><a href="#idp61152208" class="para"><sup class="para">[26] </sup></a>
Reese V. Jenkins, <em class="citetitle">Images and Enterprise</em> (Baltimore: Johns Hopkins University Press, 1975), 112.
-</p></div><div id="ftn.idp5994544" class="footnote"><p><a href="#idp5994544" class="para"><sup class="para">[27] </sup></a>
+</p></div><div id="ftn.idp61066592" class="footnote"><p><a href="#idp61066592" class="para"><sup class="para">[27] </sup></a>
-<a class="indexterm" name="idp6074464"></a>
+<a class="indexterm" name="idp61155840"></a>
Brian Coe, <em class="citetitle">The Birth of Photography</em> (New York: Taplinger Publishing,
1977), 53.
-</p></div><div id="ftn.idp6077856" class="footnote"><p><a href="#idp6077856" class="para"><sup class="para">[28] </sup></a>
+</p></div><div id="ftn.idp61159232" class="footnote"><p><a href="#idp61159232" class="para"><sup class="para">[28] </sup></a>
Jenkins, 177.
-</p></div><div id="ftn.idp6078752" class="footnote"><p><a href="#idp6078752" class="para"><sup class="para">[29] </sup></a>
+</p></div><div id="ftn.idp61160128" class="footnote"><p><a href="#idp61160128" class="para"><sup class="para">[29] </sup></a>
Based on a chart in Jenkins, p. 178.
-</p></div><div id="ftn.idp6073264" class="footnote"><p><a href="#idp6073264" class="para"><sup class="para">[30] </sup></a>
+</p></div><div id="ftn.idp61154640" class="footnote"><p><a href="#idp61154640" class="para"><sup class="para">[30] </sup></a>
Coe, 58.
-</p></div><div id="ftn.idp6089472" class="footnote"><p><a href="#idp6089472" class="para"><sup class="para">[31] </sup></a>
+</p></div><div id="ftn.idp61170848" class="footnote"><p><a href="#idp61170848" class="para"><sup class="para">[31] </sup></a>
For illustrative cases, see, for example, <em class="citetitle">Pavesich</em>
v. <em class="citetitle">N.E. Life Ins. Co</em>., 50 S.E. 68 (Ga. 1905);
<em class="citetitle">Foster-Milburn Co</em>. v. <em class="citetitle">Chinn</em>, 123090 S.W. 364, 366
(Ky. 1909); <em class="citetitle">Corliss</em> v. <em class="citetitle">Walker</em>, 64 F. 280 (Mass.
Dist. Ct. 1894).
-</p></div><div id="ftn.idp6101024" class="footnote"><p><a href="#idp6101024" class="para"><sup class="para">[32] </sup></a>
+</p></div><div id="ftn.idp61182400" class="footnote"><p><a href="#idp61182400" class="para"><sup class="para">[32] </sup></a>
Samuel D. Warren and Louis D. Brandeis, <span class="quote">«<span class="quote">The Right to Privacy,</span>»</span>
<em class="citetitle">Harvard Law Review</em> 4 (1890): 193.
-<a class="indexterm" name="idp6102560"></a>
-<a class="indexterm" name="idp6103312"></a>
-</p></div><div id="ftn.idp6106800" class="footnote"><p><a href="#idp6106800" class="para"><sup class="para">[33] </sup></a>
+<a class="indexterm" name="idp61183936"></a>
+<a class="indexterm" name="idp61184688"></a>
+</p></div><div id="ftn.idp61188176" class="footnote"><p><a href="#idp61188176" class="para"><sup class="para">[33] </sup></a>
See Melville B. Nimmer, <span class="quote">«<span class="quote">The Right of Publicity,</span>»</span> <em class="citetitle">Law and Contemporary
Problems</em> 19 (1954): 203; William L. Prosser, <span class="quote">«<span class="quote">Privacy,</span>»</span> <em class="citetitle">California Law
Review</em> 48 (1960) 398–407; <em class="citetitle">White</em> v. <em class="citetitle">Samsung Electronics America,
Inc</em>., 971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951
(1993).
-</p></div><div id="ftn.idp6133040" class="footnote"><p><a href="#idp6133040" class="para"><sup class="para">[34] </sup></a>
+</p></div><div id="ftn.idp61214416" class="footnote"><p><a href="#idp61214416" class="para"><sup class="para">[34] </sup></a>
H. Edward Goldberg, <span class="quote">«<span class="quote">Essential Presentation Tools: Hardware and
Software You Need to Create Digital Multimedia Presentations,</span>»</span>
cadalyst, February 2002, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #7</a>.
-</p></div><div id="ftn.idp6143392" class="footnote"><p><a href="#idp6143392" class="para"><sup class="para">[35] </sup></a>
+</p></div><div id="ftn.idp61224768" class="footnote"><p><a href="#idp61224768" class="para"><sup class="para">[35] </sup></a>
Judith Van Evra, <em class="citetitle">Television and Child Development</em> (Hillsdale, N.J.:
Lawrence Erlbaum Associates, 1990); <span class="quote">«<span class="quote">Findings on Family and TV
Study,</span>»</span> <em class="citetitle">Denver Post</em>, 25 May 1997, B6.
-</p></div><div id="ftn.idp6137712" class="footnote"><p><a href="#idp6137712" class="para"><sup class="para">[36] </sup></a>
+</p></div><div id="ftn.idp61219088" class="footnote"><p><a href="#idp61219088" class="para"><sup class="para">[36] </sup></a>
Interview with Elizabeth Daley and Stephanie Barish, 13 December
2002.
-<a class="indexterm" name="idp6152832"></a>
-<a class="indexterm" name="idp6153584"></a>
-</p></div><div id="ftn.idp6155376" class="footnote"><p><a href="#idp6155376" class="para"><sup class="para">[37] </sup></a>
+<a class="indexterm" name="idp61234208"></a>
+<a class="indexterm" name="idp61234960"></a>
+</p></div><div id="ftn.idp61236752" class="footnote"><p><a href="#idp61236752" class="para"><sup class="para">[37] </sup></a>
See Scott Steinberg, <span class="quote">«<span class="quote">Crichton Gets Medieval on PCs,</span>»</span> E!online, 4
November 2000, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #8</a>; <span class="quote">«<span class="quote">Timeline,</span>»</span> 22 November 2000,
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #9</a>.
-</p></div><div id="ftn.idp6164016" class="footnote"><p><a href="#idp6164016" class="para"><sup class="para">[38] </sup></a>
+</p></div><div id="ftn.idp61245392" class="footnote"><p><a href="#idp61245392" class="para"><sup class="para">[38] </sup></a>
Interview with Daley and Barish.
-<a class="indexterm" name="idp6164784"></a>
-</p></div><div id="ftn.idp6166000" class="footnote"><p><a href="#idp6166000" class="para"><sup class="para">[39] </sup></a>
+<a class="indexterm" name="idp61246160"></a>
+</p></div><div id="ftn.idp61247376" class="footnote"><p><a href="#idp61247376" class="para"><sup class="para">[39] </sup></a>
Ibid.
-</p></div><div id="ftn.idp6225936" class="footnote"><p><a href="#idp6225936" class="para"><sup class="para">[40] </sup></a>
+</p></div><div id="ftn.idp61310656" class="footnote"><p><a href="#idp61310656" class="para"><sup class="para">[40] </sup></a>
See, for example, Alexis de Tocqueville, <em class="citetitle">Democracy in America</em>,
bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. 16.
-</p></div><div id="ftn.idp6228656" class="footnote"><p><a href="#idp6228656" class="para"><sup class="para">[41] </sup></a>
+</p></div><div id="ftn.idp61313376" class="footnote"><p><a href="#idp61313376" class="para"><sup class="para">[41] </sup></a>
Bruce Ackerman and James Fishkin, <span class="quote">«<span class="quote">Deliberation Day,</span>»</span> <em class="citetitle">Journal of
Political Philosophy</em> 10 (2) (2002): 129.
-</p></div><div id="ftn.idp6232768" class="footnote"><p><a href="#idp6232768" class="para"><sup class="para">[42] </sup></a>
+</p></div><div id="ftn.idp61317488" class="footnote"><p><a href="#idp61317488" class="para"><sup class="para">[42] </sup></a>
Cass Sunstein, <em class="citetitle">Republic.com</em> (Princeton: Princeton University Press, 2001),
65–80, 175, 182, 183, 192.
-</p></div><div id="ftn.idp6251248" class="footnote"><p><a href="#idp6251248" class="para"><sup class="para">[43] </sup></a>
+</p></div><div id="ftn.idp61335968" class="footnote"><p><a href="#idp61335968" class="para"><sup class="para">[43] </sup></a>
Noah Shachtman, <span class="quote">«<span class="quote">With Incessant Postings, a Pundit Stirs the Pot,</span>»</span> New
York Times, 16 January 2003, G5.
-</p></div><div id="ftn.idp6224720" class="footnote"><p><a href="#idp6224720" class="para"><sup class="para">[44] </sup></a>
+</p></div><div id="ftn.idp61309440" class="footnote"><p><a href="#idp61309440" class="para"><sup class="para">[44] </sup></a>
Telephone interview with David Winer, 16 April 2003.
-</p></div><div id="ftn.idp6271392" class="footnote"><p><a href="#idp6271392" class="para"><sup class="para">[45] </sup></a>
+</p></div><div id="ftn.idp61356112" class="footnote"><p><a href="#idp61356112" class="para"><sup class="para">[45] </sup></a>
John Schwartz, <span class="quote">«<span class="quote">Loss of the Shuttle: The Internet; A Wealth of
Information Online,</span>»</span> <em class="citetitle">New York Times</em>, 2 February 2003, A28; Staci
D. Kramer, <span class="quote">«<span class="quote">Shuttle Disaster Coverage Mixed, but Strong Overall,</span>»</span>
Online Journalism Review, 2 February 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #10</a>.
-</p></div><div id="ftn.idp6274912" class="footnote"><p><a href="#idp6274912" class="para"><sup class="para">[46] </sup></a>
+</p></div><div id="ftn.idp61359632" class="footnote"><p><a href="#idp61359632" class="para"><sup class="para">[46] </sup></a>
-<a class="indexterm" name="idp6277344"></a>
-<a class="indexterm" name="idp6278096"></a>
-<a class="indexterm" name="idp6278848"></a>
-<a class="indexterm" name="idp6279600"></a>
+<a class="indexterm" name="idp61362064"></a>
+<a class="indexterm" name="idp61362816"></a>
+<a class="indexterm" name="idp61363568"></a>
+<a class="indexterm" name="idp61364320"></a>
See Michael Falcone, <span class="quote">«<span class="quote">Does an Editor's Pencil Ruin a Web Log?</span>»</span> <em class="citetitle">New
York Times</em>, 29 September 2003, C4. (<span class="quote">«<span class="quote">Not all news organizations have
been as accepting of employees who blog. Kevin Sites, a CNN
request. Last year Steve Olafson, a <em class="citetitle">Houston Chronicle</em> reporter, was
fired for keeping a personal Web log, published under a pseudonym,
that dealt with some of the issues and people he was covering.</span>»</span>)
-</p></div><div id="ftn.idp6311424" class="footnote"><p><a href="#idp6311424" class="para"><sup class="para">[47] </sup></a>
+</p></div><div id="ftn.idp61396144" class="footnote"><p><a href="#idp61396144" class="para"><sup class="para">[47] </sup></a>
See, for example, Edward Felten and Andrew Appel, <span class="quote">«<span class="quote">Technological Access
Control Interferes with Noninfringing Scholarship,</span>»</span> <em class="citetitle">Communications
of the Association for Computer Machinery</em> 43 (2000): 9.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="catalogs"></a>Chapter 3. Chapter Three: Catalogs</h2></div></div></div><a class="indexterm" name="idp6
320832"></a><a class="indexterm" name="idp6321584"></a><a class="indexterm" name="idxrensselaer"></a><a class="indexterm" name="idxrensselaerpolytechnicinstituterpicomputernetworksearchengineof"></a><a class="indexterm" name="idxsearchengines"></a><a class="indexterm" name="idxuniversitycomputernetworksppsharingon"></a><a class="indexterm" name="idxinternetsearchenginesusedon"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="catalogs"></a>Chapter 3. Chapter Three: Catalogs</h2></div></div></div><a class="indexterm" name="idp6
1406304"></a><a class="indexterm" name="idp61407056"></a><a class="indexterm" name="idxrensselaer"></a><a class="indexterm" name="idxrensselaerpolytechnicinstituterpicomputernetworksearchengineof"></a><a class="indexterm" name="idxsearchengines"></a><a class="indexterm" name="idxuniversitycomputernetworksppsharingon"></a><a class="indexterm" name="idxinternetsearchenginesusedon"></a><p>
<span class="strong"><strong>In the fall</strong></span> of 2002, Jesse Jordan
of Oceanside, New York, enrolled as a freshman at Rensselaer
Polytechnic Institute, in Troy, New York. His major at RPI was
content. Jesse's search engine was built to take advantage of this
technology. It used Microsoft's network file system to build an index
of all the files available within the RPI network.
-</p><a class="indexterm" name="idp6
339216"></a><p>
+</p><a class="indexterm" name="idp6
1424224"></a><p>
Jesse's wasn't the first search engine built for the RPI network.
Indeed, his engine was a simple modification of engines that others
had built. His single most important improvement over those engines
modified the system a bit to fix that problem, by adding a button that
a user could click to see if the machine holding the file was still
on-line.
-</p><a class="indexterm" name="idp6
341216"></a><p>
+</p><a class="indexterm" name="idp6
1426224"></a><p>
Jesse's engine went on-line in late October. Over the following six
months, he continued to tweak it to improve its functionality. By
March, the system was functioning quite well. Jesse had more than one
million files in his directory, including every type of content that might
be on users' computers.
-</p><a class="indexterm" name="idp6
342896"></a><p>
+</p><a class="indexterm" name="idp6
1427904"></a><p>
Thus the index his search engine produced included pictures, which
students could use to put on their own Web sites; copies of notes or
research; copies of information pamphlets; movie clips that students
users of the RPI network made available in a public folder of their
computer.
-</p><a class="indexterm" name="idp6
344928"></a><a class="indexterm" name="idp6345680"></a><p>
+</p><a class="indexterm" name="idp6
1429936"></a><a class="indexterm" name="idp61430688"></a><p>
But the index also included music files. In fact, one quarter of the
files that Jesse's search engine listed were music files. But that
means, of course, that three quarters were not, and—so that this
this experiment. He was a kid tinkering with technology in an
environment where tinkering with technology was precisely what he was
supposed to do.
-</p><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsagainststudentfilesharing"></a><a class="indexterm" name="idxrecordingindustrycopyrightinfringementlawsuitsof"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaacopyrightinfringementlawsuitsfiledby"></a><a class="indexterm" name="idp6
354384"></a><p>
+</p><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsagainststudentfilesharing"></a><a class="indexterm" name="idxrecordingindustrycopyrightinfringementlawsuitsof"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaacopyrightinfringementlawsuitsfiledby"></a><a class="indexterm" name="idp6
1439392"></a><p>
On April 3, 2003, Jesse was contacted by the dean of students at
RPI. The dean informed Jesse that the Recording Industry Association
of America, the RIAA, would be filing a lawsuit against him and three
RPI community to get access to content, which Jesse had not himself
created or posted, and the vast majority of which had nothing to do
with music.
-</p><a class="indexterm" name="idp6
358960"></a><a class="indexterm" name="idp6359936"></a><a class="indexterm" name="idp6360944"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp6363600"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaintimidationtacticsof"></a><p>
+</p><a class="indexterm" name="idp6
1443536"></a><a class="indexterm" name="idp61444512"></a><a class="indexterm" name="idp61445520"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp61448176"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaintimidationtacticsof"></a><p>
But the RIAA branded Jesse a pirate. They claimed he operated a
network and had therefore <span class="quote">«<span class="quote">willfully</span>»</span> violated copyright laws. They
claim $150,000 per infringement. As the RIAA alleged more than one
hundred specific copyright infringements, they therefore demanded that
Jesse pay them at least $15,000,000.
-</p><a class="indexterm" name="idp6
368144"></a><a class="indexterm" name="idp6368896"></a><p>
+</p><a class="indexterm" name="idp6
1452720"></a><a class="indexterm" name="idp61453472"></a><p>
Similar lawsuits were brought against three other students: one other
student at RPI, one at Michigan Technical University, and one at
Princeton. Their situations were similar to Jesse's. Though each case
the United States to award the plaintiffs close to $100
<span class="emphasis"><em>billion</em></span>—six times the
<span class="emphasis"><em>total</em></span> profit of the film industry in
-2001.<a href="#ftn.idp6371552" class="footnote" name="idp6371552"><sup class="footnote">[48]</sup></a>
-</p><a class="indexterm" name="idp6
373328"></a><p>
+2001.<a href="#ftn.idp61456128" class="footnote" name="idp61456128"><sup class="footnote">[48]</sup></a>
+</p><a class="indexterm" name="idp6
1457904"></a><p>
Jesse called his parents. They were supportive but a bit frightened.
An uncle was a lawyer. He began negotiations with the RIAA. They
demanded to know how much money Jesse had. Jesse had saved
$12,000 from summer jobs and other employment. They demanded
$12,000 to dismiss the case.
-</p><a class="indexterm" name="idp6
374992"></a><p>
+</p><a class="indexterm" name="idp6
1459568"></a><p>
The RIAA wanted Jesse to admit to doing something wrong. He
refused. They wanted him to agree to an injunction that would
essentially make it impossible for him to work in many fields of
case, Matt Oppenheimer, told Jesse, <span class="quote">«<span class="quote">You don't want to pay another
visit to a dentist like me.</span>»</span>) And throughout, the RIAA insisted it
would not settle the case until it took every penny Jesse had saved.
-</p><a class="indexterm" name="idp6
377504"></a><p>
+</p><a class="indexterm" name="idp6
1461728"></a><p>
Jesse's family was outraged at these claims. They wanted to fight.
But Jesse's uncle worked to educate the family about the nature of the
American legal system. Jesse could fight the RIAA. He might even
</p><p>
So Jesse faced a mafia-like choice: $250,000 and a chance at winning,
or $12,000 and a settlement.
-</p><a class="indexterm" name="idp6
379888"></a><a class="indexterm" name="idp6380896"></a><a class="indexterm" name="idp6381904"></a><p>
+</p><a class="indexterm" name="idp6
1464112"></a><a class="indexterm" name="idp61465120"></a><a class="indexterm" name="idp61466128"></a><p>
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.
Where is the morality in a lawsuit like this? What is the virtue in
scapegoatism? The RIAA is an extraordinarily powerful lobby. The
president of the RIAA is reported to make more than $1 million a year.
Artists, on the other hand, are not well paid. The average recording
-artist makes $45,900.<a href="#ftn.idp6383616" class="footnote" name="idp6383616"><sup class="footnote">[49]</sup></a>
+artist makes $45,900.<a href="#ftn.idp61467840" class="footnote" name="idp61467840"><sup class="footnote">[49]</sup></a>
There are plenty of ways for the RIAA to affect
and direct policy. So where is the morality in taking money from a
-student for running a search engine?<a href="#ftn.idp6385184" class="footnote" name="idp6385184"><sup class="footnote">[50]</sup></a>
-</p><a class="indexterm" name="idp6
386848"></a><a class="indexterm" name="idp6387984"></a><p>
+student for running a search engine?<a href="#ftn.idp61469408" class="footnote" name="idp61469408"><sup class="footnote">[50]</sup></a>
+</p><a class="indexterm" name="idp6
1471072"></a><a class="indexterm" name="idp61472208"></a><p>
On June 23, Jesse wired his savings to the lawyer working for the
RIAA. The case against him was then dismissed. And with this, this
kid who had tinkered a computer into a $15 million lawsuit became an
I. … He's not a tree hugger. … I think it's bizarre that they would
pick on him. But he wants to let people know that they're sending the
wrong message. And he wants to correct the record.</span>»</span>
-</p><a class="indexterm" name="idp6391984"></a><a class="indexterm" name="idp6392960"></a><a class="indexterm" name="idp6393936"></a><a class="indexterm" name="idp6394912"></a><a class="indexterm" name="idp6396048"></a><a class="indexterm" name="idp6397024"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6371552" class="footnote"><p><a href="#idp6371552" class="para"><sup class="para">[48] </sup></a>
+</p><a class="indexterm" name="idp61476112"></a><a class="indexterm" name="idp61477088"></a><a class="indexterm" name="idp61478064"></a><a class="indexterm" name="idp61479040"></a><a class="indexterm" name="idp61480176"></a><a class="indexterm" name="idp61481152"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp61456128" class="footnote"><p><a href="#idp61456128" class="para"><sup class="para">[48] </sup></a>
Tim Goral, <span class="quote">«<span class="quote">Recording Industry Goes After Campus P-2-P Networks:
Suit Alleges $97.8 Billion in Damages,</span>»</span> <em class="citetitle">Professional Media Group LCC</em> 6
(2003): 5, available at 2003 WL 55179443.
-</p></div><div id="ftn.idp6383616" class="footnote"><p><a href="#idp6383616" class="para"><sup class="para">[49] </sup></a>
+</p></div><div id="ftn.idp61467840" class="footnote"><p><a href="#idp61467840" class="para"><sup class="para">[49] </sup></a>
Occupational Employment Survey, U.S. Dept. of Labor (2001)
(27–2042—Musicians and Singers). See also National Endowment for
the Arts, <em class="citetitle">More Than One in a Blue Moon</em> (2000).
-</p></div><div id="ftn.idp6385184" class="footnote"><p><a href="#idp6385184" class="para"><sup class="para">[50] </sup></a>
+</p></div><div id="ftn.idp61469408" class="footnote"><p><a href="#idp61469408" class="para"><sup class="para">[50] </sup></a>
Douglas Lichtman makes a related point in <span class="quote">«<span class="quote">KaZaA and Punishment,</span>»</span>
<em class="citetitle">Wall Street Journal</em>, 10 September 2003, A24.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="pirates"></a>Chapter 4. Chapter Four: <span class="quote">«<span class="quote">Pirates</span>»</span></h2></div></div></div><a class="indexterm" name="idxpiracyindevelopmentofcontentindustry"></a><a class="indexterm" name="idp6
401440"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="pirates"></a>Chapter 4. Chapter Four: <span class="quote">«<span class="quote">Pirates</span>»</span></h2></div></div></div><a class="indexterm" name="idxpiracyindevelopmentofcontentindustry"></a><a class="indexterm" name="idp6
1485568"></a><p>
<span class="strong"><strong>If <span class="quote">«<span class="quote">piracy</span>»</span> means</strong></span>
using the creative property of others without their
permission—if <span class="quote">«<span class="quote">if value, then right</span>»</span> is
kind of piracy so defined. The consistent story is how last
generation's pirates join this generation's country club—until
now.
-</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="film"></a>4.1. Film</h2></div></div></div><p>
-The film industry of Hollywood was built by fleeing pirates.<a href="#ftn.idp6406144" class="footnote" name="idp6406144"><sup class="footnote">[51]</sup></a>
+</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="film"></a>4.1. Film</h2></div></div></div><a class="indexterm" name="idp61489936"></a><a class="indexterm" name="idxhollywoodfilmindustry"></a><a class="indexterm" name="idxpatentsonfilmtechnology"></a><p>
+The film industry of Hollywood was built by fleeing pirates.<a href="#ftn.idp61494000" class="footnote" name="idp61494000"><sup class="footnote">[51]</sup></a>
Creators and directors migrated from the East Coast to California in
the early twentieth century in part to escape controls that patents
granted the inventor of filmmaking, Thomas Edison. These controls were
summer of 1909 the independent movement was in full-swing,
with producers and theater owners using illegal equipment and
imported film stock to create their own underground market.
-</p><a class="indexterm" name="idp6
411440"></a><a class="indexterm" name="idp6412080"></a><a class="indexterm" name="idp6412832"></a><p>
+</p><a class="indexterm" name="idp6
1499296"></a><a class="indexterm" name="idp61499936"></a><a class="indexterm" name="idp61500688"></a><p>
With the country experiencing a tremendous expansion in the number of
nickelodeons, the Patents Company reacted to the independent movement
by forming a strong-arm subsidiary known as the General Film Company
unlicensed films, and effectively monopolized distribution with the
acquisition of all U.S. film exchanges, except for the one owned by
the independent William Fox who defied the Trust even after his
-license was revoked.<a href="#ftn.idp6414480" class="footnote" name="idp6414480"><sup class="footnote">[52]</sup></a>
+license was revoked.<a href="#ftn.idp61502976" class="footnote" name="idp61502976"><sup class="footnote">[52]</sup></a>
</p></blockquote></div><p>
The Napsters of those days, the <span class="quote">«<span class="quote">independents,</span>»</span> were companies like
Fox. And no less than today, these independents were vigorously
resisted. <span class="quote">«<span class="quote">Shooting was disrupted by machinery stolen, and
`accidents' resulting in loss of negatives, equipment, buildings and
-sometimes life and limb frequently occurred.</span>»</span><a href="#ftn.idp6419936" class="footnote" name="idp6419936"><sup class="footnote">[53]</sup></a>
+sometimes life and limb frequently occurred.</span>»</span><a href="#ftn.idp61508432" class="footnote" name="idp61508432"><sup class="footnote">[53]</sup></a>
That led the independents to flee the East
Coast. California was remote enough from Edison's reach that
filmmakers there could pirate his inventions without fear of the
law. And the leaders of Hollywood filmmaking, Fox most prominently,
did just that.
-</p><p>
+</p><a class="indexterm" name="idp61510992"></a><p>
Of course, California grew quickly, and the effective enforcement
of federal law eventually spread west. But because patents grant the
patent holder a truly <span class="quote">«<span class="quote">limited</span>»</span> monopoly (just seventeen years at that
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.
-</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="recordedmusic"></a>4.2. Recorded Music</h2></div></div></div><a class="indexterm" name="idxcopyrightlawonmusicrecordings"></a><p>
+</p><
a class="indexterm" name="idp61513344"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="recordedmusic"></a>4.2. Recorded Music</h2></div></div></div><a class="indexterm" name="idxcopyrightlawonmusicrecordings"></a><p>
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.
-</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="idp6
428144"></a><p>
+</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="idp6
1518592"></a><p>
At the time that Edison and Henri Fourneaux invented machines
for reproducing music (Edison the phonograph, Fourneaux the player
piano), the law gave composers the exclusive right to control copies of
1899 hit <span class="quote">«<span class="quote">Happy Mose,</span>»</span> the law said I would have to pay for the right
to get a copy of the musical score, and I would also have to pay for the
right to perform it publicly.
-</p><a class="indexterm" name="idp6
430192"></a><p>
+</p><a class="indexterm" name="idp6
1520640"></a><p>
But what if I wanted to record <span class="quote">«<span class="quote">Happy Mose,</span>»</span> using Edison's phonograph
or Fourneaux's player piano? Here the law stumbled. It was clear
enough that I would have to buy any copy of the musical score that I
then made copies of those recordings. Because of this gap in the law,
then, I could effectively pirate someone else's song without paying
its composer anything.
-</p><a class="indexterm" name="idp6
432352"></a><p>
+</p><a class="indexterm" name="idp6
1523152"></a><a class="indexterm" name="idxkittredgealfred"></a><a class="indexterm" name="idxmusicpublishing"></a><p>
The composers (and publishers) were none too happy about
this capacity to pirate. As South Dakota senator Alfred Kittredge
put it,
-<a class="indexterm" name="idp6434768"></a>
+<a class="indexterm" name="idp61528032"></a>
</p><div class="blockquote"><blockquote class="blockquote"><p>
Imagine the injustice of the thing. A composer writes a song or an
opera. A publisher buys at great expense the rights to the same and
copyrights it. Along come the phonographic companies and companies who
cut music rolls and deliberately steal the work of the brain of the
composer and publisher without any regard for [their]
-rights.<a href="#ftn.idp6436512" class="footnote" name="idp6436512"><sup class="footnote">[54]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
439056"></a><p>
+rights.<a href="#ftn.idp61529776" class="footnote" name="idp61529776"><sup class="footnote">[54]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
1532320"></a><a class="indexterm" name="idp61533296"></a><p>
The innovators who developed the technology to record other
people's works were <span class="quote">«<span class="quote">sponging upon the toil, the work, the talent, and
-genius of American composers,</span>»</span><a href="#ftn.idp6440512" class="footnote" name="idp6440512"><sup class="footnote">[55]</sup></a>
+genius of American composers,</span>»</span><a href="#ftn.idp61534752" class="footnote" name="idp61534752"><sup class="footnote">[55]</sup></a>
and the <span class="quote">«<span class="quote">music publishing industry</span>»</span>
-was thereby <span class="quote">«<span class="quote">at the complete mercy of this one pirate.</span>»</span><a href="#ftn.idp6442080" class="footnote" name="idp6442080"><sup class="footnote">[56]</sup></a>
+was thereby <span class="quote">«<span class="quote">at the complete mercy of this one pirate.</span>»</span><a href="#ftn.idp61536320" class="footnote" name="idp61536320"><sup class="footnote">[56]</sup></a>
As John Philip
Sousa put it, in as direct a way as possible, <span class="quote">«<span class="quote">When they make money
-out of my pieces, I want a share of it.</span>»</span><a href="#ftn.idp6443424" class="footnote" name="idp6443424"><sup class="footnote">[57]</sup></a>
-</p><a class="indexterm" name="idp6
444448"></a><a class="indexterm" name="idp6445200"></a><a class="indexterm" name="idp6445952"></a><a class="indexterm" name="idxcongressusoncopyrightlaws"></a><a class="indexterm" name="idxcongressusonrecordingindustry"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin"></a><a class="indexterm" name="idxrecordingindustrystatutorylicensesystemin"></a><p>
+out of my pieces, I want a share of it.</span>»</span><a href="#ftn.idp61537664" class="footnote" name="idp61537664"><sup class="footnote">[57]</sup></a>
+</p><a class="indexterm" name="idp6
1538688"></a><a class="indexterm" name="idp61539664"></a><a class="indexterm" name="idp61540416"></a><a class="indexterm" name="idp61541168"></a><a class="indexterm" name="idxcongressusoncopyrightlaws"></a><a class="indexterm" name="idxcongressusonrecordingindustry"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin"></a><a class="indexterm" name="idxrecordingindustrystatutorylicensesystemin"></a><p>
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
player piano argued that <span class="quote">«<span class="quote">it is perfectly demonstrable that the
introduction of automatic music players has not deprived any composer
of anything he had before their introduction.</span>»</span> Rather, the machines
-increased the sales of sheet music.<a href="#ftn.idp6453728" class="footnote" name="idp6453728"><sup class="footnote">[58]</sup></a> In any case, the innovators argued, the job of
+increased the sales of sheet music.<a href="#ftn.idp61548944" class="footnote" name="idp61548944"><sup class="footnote">[58]</sup></a> In any case, the innovators argued, the job of
Congress was <span class="quote">«<span class="quote">to consider first the interest of [the public], whom
they represent, and whose servants they are.</span>»</span> <span class="quote">«<span class="quote">All talk about
`theft,'</span>»</span> the general counsel of the American Graphophone Company
wrote, <span class="quote">«<span class="quote">is the merest claptrap, for there exists no property in ideas
musical, literary or artistic, except as defined by
-statute.</span>»</span><a href="#ftn.idp6456112" class="footnote" name="idp6456112"><sup class="footnote">[59]</sup></a>
-</p><a class="indexterm" name="idp6
457200"></a><p>
+statute.</span>»</span><a href="#ftn.idp61551328" class="footnote" name="idp61551328"><sup class="footnote">[59]</sup></a>
+</p><a class="indexterm" name="idp6
1552416"></a><p>
The law soon resolved this battle in favor of the composer
<span class="emphasis"><em>and</em></span> the recording artist. Congress amended the
law to make sure that composers would be paid for the <span class="quote">«<span class="quote">mechanical
Grisham is thus set by Grisham, and copyright law ordinarily says you
have no permission to use Grisham's work except with permission of
Grisham.
-</p><a class="indexterm" name="idp6
466032"></a><a class="indexterm" name="idp6467008"></a><p>
+</p><a class="indexterm" name="idp6
1561248"></a><a class="indexterm" name="idp61562224"></a><p>
But the law governing recordings gives recording artists less. And
thus, in effect, the law <span class="emphasis"><em>subsidizes</em></span> the recording
industry through a kind of piracy—by giving recording artists a
of musical creativity. Indeed, Congress was quite explicit about its
reasons for granting this right. Its fear was the monopoly power of
rights holders, and that that power would stifle follow-on
-creativity.<a href="#ftn.idp6409312" class="footnote" name="idp6409312"><sup class="footnote">[60]</sup></a>
-</p><a class="indexterm" name="idp6
470784"></a><a class="indexterm" name="idp6471760"></a><a class="indexterm" name="idp6472736"></a><p>
+creativity.<a href="#ftn.idp61497168" class="footnote" name="idp61497168"><sup class="footnote">[60]</sup></a>
+</p><a class="indexterm" name="idp6
1566624"></a><a class="indexterm" name="idp61567600"></a><a class="indexterm" name="idp61568576"></a><p>
While the recording industry has been quite coy about this recently,
historically it has been quite a supporter of the statutory license for
records. As a 1967 report from the House Committee on the Judiciary
anti-monopoly condition on the grant of these rights. They argue that
the result has been an outpouring of recorded music, with the public
being given lower prices, improved quality, and a greater
-choice.<a href="#ftn.idp6476656" class="footnote" name="idp6476656"><sup class="footnote">[61]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
477920"></a><a class="indexterm" name="idp6478896"></a><a class="indexterm" name="idp6479872"></a><a class="indexterm" name="idp6480848"></a><p>
+choice.<a href="#ftn.idp61571776" class="footnote" name="idp61571776"><sup class="footnote">[61]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
1573040"></a><a class="indexterm" name="idp61574016"></a><a class="indexterm" name="idp61574992"></a><a class="indexterm" name="idp61575968"></a><p>
By limiting the rights musicians have, by partially pirating their
creative work, the record producers, and the public, benefit.
</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="radio"></a>4.3. Radio</h2></div></div></div><a class="indexterm" name="idxrecordingindustryradiobroadcastand"></a><a class="indexterm" name="idxartistsrecordingindustrypaymentsto"></a><p>
Radio was also born of piracy.
</p><p>
When a radio station plays a record on the air, that constitutes a
-<span class="quote">«<span class="quote">public performance</span>»</span> of the composer's work.<a href="#ftn.idp6487440" class="footnote" name="idp6487440"><sup class="footnote">[62]</sup></a>
+<span class="quote">«<span class="quote">public performance</span>»</span> of the composer's work.<a href="#ftn.idp61582560" class="footnote" name="idp61582560"><sup class="footnote">[62]</sup></a>
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.
-</p><p>
+</p><a class="indexterm" name="idxradiomusicrecordingsplayedon"></a><p>
But when the radio station plays a record, it is not only performing a
copy of the <span class="emphasis"><em>composer's</em></span> work. The radio station is
also performing a copy of the <span class="emphasis"><em>recording artist's</em></span>
law were perfectly consistent, the radio station would have to pay the
recording artist for his work, just as it pays the composer of the
music for his work.
-<a class="indexterm" name="idp6494864"></a>
+<a class="indexterm" name="idp61591472"></a>
</p><p>
<span class="quote">«<span class="quote">protected</span>»</span> right. The radio station thus gets to
<span class="emphasis"><em>pirate</em></span> the value of Madonna's work without paying
her anything.
-</p><a class="indexterm" name="idp6
500256"></a><a class="indexterm" name="idp6501232"></a><p>
+</p><a class="indexterm" name="idp6
1596864"></a><a class="indexterm" name="idp61597840"></a><a class="indexterm" name="idp61598816"></a><p>
No doubt, one might argue that, on balance, the recording artists
benefit. On average, the promotion they get is worth more than the
performance rights they give up. Maybe. But even if so, the law
ordinarily gives the creator the right to make this choice. By making
the choice for him or her, the law gives the radio station the right
to take something for nothing.
-</p><a class="indexterm" name="idp6
502976"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="cabletv"></a>4.4. Cable TV</h2></div></div></div><a class="indexterm" name="idxcabletelevision"></a><p>
+</p><a class="indexterm" name="idp6
1600560"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="cabletv"></a>4.4. Cable TV</h2></div></div></div><a class="indexterm" name="idxcabletelevision"></a><p>
Cable TV was also born of a kind of piracy.
</p><p>
When cable entrepreneurs first started wiring communities with cable
broadcasters' content, but more egregiously than anything Napster ever
did— Napster never charged for the content it enabled others to
give away.
-</p><a class="indexterm" name="idp6
507376"></a><a class="indexterm" name="idp6508496"></a><a class="indexterm" name="idp6509248"></a><p>
+</p><a class="indexterm" name="idp6
1604960"></a><a class="indexterm" name="idp61606080"></a><a class="indexterm" name="idp61606832"></a><p>
Broadcasters and copyright owners were quick to attack this theft.
Rosel Hyde, chairman of the FCC, viewed the practice as a kind of
-<span class="quote">«<span class="quote">unfair and potentially destructive competition.</span>»</span><a href="#ftn.idp6510656" class="footnote" name="idp6510656"><sup class="footnote">[63]</sup></a>
+<span class="quote">«<span class="quote">unfair and potentially destructive competition.</span>»</span><a href="#ftn.idp61608240" class="footnote" name="idp61608240"><sup class="footnote">[63]</sup></a>
There may have been a <span class="quote">«<span class="quote">public interest</span>»</span> in spreading the reach of cable
TV, but as Douglas Anello, general counsel to the National Association
of Broadcasters, asked Senator Quentin Burdick during testimony, <span class="quote">«<span class="quote">Does public
-interest dictate that you use somebody else's property?</span>»</span><a href="#ftn.idp6513376" class="footnote" name="idp6513376"><sup class="footnote">[64]</sup></a>
+interest dictate that you use somebody else's property?</span>»</span><a href="#ftn.idp61610960" class="footnote" name="idp61610960"><sup class="footnote">[64]</sup></a>
As another broadcaster put it,
</p><div class="blockquote"><blockquote class="blockquote"><p>
The extraordinary thing about the CATV business is that it is the
only business I know of where the product that is being sold is not
-paid for.<a href="#ftn.idp6515088" class="footnote" name="idp6515088"><sup class="footnote">[65]</sup></a>
+paid for.<a href="#ftn.idp61612672" class="footnote" name="idp61612672"><sup class="footnote">[65]</sup></a>
</p></blockquote></div><p>
Again, the demand of the copyright holders seemed reasonable enough:
</p><div class="blockquote"><blockquote class="blockquote"><p>
All we are asking for is a very simple thing, that people who now
take our property for nothing pay for it. We are trying to stop
piracy and I don't think there is any lesser word to describe it. I
-think there are harsher words which would fit it.<a href="#ftn.idp6517520" class="footnote" name="idp6517520"><sup class="footnote">[66]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
518736"></a><p>
+think there are harsher words which would fit it.<a href="#ftn.idp61615104" class="footnote" name="idp61615104"><sup class="footnote">[66]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
1616320"></a><p>
These were <span class="quote">«<span class="quote">free-ride[rs],</span>»</span> Screen Actor's Guild president Charlton
Heston said, who were <span class="quote">«<span class="quote">depriving actors of
-compensation.</span>»</span><a href="#ftn.idp6520464" class="footnote" name="idp6520464"><sup class="footnote">[67]</sup></a>
+compensation.</span>»</span><a href="#ftn.idp61618048" class="footnote" name="idp61618048"><sup class="footnote">[67]</sup></a>
</p><p>
But again, there was another side to the debate. As Assistant Attorney
General Edwin Zimmerman put it,
question here is how much compensation they should have and
-how far back they should carry their right to compensation.<a href="#ftn.idp6523520" class="footnote" name="idp6523520"><sup class="footnote">[68]</sup></a>
-<a class="indexterm" name="idp6525712"></a>
+how far back they should carry their right to compensation.<a href="#ftn.idp61621104" class="footnote" name="idp61621104"><sup class="footnote">[68]</sup></a>
+<a class="indexterm" name="idp61623296"></a>
</p></blockquote></div><p>
Copyright owners took the cable companies to court. Twice the Supreme
Court held that the cable companies owed the copyright owners nothing.
exercise veto power over the emerging technologies of cable. Cable
companies thus built their empire in part upon a <span class="quote">«<span class="quote">piracy</span>»</span> of the value
created by broadcasters' content.
-</p><a class="indexterm" name="idp6
529040"></a><a class="indexterm" name="idp6530016"></a><p>
+</p><a class="indexterm" name="idp6
1627072"></a><a class="indexterm" name="idp61628048"></a><p>
<span class="strong"><strong>These separate stories</strong></span> sing a
common theme. If <span class="quote">«<span class="quote">piracy</span>»</span> means using value from someone
else's creative property without permission from that creator—as
-it is increasingly described today<a href="#ftn.idp6524704" class="footnote" name="idp6524704"><sup class="footnote">[69]</sup></a>
+it is increasingly described today<a href="#ftn.idp61622288" class="footnote" name="idp61622288"><sup class="footnote">[69]</sup></a>
— then <span class="emphasis"><em>every</em></span> industry affected by copyright
today is the product and beneficiary of a certain kind of
piracy. Film, records, radio, cable TV. … The list is long and
could well be expanded. Every generation welcomes the pirates from the
last. Every generation—until now.
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6406144" class="footnote"><p><a href="#idp6406144" class="para"><sup class="para">[51] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp61494000" class="footnote"><p><a href="#idp61494000" class="para"><sup class="para">[51] </sup></a>
-<a class="indexterm" name="idp6406784"></a>
+<a class="indexterm" name="idp61494640"></a>
I am grateful to Peter DiMauro for pointing me to this extraordinary
history. See also Siva Vaidhyanathan, <em class="citetitle">Copyrights and Copywrongs</em>, 87–93,
which details Edison's <span class="quote">«<span class="quote">adventures</span>»</span> with copyright and patent.
-</p></div><div id="ftn.idp6414480" class="footnote"><p><a href="#idp6414480" class="para"><sup class="para">[52] </sup></a>
+</p></div><div id="ftn.idp61502976" class="footnote"><p><a href="#idp61502976" class="para"><sup class="para">[52] </sup></a>
J. A. Aberdeen, <em class="citetitle">Hollywood Renegades: The Society of Independent Motion
Picture Producers</em> (Cobblestone Entertainment, 2000) and expanded texts
the Propertization of Copyright</span>»</span> (September 2002), University of
Chicago Law School, James M. Olin Program in Law and Economics,
Working Paper No. 159.
-<a class="indexterm" name="idp6417520"></a>
-</p></div><div id="ftn.idp6419936" class="footnote"><p><a href="#idp6419936" class="para"><sup class="para">[53] </sup></a>
+<a class="indexterm" name="idp61506016"></a>
+</p></div><div id="ftn.idp61508432" class="footnote"><p><a href="#idp61508432" class="para"><sup class="para">[53] </sup></a>
Marc Wanamaker, <span class="quote">«<span class="quote">The First Studios,</span>»</span> <em class="citetitle">The Silents Majority</em>, archived at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #12</a>.
-</p></div><div id="ftn.idp6436512" class="footnote"><p><a href="#idp6436512" class="para"><sup class="para">[54] </sup></a>
+</p></div><div id="ftn.idp61529776" class="footnote"><p><a href="#idp61529776" class="para"><sup class="para">[54] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright: Hearings on
S. 6330 and H.R. 19853 Before the (Joint) Committees on Patents, 59th
of South Dakota, chairman), reprinted in <em class="citetitle">Legislative History of the
Copyright Act</em>, E. Fulton Brylawski and Abe Goldman, eds. (South
Hackensack, N.J.: Rothman Reprints, 1976).
-<a class="indexterm" name="idp6437920"></a>
-</p></div><div id="ftn.idp6440512" class="footnote"><p><a href="#idp6440512" class="para"><sup class="para">[55] </sup></a>
+<a class="indexterm" name="idp61531184"></a>
+</p></div><div id="ftn.idp61534752" class="footnote"><p><a href="#idp61534752" class="para"><sup class="para">[55] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 223
(statement of Nathan Burkan, attorney for the Music Publishers Association).
-</p></div><div id="ftn.idp6442080" class="footnote"><p><a href="#idp6442080" class="para"><sup class="para">[56] </sup></a>
+</p></div><div id="ftn.idp61536320" class="footnote"><p><a href="#idp61536320" class="para"><sup class="para">[56] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 226
(statement of Nathan Burkan, attorney for the Music Publishers Association).
-</p></div><div id="ftn.idp6443424" class="footnote"><p><a href="#idp6443424" class="para"><sup class="para">[57] </sup></a>
+</p></div><div id="ftn.idp61537664" class="footnote"><p><a href="#idp61537664" class="para"><sup class="para">[57] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 23
(statement of John Philip Sousa, composer).
-</p></div><div id="ftn.idp6453728" class="footnote"><p><a href="#idp6453728" class="para"><sup class="para">[58] </sup></a>
+</p></div><div id="ftn.idp61548944" class="footnote"><p><a href="#idp61548944" class="para"><sup class="para">[58] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 283–84
(statement of Albert Walker, representative of the Auto-Music
Perforating Company of New York).
-</p></div><div id="ftn.idp6456112" class="footnote"><p><a href="#idp6456112" class="para"><sup class="para">[59] </sup></a>
+</p></div><div id="ftn.idp61551328" class="footnote"><p><a href="#idp61551328" class="para"><sup class="para">[59] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared
memorandum of Philip Mauro, general patent counsel of the American
Graphophone Company Association).
-</p></div><div id="ftn.idp6409312" class="footnote"><p><a href="#idp6409312" class="para"><sup class="para">[60] </sup></a>
+</p></div><div id="ftn.idp61497168" class="footnote"><p><a href="#idp61497168" class="para"><sup class="para">[60] </sup></a>
Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and
sess., 217 (1908) (statement of Senator Reed Smoot, chairman), reprinted
in <em class="citetitle">Legislative History of the 1909 Copyright Act</em>, E. Fulton Brylawski and
Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, 1976).
-</p></div><div id="ftn.idp6476656" class="footnote"><p><a href="#idp6476656" class="para"><sup class="para">[61] </sup></a>
+</p></div><div id="ftn.idp61571776" class="footnote"><p><a href="#idp61571776" class="para"><sup class="para">[61] </sup></a>
Copyright Law Revision: Report to Accompany H.R. 2512, House Committee
on the Judiciary, 90th Cong., 1st sess., House Document no. 83, (8
March 1967). I am grateful to Glenn Brown for drawing my attention to
-this report.</p></div><div id="ftn.idp6487440" class="footnote"><p><a href="#idp6487440" class="para"><sup class="para">[62] </sup></a>
+this report.</p></div><div id="ftn.idp61582560" class="footnote"><p><a href="#idp61582560" class="para"><sup class="para">[62] </sup></a>
See 17 <em class="citetitle">United States Code</em>, sections 106 and 110. At the beginning,
record companies printed <span class="quote">«<span class="quote">Not Licensed for Radio Broadcast</span>»</span> and other
Cir. 1940). See also Randal C. Picker, <span class="quote">«<span class="quote">From Edison to the Broadcast
Flag: Mechanisms of Consent and Refusal and the Propertization of
Copyright,</span>»</span> <em class="citetitle">University of Chicago Law Review</em> 70 (2003): 281.
-<a class="indexterm" name="idp6490912"></a>
-<a class="indexterm" name="idp6491664"></a>
-</p></div><div id="ftn.idp6510656" class="footnote"><p><a href="#idp6510656" class="para"><sup class="para">[63] </sup></a>
+<a class="indexterm" name="idp61586032"></a>
+<a class="indexterm" name="idp61586784"></a>
+</p></div><div id="ftn.idp61608240" class="footnote"><p><a href="#idp61608240" class="para"><sup class="para">[63] </sup></a>
Copyright Law Revision—CATV: Hearing on S. 1006 Before the
Subcommittee on Patents, Trademarks, and Copyrights of the Senate
Committee on the Judiciary, 89th Cong., 2nd sess., 78 (1966)
(statement of Rosel H. Hyde, chairman of the Federal Communications
Commission).
-<a class="indexterm" name="idp6507520"></a>
-</p></div><div id="ftn.idp6513376" class="footnote"><p><a href="#idp6513376" class="para"><sup class="para">[64] </sup></a>
+<a class="indexterm" name="idp61605104"></a>
+</p></div><div id="ftn.idp61610960" class="footnote"><p><a href="#idp61610960" class="para"><sup class="para">[64] </sup></a>
Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello,
general counsel of the National Association of Broadcasters).
-</p></div><div id="ftn.idp6515088" class="footnote"><p><a href="#idp6515088" class="para"><sup class="para">[65] </sup></a>
+</p></div><div id="ftn.idp61612672" class="footnote"><p><a href="#idp61612672" class="para"><sup class="para">[65] </sup></a>
Copyright Law Revision—CATV, 126 (statement of Ernest W. Jennes,
general counsel of the Association of Maximum Service Telecasters, Inc.).
-</p></div><div id="ftn.idp6517520" class="footnote"><p><a href="#idp6517520" class="para"><sup class="para">[66] </sup></a>
+</p></div><div id="ftn.idp61615104" class="footnote"><p><a href="#idp61615104" class="para"><sup class="para">[66] </sup></a>
Copyright Law Revision—CATV, 169 (joint statement of Arthur B.
Krim, president of United Artists Corp., and John Sinn, president of
United Artists Television, Inc.).
-</p></div><div id="ftn.idp6520464" class="footnote"><p><a href="#idp6520464" class="para"><sup class="para">[67] </sup></a>
+</p></div><div id="ftn.idp61618048" class="footnote"><p><a href="#idp61618048" class="para"><sup class="para">[67] </sup></a>
Copyright Law Revision—CATV, 209 (statement of Charlton Heston,
president of the Screen Actors Guild).
-<a class="indexterm" name="idp6521232"></a>
-</p></div><div id="ftn.idp6523520" class="footnote"><p><a href="#idp6523520" class="para"><sup class="para">[68] </sup></a>
+<a class="indexterm" name="idp61618816"></a>
+</p></div><div id="ftn.idp61621104" class="footnote"><p><a href="#idp61621104" class="para"><sup class="para">[68] </sup></a>
Copyright Law Revision—CATV, 216 (statement of Edwin M.
Zimmerman, acting assistant attorney general).
-<a class="indexterm" name="idp6524832"></a>
-</p></div><div id="ftn.idp6524704" class="footnote"><p><a href="#idp6524704" class="para"><sup class="para">[69] </sup></a>
+<a class="indexterm" name="idp61622416"></a>
+</p></div><div id="ftn.idp61622288" class="footnote"><p><a href="#idp61622288" class="para"><sup class="para">[69] </sup></a>
See, for example, National Music Publisher's Association, <em class="citetitle">The Engine
of Free Expression: Copyright on the Internet—The Myth of Free
outright copying, and the law should account for that ambiguity, as it
has so often done in the past.
-</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-i"></a>5.1. Piracy I</h2></div></div></div><a class="indexterm" name="idp6
541696"></a><a class="indexterm" name="idxcdsforeign"></a><p>
+</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-i"></a>5.1. Piracy I</h2></div></div></div><a class="indexterm" name="idp6
1639728"></a><a class="indexterm" name="idxcdsforeign"></a><p>
All across the world, but especially in Asia and Eastern Europe, there
are businesses that do nothing but take others people's copyrighted
content, copy it, and sell it—all without the permission of a copyright
owner. The recording industry estimates that it loses about $4.6 billion
-every year to physical piracy<a href="#ftn.idp6523648" class="footnote" name="idp6523648"><sup class="footnote">[70]</sup></a>
+every year to physical piracy<a href="#ftn.idp61621232" class="footnote" name="idp61621232"><sup class="footnote">[70]</sup></a>
(that works out to one in three CDs sold worldwide). The MPAA
estimates that it loses $3 billion annually worldwide to piracy.
</p><p>
If a country is to be treated as a sovereign, however, then its laws are
its laws regardless of their source. The international law under which
these nations live gives them some opportunities to escape the burden
-of intellectual property law.<a href="#ftn.idp6551424" class="footnote" name="idp6551424"><sup class="footnote">[71]</sup></a> In my view, more developing nations should take
+of intellectual property law.<a href="#ftn.idp61649456" class="footnote" name="idp61649456"><sup class="footnote">[71]</sup></a> In my view, more developing nations should take
advantage of that opportunity, but when they don't, then their laws
should be respected. And under the laws of these nations, this piracy
is wrong.
-</p><a class="indexterm" name="idp6
555344"></a><p>
+</p><a class="indexterm" name="idp6
1653376"></a><p>
Alternatively, we could try to excuse this piracy by noting that in
any case, it does no harm to the industry. The Chinese who get access
to American CDs at 50 cents a copy are not people who would have
bought those American CDs at $15 a copy. So no one really has any
-less money than they otherwise would have had.<a href="#ftn.idp6556688" class="footnote" name="idp6556688"><sup class="footnote">[72]</sup></a>
+less money than they otherwise would have had.<a href="#ftn.idp61654720" class="footnote" name="idp61654720"><sup class="footnote">[72]</sup></a>
</p><p>
This is often true (though I have friends who have purchased many
thousands of pirated DVDs who certainly have enough money to pay
from a computer network, there is not one less CD that can be sold.
The physics of piracy of the intangible are different from the physics of
piracy of the tangible.
-</p><a class="indexterm" name="idp6
561680"></a><p>
+</p><a class="indexterm" name="idp6
1659984"></a><p>
This argument is still very weak. However, although copyright is a
property right of a very special sort, it <span class="emphasis"><em>is</em></span> a
property right. Like all property rights, the copyright gives the
a property system, and that system is properly balanced to the
technology of a time, then it is wrong to take property without the
permission of a property owner. That is exactly what <span class="quote">«<span class="quote">property</span>»</span> means.
-</p><a class="indexterm" name="idp6
565392"></a><a class="indexterm" name="idp6566144"></a><a class="indexterm" name="idp6567152"></a><a class="indexterm" name="idp6567904"></a><a class="indexterm" name="idp6568656"></a><a class="indexterm" name="idp6569408"></a><a class="indexterm" name="idp6570416"></a><a class="indexterm" name="idp6571168"></a><a class="indexterm" name="idp6572176"></a><p>
+</p><a class="indexterm" name="idp6
1663696"></a><a class="indexterm" name="idp61664448"></a><a class="indexterm" name="idp61665456"></a><a class="indexterm" name="idp61666464"></a><a class="indexterm" name="idp61667216"></a><a class="indexterm" name="idp61667968"></a><a class="indexterm" name="idp61668720"></a><a class="indexterm" name="idp61669728"></a><a class="indexterm" name="idp61670480"></a><a class="indexterm" name="idp61671488"></a><p>
Finally, we could try to excuse this piracy with the argument that the
piracy actually helps the copyright owner. When the Chinese <span class="quote">«<span class="quote">steal</span>»</span>
Windows, that makes the Chinese dependent on Microsoft. Microsoft
Microsoft Windows, the Chinese used the free GNU/Linux operating
system, then these Chinese users would not eventually be buying
Microsoft. Without piracy, then, Microsoft would lose.
-</p><a class="indexterm" name="idp6
574704"></a><p>
+</p><a class="indexterm" name="idp6
1674016"></a><p>
This argument, too, is somewhat true. The addiction strategy is a good
one. Many businesses practice it. Some thrive because of it. Law
students, for example, are given free access to the two largest legal
databases. The companies marketing both hope the students will become
so used to their service that they will want to use it and not the
other when they become lawyers (and must pay high subscription fees).
-</p><a class="indexterm" name="idp6
576528"></a><a class="indexterm" name="idp6577280"></a><a class="indexterm" name="idp6578032"></a><a class="indexterm" name="idp6578784"></a><p>
+</p><a class="indexterm" name="idp6
1675840"></a><a class="indexterm" name="idp61676592"></a><a class="indexterm" name="idp61677344"></a><a class="indexterm" name="idp61678096"></a><p>
Still, the argument is not terribly persuasive. We don't give the
alcoholic a defense when he steals his first beer, merely because that
will make it more likely that he will buy the next three. Instead, we
sharing to survive.
</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-ii"></a>5.2. Piracy II</h2></div></div></div><p>
The key to the <span class="quote">«<span class="quote">piracy</span>»</span> that the law aims to quash is a use that <span class="quote">«<span class="quote">rob[s]
-the author of [his] profit.</span>»</span><a href="#ftn.idp6587984" class="footnote" name="idp6587984"><sup class="footnote">[73]</sup></a>
+the author of [his] profit.</span>»</span><a href="#ftn.idp61687296" class="footnote" name="idp61687296"><sup class="footnote">[73]</sup></a>
This means we must determine whether
and how much p2p sharing harms before we know how strongly the
law should seek to either prevent it or find an alternative to assure the
author of his profit.
</p><p>
-<a class="indexterm" name="idp6590384"></a>
-<a class="indexterm" name="idp6591136"></a>
+<a class="indexterm" name="idp61689696"></a>
+<a class="indexterm" name="idp61690448"></a>
+<a class="indexterm" name="idp61691456"></a>
<a class="indexterm" name="idxnapster"></a>
Peer-to-peer sharing was made famous by Napster. But the inventors of
the Napster technology had not made any major technological
innovations. Like every great advance in innovation on the Internet
-(and, arguably, off the Internet as well<a href="#ftn.idp6593376" class="footnote" name="idp6593376"><sup class="footnote">[74]</sup></a>), Shawn Fanning and crew had simply
+(and, arguably, off the Internet as well<a href="#ftn.idp61693696" class="footnote" name="idp61693696"><sup class="footnote">[74]</sup></a>), Shawn Fanning and crew had simply
put together components that had been developed independently.
</p><p>
-<a class="indexterm" name="idp6597440"></a>
-<a class="indexterm" name="idp6598192"></a>
-<a class="indexterm" name="idp6599200"></a>
+<a class="indexterm" name="idp61697760"></a>
+<a class="indexterm" name="idp61698512"></a>
+<a class="indexterm" name="idp61699520"></a>
The result was spontaneous combustion. Launched in July 1999,
Napster amassed over 10 million users within nine months. After
eighteen months, there were close to 80 million registered users of the
-system.<a href="#ftn.idp6600432" class="footnote" name="idp6600432"><sup class="footnote">[75]</sup></a>
+system.<a href="#ftn.idp61700752" class="footnote" name="idp61700752"><sup class="footnote">[75]</sup></a>
Courts quickly shut Napster down, but other services emerged
to take its place. (Kazaa is currently the most popular p2p service. It
boasts over 100 million members.) These services' systems are different
users to make content available to any number of other users. With a
p2p system, you can share your favorite songs with your best friend—
or your 20,000 best friends.
-</p><a class="indexterm" name="idp6
605504"></a><p>
+</p><a class="indexterm" name="idp6
1705360"></a><p>
According to a number of estimates, a huge proportion of Americans
have tasted file-sharing technology. A study by Ipsos-Insight in
September 2002 estimated that 60 million Americans had downloaded
-music—28 percent of Americans older than 12.<a href="#ftn.idp6605872" class="footnote" name="idp6605872"><sup class="footnote">[76]</sup></a>
+music—28 percent of Americans older than 12.<a href="#ftn.idp61705792" class="footnote" name="idp61705792"><sup class="footnote">[76]</sup></a>
A survey by the NPD group quoted in <em class="citetitle">The New York Times</em>
estimated that 43 million citizens used file-sharing networks to
-exchange content in May 2003.<a href="#ftn.idp6609088" class="footnote" name="idp6609088"><sup class="footnote">[77]</sup></a>
+exchange content in May 2003.<a href="#ftn.idp61709472" class="footnote" name="idp61709472"><sup class="footnote">[77]</sup></a>
The vast majority of these are not kids. Whatever the actual figure, a
massive quantity of content is being <span class="quote">«<span class="quote">taken</span>»</span> on these networks. The
ease and inexpensiveness of file-sharing networks have inspired
carefully than the polarized voices around this debate usually
do—the kinds of sharing that file sharing enables, and the kinds
of harm it entails.
-</p><p>
+</p><a class="indexterm" name="idxpeertopeerppfilesharingfourtypesof"></a><a class="indexterm" name="idp61714128"></a><p>
File sharers share different kinds of content. We can divide these
different kinds into four types.
-</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="idp6
614224"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="idp6
1717120"></a><p>
There are some who use sharing networks as substitutes for purchasing
content. Thus, when a new Madonna CD is released, rather than buying
Finally, there are many who use sharing networks to get access
to content that is not copyrighted or that the copyright owner
wants to give away.
-</p></li></ol></div><p>
+</p></li></ol></div><a class="indexterm" name="idp61723600"></a><p>
How do these different types of sharing balance out?
</p><p>
Let's start with some simple but important points. From the
perspective of the law, only type D sharing is clearly legal. From the
perspective of economics, only type A sharing is clearly
-harmful.<a href="#ftn.idp6621552" class="footnote" name="idp6621552"><sup class="footnote">[78]</sup></a>
+harmful.<a href="#ftn.idp61725424" class="footnote" name="idp61725424"><sup class="footnote">[78]</sup></a>
Type B sharing is illegal but plainly beneficial. Type C sharing is
illegal, yet good for society (since more exposure to music is good)
and harmless to the artist (since the work is not otherwise
practice to blame technology for any drop in sales. The history of
cassette recording is a good example. As a study by Cap Gemini Ernst
& Young put it, <span class="quote">«<span class="quote">Rather than exploiting this new, popular
-technology, the labels fought it.</span>»</span><a href="#ftn.idp6628032" class="footnote" name="idp6628032"><sup class="footnote">[79]</sup></a>
+technology, the labels fought it.</span>»</span><a href="#ftn.idp61731904" class="footnote" name="idp61731904"><sup class="footnote">[79]</sup></a>
The labels claimed that every album taped was an album unsold, and
when record sales fell by 11.4 percent in 1981, the industry claimed
that its point was proved. Technology was the problem, and banning or
regulating technology was the answer.
-</p><a class="indexterm" name="idp6
631952"></a><p>
+</p><a class="indexterm" name="idp6
1736576"></a><p>
Yet soon thereafter, and before Congress was given an opportunity
to enact regulation, MTV was launched, and the industry had a record
turnaround. <span class="quote">«<span class="quote">In the end,</span>»</span> Cap Gemini concludes, <span class="quote">«<span class="quote">the `crisis' … was
not the fault of the tapers—who did not [stop after MTV came into
being]—but had to a large extent resulted from stagnation in musical
-innovation at the major labels.</span>»</span><a href="#ftn.idp6558064" class="footnote" name="idp6558064"><sup class="footnote">[80]</sup></a>
-</p><a class="indexterm" name="idp6
635520"></a><p>
+innovation at the major labels.</span>»</span><a href="#ftn.idp61656096" class="footnote" name="idp61656096"><sup class="footnote">[80]</sup></a>
+</p><a class="indexterm" name="idp6
1740144"></a><p>
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
the industry in particular, and society in general—or at least
</p><p>
In 2002, the RIAA reported that CD sales had fallen by 8.9 percent,
from 882 million to 803 million units; revenues fell 6.7
-percent.<a href="#ftn.idp6641856" class="footnote" name="idp6641856"><sup class="footnote">[81]</sup></a>
+percent.<a href="#ftn.idp61746480" class="footnote" name="idp61746480"><sup class="footnote">[81]</sup></a>
This confirms a trend over the past few years. The RIAA blames
Internet piracy for the trend, though there are many other causes that
could account for this drop. SoundScan, for example, reports a more
than 20 percent drop in the number of CDs released since 1999. That no
doubt accounts for some of the decrease in sales. Rising prices could
account for at least some of the loss. <span class="quote">«<span class="quote">From 1999 to 2001, the average
-price of a CD rose 7.2 percent, from $13.04 to $14.19.</span>»</span><a href="#ftn.idp6646384" class="footnote" name="idp6646384"><sup class="footnote">[82]</sup></a>
+price of a CD rose 7.2 percent, from $13.04 to $14.19.</span>»</span><a href="#ftn.idp61751008" class="footnote" name="idp61751008"><sup class="footnote">[82]</sup></a>
Competition from other forms of media could also account for some of
the decline. As Jane Black of <em class="citetitle">BusinessWeek</em> notes, <span class="quote">«<span class="quote">The
soundtrack to the film <em class="citetitle">High Fidelity</em> has a list price of
$18.98. You could get the whole movie [on DVD] for
-$19.99.</span>»</span><a href="#ftn.idp6650400" class="footnote" name="idp6650400"><sup class="footnote">[83]</sup></a>
+$19.99.</span>»</span><a href="#ftn.idp61755024" class="footnote" name="idp61755024"><sup class="footnote">[83]</sup></a>
</p><p>
percent drop. If 2.6 times the number of CDs sold were downloaded for
free, and yet sales revenue dropped by just 6.7 percent, then there is
a huge difference between <span class="quote">«<span class="quote">downloading a song and stealing a CD.</span>»</span>
-</p><a class="indexterm" name="idp6
654816"></a><p>
+</p><a class="indexterm" name="idp6
1759440"></a><p>
These are the harms—alleged and perhaps exaggerated but, let's
assume, real. What of the benefits? File sharing may impose costs on
the recording industry. What value does it produce in addition to
is technically still under copyright but is no longer commercially
available. This is not a small category of content. There are
millions of tracks that are no longer commercially
-available.<a href="#ftn.idp6655936" class="footnote" name="idp6655936"><sup class="footnote">[84]</sup></a>
+available.<a href="#ftn.idp61760560" class="footnote" name="idp61760560"><sup class="footnote">[84]</sup></a>
And while it's conceivable that some of this content is not available
because the artist producing the content doesn't want it to be made
available, the vast majority of it is unavailable solely because the
publisher or the distributor has decided it no longer makes economic
sense <span class="emphasis"><em>to the company</em></span> to make it available.
-</p><a class="indexterm" name="idp6
659424"></a><p>
+</p><a class="indexterm" name="idp6
1764048"></a><a class="indexterm" name="idp61765056"></a><p>
In real space—long before the Internet—the market had a simple
response to this problem: used book and record stores. There are
thousands of used book and used record stores in America
-today.<a href="#ftn.idp6661168" class="footnote" name="idp6661168"><sup class="footnote">[85]</sup></a>
+today.<a href="#ftn.idp61766544" class="footnote" name="idp61766544"><sup class="footnote">[85]</sup></a>
These stores buy content from owners, then sell the content they
buy. And under American copyright law, when they buy and sell this
content, <span class="emphasis"><em>even if the content is still under
money from the content they sell; but as with cable companies before
statutory licensing, they don't have to pay the copyright owner for
the content they sell.
-</p><a class="indexterm" name="idp6
666352"></a><a class="indexterm" name="idp6667360"></a><a class="indexterm" name="idxinternetbookson"></a><p>
+</p><a class="indexterm" name="idp6
1771728"></a><a class="indexterm" name="idp61772736"></a><a class="indexterm" name="idxinternetbookson"></a><p>
Type C sharing, then, is very much like used book stores or used
record stores. It is different, of course, because the person making
the content available isn't making money from making the content
stores. Or put differently, if you think that type C sharing should be
stopped, do you think that libraries and used book stores should be
shut as well?
-</p><a class="indexterm" name="idxbooksfreeonline1"></a><a class="indexterm" name="idp6
673376"></a><a class="indexterm" name="idp6674128"></a><p>
+</p><a class="indexterm" name="idxbooksfreeonline1"></a><a class="indexterm" name="idp6
1778752"></a><a class="indexterm" name="idp61779504"></a><p>
Finally, and perhaps most importantly, file-sharing networks enable
type D sharing to occur—the sharing of content that copyright owners
want to have shared or for which there is no continuing copyright. This
type D content. If sharing networks enable his work to be spread, then
both he and society are better off. (Actually, much better off: It is a
great book!)
-</p><a class="indexterm" name="idp6
677216"></a><p>
+</p><a class="indexterm" name="idp6
1782592"></a><p>
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
of type A sharing destroy the opportunity for type D sharing, then we
<span class="quote">«<span class="quote">How much has society gained from p2p sharing? What are the
efficiencies? What is the content that otherwise would be
unavailable?</span>»</span>
-</p><a class="indexterm" name="idp6
680144"></a><p>
+</p><a class="indexterm" name="idp6
1785520"></a><p>
For unlike the piracy I described in the first section of this
chapter, much of the <span class="quote">«<span class="quote">piracy</span>»</span> that file sharing enables is plainly
legal and good. And like the piracy I described in chapter
</p><p>
<span class="quote">«<span class="quote">But isn't the war just a war against illegal sharing? Isn't the target
just what you call type A sharing?</span>»</span>
-</p><p>
+</p><a class="indexterm" name="idxcopyrightinfringementlawsuitszerotolerancein"></a><a class="indexterm" name="idxnapsterinfringingmaterialblockedby"></a><a class="indexterm" name="idxpeertopeerppfilesharinginfringementprotectionsin"></a><p>
You would think. And we should hope. But so far, it is not. The effect
of the war purportedly on type A sharing alone has been felt far
beyond that one class of sharing. That much is obvious from the
infringing material, the district court told counsel for Napster 99.4
percent was not good enough. Napster had to push the infringements
-<span class="quote">«<span class="quote">down to zero.</span>»</span><a href="#ftn.idp6685552" class="footnote" name="idp6685552"><sup class="footnote">[86]</sup></a>
-</p><p>
+<span class="quote">«<span class="quote">down to zero.</span>»</span><a href="#ftn.idp61795392" class="footnote" name="idp61795392"><sup class="footnote">[86]</sup></a>
+</p><a class="indexterm" name="idp61797648"></a><a class="indexterm" name="idp61798624"></a><p>
If 99.4 percent is not good enough, then this is a war on file-sharing
technologies, not a war on copyright infringement. There is no way to
assure that a p2p system is used 100 percent of the time in compliance
The court's ruling means that we as a society must lose the benefits of
p2p, even for the totally legal and beneficial uses they serve, simply to
assure that there are zero copyright infringements caused by p2p.
-</p><p>
+</p><a class="indexterm" name="idp61800624"></a><p>
Zero tolerance has not been our history. It has not produced the
content industry that we know today. The history of American law has
been a process of balance. As new technologies changed the way content
technology. In this adjustment, the law sought to ensure the
legitimate rights of creators while protecting innovation. Sometimes
this has meant more rights for creators. Sometimes less.
-</p><a class="indexterm" name="idp6
689696"></a><a class="indexterm" name="idp6690704"></a><a class="indexterm" name="idxcongressusoncopyrightlaws2"></a><a class="indexterm" name="idxcongressusonrecordingindustry2"></a><a class="indexterm" name="idxcopyrightlawonmusicrecordings2"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin2"></a><a class="indexterm" name="idp6697408"></a><a class="indexterm" name="idp6698416"></a><a class="indexterm" name="idp6699424"></a><a class="indexterm" name="idp6700432"></a><a class="indexterm" name="idp6701440"></a><a class="indexterm" name="idp6702192"></a><p>
+</p><a class="indexterm" name="idp6
1802464"></a><a class="indexterm" name="idp61803472"></a><a class="indexterm" name="idxcongressusoncopyrightlaws2"></a><a class="indexterm" name="idxcongressusonrecordingindustry2"></a><a class="indexterm" name="idxcopyrightlawonmusicrecordings2"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin2"></a><a class="indexterm" name="idp61810176"></a><a class="indexterm" name="idp61811184"></a><a class="indexterm" name="idp61812192"></a><a class="indexterm" name="idp61813200"></a><a class="indexterm" name="idp61814208"></a><a class="indexterm" name="idp61814960"></a><p>
So, as we've seen, when <span class="quote">«<span class="quote">mechanical reproduction</span>»</span> threatened the
interests of composers, Congress balanced the rights of composers
against the interests of the recording industry. It granted rights to
compensation, but at a level set by the law. It likewise gave cable
companies the right to the content, so long as they paid the statutory
price.
-</p><a class="indexterm" name="idp6
706672"></a><p>
+</p><a class="indexterm" name="idp6
1819440"></a><a class="indexterm" name="idp61820416"></a><p>
This compromise, like the compromise affecting records and player
Congress chose a path that would assure
<span class="emphasis"><em>compensation</em></span> without giving the past
(broadcasters) control over the future (cable).
-</p><a class="indexterm" name="idp6
709664"></a><a class="indexterm" name="idp6710528"></a><a class="indexterm" name="idp6711504"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></a><p>
+</p><a class="indexterm" name="idp6
1823440"></a><a class="indexterm" name="idp61824304"></a><a class="indexterm" name="idp61825280"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></a><a class="indexterm" name="idxsonybetamaxtechnologydevelopedby"></a><p>
In the same year that Congress struck this balance, two major
producers and distributors of film content filed a lawsuit against
another technology, the video tape recorder (VTR, or as we refer to
and shows. Sony was therefore benefiting from the copyright
infringement of its customers. It should therefore, Disney and
Universal claimed, be partially liable for that infringement.
-</p><a class="indexterm" name="idp6
716736"></a><p>
+</p><a class="indexterm" name="idp6
1832000"></a><p>
There was something to Disney's and Universal's claim. Sony did
decide to design its machine to make it very simple to record television
shows. It could have built the machine to block or inhibit any direct
system to minimize the opportunity for copyright infringement. It did
not, and for that, Disney and Universal wanted to hold it responsible
for the architecture it chose.
-</p><a class="indexterm" name="idxcongressusoncopyrightlaws3"></a><a class="indexterm" name="idp6
721056"></a><p>
+</p><a class="indexterm" name="idxcongressusoncopyrightlaws3"></a><a class="indexterm" name="idp6
1836320"></a><a class="indexterm" name="idxvalentijackonvcrtechnology"></a><p>
MPAA president Jack Valenti became the studios' most vocal
champion. Valenti called VCRs <span class="quote">«<span class="quote">tapeworms.</span>»</span> He warned, <span class="quote">«<span class="quote">When there are
20, 30, 40 million of these VCRs in the land, we will be invaded by
millions of `tapeworms,' eating away at the very heart and essence of
the most precious asset the copyright owner has, his
-copyright.</span>»</span><a href="#ftn.idp6723312" class="footnote" name="idp6723312"><sup class="footnote">[87]</sup></a>
+copyright.</span>»</span><a href="#ftn.idp61840064" class="footnote" name="idp61840064"><sup class="footnote">[87]</sup></a>
<span class="quote">«<span class="quote">One does not have to be trained in sophisticated marketing and
creative judgment,</span>»</span> he told Congress, <span class="quote">«<span class="quote">to understand the devastation
on the after-theater marketplace caused by the hundreds of millions of
tapings that will adversely impact on the future of the creative
community in this country. It is simply a question of basic economics
-and plain common sense.</span>»</span><a href="#ftn.idp6725344" class="footnote" name="idp6725344"><sup class="footnote">[88]</sup></a>
+and plain common sense.</span>»</span><a href="#ftn.idp61842096" class="footnote" name="idp61842096"><sup class="footnote">[88]</sup></a>
Indeed, as surveys would later show, 45
-percent of VCR owners had movie libraries of ten videos or more<a href="#ftn.idp6726320" class="footnote" name="idp6726320"><sup class="footnote">[89]</sup></a>
+percent of VCR owners had movie libraries of ten videos or more<a href="#ftn.idp61843072" class="footnote" name="idp61843072"><sup class="footnote">[89]</sup></a>
— a use the Court would later hold was not <span class="quote">«<span class="quote">fair.</span>»</span> By
<span class="quote">«<span class="quote">allowing VCR owners to copy freely by the means of an exemption from
copyright infringement without creating a mechanism to compensate
copyright owners,</span>»</span> Valenti testified, Congress would <span class="quote">«<span class="quote">take from the
owners the very essence of their property: the exclusive right to
control who may use their work, that is, who may copy it and thereby
-profit from its reproduction.</span>»</span><a href="#ftn.idp6729248" class="footnote" name="idp6729248"><sup class="footnote">[90]</sup></a>
-</p><a class="indexterm" name="idp6
730240"></a><p>
+profit from its reproduction.</span>»</span><a href="#ftn.idp61846000" class="footnote" name="idp61846000"><sup class="footnote">[90]</sup></a>
+</p><a class="indexterm" name="idp6
1846992"></a><a class="indexterm" name="idp61847968"></a><p>
It took eight years for this case to be resolved by the Supreme
Court. In the interim, the Ninth Circuit Court of Appeals, which
includes Hollywood in its jurisdiction—leading Judge Alex
called <span class="quote">«<span class="quote">the Boston Strangler of the American film industry</span>»</span> (worse
yet, it was a <span class="emphasis"><em>Japanese</em></span> Boston Strangler of the
American film industry)—was an illegal
-technology.<a href="#ftn.idp6732352" class="footnote" name="idp6732352"><sup class="footnote">[91]</sup></a>
-<a class="indexterm" name="idp6734832"></a>
-</p><p>
+technology.<a href="#ftn.idp61850080" class="footnote" name="idp61850080"><sup class="footnote">[91]</sup></a>
+<a class="indexterm" name="idp61852560"></a>
+</p><a class="indexterm" name="idp61853440"></a><p>
But the Supreme Court reversed the decision of the Ninth Circuit.
and the institutional ability to accommodate fully the
varied permutations of competing interests that are inevitably
implicated
-by such new technology.<a href="#ftn.idp6737504" class="footnote" name="idp6737504"><sup class="footnote">[92]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
739296"></a><p>
+by such new technology.<a href="#ftn.idp61856208" class="footnote" name="idp61856208"><sup class="footnote">[92]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
1858000"></a><p>
Congress was asked to respond to the Supreme Court's decision. But as
with the plea of recording artists about radio broadcasts, Congress
ignored the request. Congress was convinced that American film got
enough, this <span class="quote">«<span class="quote">taking</span>»</span> notwithstanding. If we put these cases
together, a pattern is clear:
-</p><div class="informaltable"><a name="t1"></a><table border="1"><colgroup><col><col><col><col></colgroup><thead><tr><th align="left">CASE</th><th align="left">WHOSE VALUE WAS <span class="quote">«<span class="quote">PIRATED</span>»</span></th><th align="left">RESPONSE OF THE COURTS</th><th align="left">RESPONSE OF CONGRESS</th></tr></thead><tbody><tr><td align="left">Recordings</td><td align="left">Composers</td><td align="left">No protection</td><td align="left">Statutory license</td></tr><tr><td align="left">Radio</td><td align="left">Recording artists</td><td align="left">N/A</td><td align="left">Nothing</td></tr><tr><td align="left">Cable TV</td><td align="left">Broadcasters</td><td align="left">No protection</td><td align="left">Statutory license</td></tr><tr><td align="left">VCR</td><td align="left">Film creators</td><td align="left">No protection</td><td align="left">Nothing</td></tr></tbody></table></div><a class="indexterm" name="idp6
753472"></a><p>
+</p><div class="informaltable"><a name="t1"></a><table border="1"><colgroup><col><col><col><col></colgroup><thead><tr><th align="left">CASE</th><th align="left">WHOSE VALUE WAS <span class="quote">«<span class="quote">PIRATED</span>»</span></th><th align="left">RESPONSE OF THE COURTS</th><th align="left">RESPONSE OF CONGRESS</th></tr></thead><tbody><tr><td align="left">Recordings</td><td align="left">Composers</td><td align="left">No protection</td><td align="left">Statutory license</td></tr><tr><td align="left">Radio</td><td align="left">Recording artists</td><td align="left">N/A</td><td align="left">Nothing</td></tr><tr><td align="left">Cable TV</td><td align="left">Broadcasters</td><td align="left">No protection</td><td align="left">Statutory license</td></tr><tr><td align="left">VCR</td><td align="left">Film creators</td><td align="left">No protection</td><td align="left">Nothing</td></tr></tbody></table></div><a class="indexterm" name="idp6
1872176"></a><p>
In each case throughout our history, a new technology changed the
-way content was distributed.<a href="#ftn.idp6754816" class="footnote" name="idp6754816"><sup class="footnote">[93]</sup></a>
+way content was distributed.<a href="#ftn.idp61873520" class="footnote" name="idp61873520"><sup class="footnote">[93]</sup></a>
In each case, throughout our history,
that change meant that someone got a <span class="quote">«<span class="quote">free ride</span>»</span> on someone else's
work.
technology to benefit from content made before. It balanced the
interests at stake.
-</p><a class="indexterm" name="idp6
762752"></a><p>
+</p><a class="indexterm" name="idp6
1882208"></a><p>
When you think across these examples, and the other examples that
make up the first four chapters of this section, this balance makes
sense. Was Walt Disney a pirate? Would doujinshi be better if creators
to $15 million in damages? Would it have been better if Edison had
controlled film? Should every cover band have to hire a lawyer to get
permission to record a song?
-</p><a class="indexterm" name="idp6
764496"></a><p>
+</p><a class="indexterm" name="idp6
1883952"></a><p>
We could answer yes to each of these questions, but our tradition
has answered no. In our tradition, as the Supreme Court has stated,
copyright <span class="quote">«<span class="quote">has never accorded the copyright owner complete control
-over all possible uses of his work.</span>»</span><a href="#ftn.idp6766288" class="footnote" name="idp6766288"><sup class="footnote">[94]</sup></a>
+over all possible uses of his work.</span>»</span><a href="#ftn.idp61885744" class="footnote" name="idp61885744"><sup class="footnote">[94]</sup></a>
Instead, the particular uses that the law regulates have been defined
by balancing the good that comes from granting an exclusive right
against the burdens such an exclusive right creates. And this
network. Left to develop, they could make the network vastly more
efficient. Yet these <span class="quote">«<span class="quote">potential public benefits,</span>»</span> as John Schwartz
writes in <em class="citetitle">The New York Times</em>, <span class="quote">«<span class="quote">could be delayed in the P2P
-fight.</span>»</span><a href="#ftn.idp6772128" class="footnote" name="idp6772128"><sup class="footnote">[95]</sup></a>
+fight.</span>»</span><a href="#ftn.idp61891584" class="footnote" name="idp61891584"><sup class="footnote">[95]</sup></a>
</p><p>
<span class="strong"><strong>Yet when anyone</strong></span> begins to talk
about <span class="quote">«<span class="quote">balance,</span>»</span> the copyright warriors raise a different
<span class="quote">«<span class="quote">It is <span class="emphasis"><em>our property</em></span>,</span>»</span> the warriors
insist. <span class="quote">«<span class="quote">And it should be protected just as any other property
is protected.</span>»</span>
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6523648" class="footnote"><p><a href="#idp6523648" class="para"><sup class="para">[70] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp61621232" class="footnote"><p><a href="#idp61621232" class="para"><sup class="para">[70] </sup></a>
See IFPI (International Federation of the Phonographic Industry), <em class="citetitle">The
Recording Industry Commercial Piracy Report 2003</em>, July 2003, available
at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #14</a>. See
also Ben Hunt, <span class="quote">«<span class="quote">Companies Warned on Music Piracy Risk,</span>»</span> <em class="citetitle">Financial
Times</em>, 14 February 2003, 11.
-</p></div><div id="ftn.idp6551424" class="footnote"><p><a href="#idp6551424" class="para"><sup class="para">[71] </sup></a>
+</p></div><div id="ftn.idp61649456" class="footnote"><p><a href="#idp61649456" class="para"><sup class="para">[71] </sup></a>
See Peter Drahos with John Braithwaite, Information Feudalism:
<em class="citetitle">Who Owns the Knowledge Economy?</em> (New York: The
be able to use this to gain the benefits of foreign patents at lower
prices. This is a promising strategy for developing nations within the
TRIPS framework.
-<a class="indexterm" name="idp6454448"></a>
-<a class="indexterm" name="idp6554128"></a>
-</p></div><div id="ftn.idp6556688" class="footnote"><p><a href="#idp6556688" class="para"><sup class="para">[72] </sup></a>
+<a class="indexterm" name="idp61549664"></a>
+<a class="indexterm" name="idp61652160"></a>
+</p></div><div id="ftn.idp61654720" class="footnote"><p><a href="#idp61654720" class="para"><sup class="para">[72] </sup></a>
For an analysis of the economic impact of copying technology, see Stan
Liebowitz, <em class="citetitle">Rethinking the Network Economy</em> (New York: Amacom, 2002),
be negligible. One obvious instance is the case where the individual
engaging in pirating would not have purchased an original even if
pirating were not an option.</span>»</span> Ibid., 149.
-<a class="indexterm" name="idp6558496"></a>
-</p></div><div id="ftn.idp6587984" class="footnote"><p><a href="#idp6587984" class="para"><sup class="para">[73] </sup></a>
+<a class="indexterm" name="idp61656528"></a>
+</p></div><div id="ftn.idp61687296" class="footnote"><p><a href="#idp61687296" class="para"><sup class="para">[73] </sup></a>
<em class="citetitle">Bach</em> v. <em class="citetitle">Longman</em>, 98 Eng. Rep. 1274 (1777).
-</p></div><div id="ftn.idp6593376" class="footnote"><p><a href="#idp6593376" class="para"><sup class="para">[74] </sup></a>
+</p></div><div id="ftn.idp61693696" class="footnote"><p><a href="#idp61693696" class="para"><sup class="para">[74] </sup></a>
-<a class="indexterm" name="idp6594016"></a>
+<a class="indexterm" name="idp61694336"></a>
See Clayton M. Christensen, <em class="citetitle">The Innovator's Dilemma: The Revolutionary
National Bestseller That Changed the Way We Do Business</em> (New York:
HarperBusiness, 2000). Professor Christensen examines why companies
reassemble existing technology in inventive ways. For a discussion of
Christensen's ideas, see Lawrence Lessig, <em class="citetitle">Future</em>, 89–92, 139.
-<a class="indexterm" name="idp6557808"></a>
-</p></div><div id="ftn.idp6600432" class="footnote"><p><a href="#idp6600432" class="para"><sup class="para">[75] </sup></a>
+<a class="indexterm" name="idp61655840"></a>
+</p></div><div id="ftn.idp61700752" class="footnote"><p><a href="#idp61700752" class="para"><sup class="para">[75] </sup></a>
See Carolyn Lochhead, <span class="quote">«<span class="quote">Silicon Valley Dream, Hollywood Nightmare,</span>»</span> <em class="citetitle">San
Francisco Chronicle</em>, 24 September 2002, A1; <span class="quote">«<span class="quote">Rock 'n' Roll Suicide,</span>»</span>
Secures New Financing,</span>»</span> <em class="citetitle">San Francisco Chronicle</em>, 23 May 2003, C1;
<span class="quote">«<span class="quote">Napster's Wake-Up Call,</span>»</span> <em class="citetitle">Economist</em>, 24 June 2000, 23; John Naughton,
<span class="quote">«<span class="quote">Hollywood at War with the Internet</span>»</span> (London) <em class="citetitle">Times</em>, 26 July 2002, 18.
-</p></div><div id="ftn.idp6605872" class="footnote"><p><a href="#idp6605872" class="para"><sup class="para">[76] </sup></a>
+</p></div><div id="ftn.idp61705792" class="footnote"><p><a href="#idp61705792" class="para"><sup class="para">[76] </sup></a>
See Ipsos-Insight, <em class="citetitle">TEMPO: Keeping Pace with Online Music Distribution</em>
(September 2002), reporting that 28 percent of Americans aged twelve
and older have downloaded music off of the Internet and 30 percent have
listened to digital music files stored on their computers.
-</p></div><div id="ftn.idp6609088" class="footnote"><p><a href="#idp6609088" class="para"><sup class="para">[77] </sup></a>
+</p></div><div id="ftn.idp61709472" class="footnote"><p><a href="#idp61709472" class="para"><sup class="para">[77] </sup></a>
Amy Harmon, <span class="quote">«<span class="quote">Industry Offers a Carrot in Online Music Fight,</span>»</span> <em class="citetitle">New
York Times</em>, 6 June 2003, A1.
-</p></div><div id="ftn.idp6621552" class="footnote"><p><a href="#idp6621552" class="para"><sup class="para">[78] </sup></a>
+</p></div><div id="ftn.idp61725424" class="footnote"><p><a href="#idp61725424" class="para"><sup class="para">[78] </sup></a>
See Liebowitz, <em class="citetitle">Rethinking the Network Economy</em>, 148–49.
-<a class="indexterm" name="idp6596064"></a>
-</p></div><div id="ftn.idp6628032" class="footnote"><p><a href="#idp6628032" class="para"><sup class="para">[79] </sup></a>
+<a class="indexterm" name="idp61696384"></a>
+</p></div><div id="ftn.idp61731904" class="footnote"><p><a href="#idp61731904" class="para"><sup class="para">[79] </sup></a>
-<a class="indexterm" name="idp6628672"></a>
+<a class="indexterm" name="idp61732544"></a>
+<a class="indexterm" name="idp61733296"></a>
See Cap Gemini Ernst & Young, <em class="citetitle">Technology Evolution and the
Music Industry's Business Model Crisis</em> (2003), 3. This report
describes the music industry's effort to stigmatize the budding
music to a cassette format. U.S. Congress, Office of Technology
Assessment, <em class="citetitle">Copyright and Home Copying: Technology Challenges the Law</em>,
OTA-CIT-422 (Washington, D.C.: U.S. Government Printing Office,
-October 1989), 145–56. </p></div><div id="ftn.idp6558064" class="footnote"><p><a href="#idp6558064" class="para"><sup class="para">[80] </sup></a>
+October 1989), 145–56. </p></div><div id="ftn.idp61656096" class="footnote"><p><a href="#idp61656096" class="para"><sup class="para">[80] </sup></a>
U.S. Congress, <em class="citetitle">Copyright and Home Copying</em>, 4.
-</p></div><div id="ftn.idp6641856" class="footnote"><p><a href="#idp6641856" class="para"><sup class="para">[81] </sup></a>
+</p></div><div id="ftn.idp61746480" class="footnote"><p><a href="#idp61746480" class="para"><sup class="para">[81] </sup></a>
See Recording Industry Association of America, <em class="citetitle">2002 Yearend Statistics</em>,
available at
industry worldwide has gone from a $39 billion industry in 2000 down
to a $32 billion industry in 2002 (based on U.S. dollar value of
shipments).</span>»</span>
-</p></div><div id="ftn.idp6646384" class="footnote"><p><a href="#idp6646384" class="para"><sup class="para">[82] </sup></a>
+</p></div><div id="ftn.idp61751008" class="footnote"><p><a href="#idp61751008" class="para"><sup class="para">[82] </sup></a>
Jane Black, <span class="quote">«<span class="quote">Big Music's Broken Record,</span>»</span> BusinessWeek online, 13
February 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #17</a>.
-<a class="indexterm" name="idp6648160"></a>
-</p></div><div id="ftn.idp6650400" class="footnote"><p><a href="#idp6650400" class="para"><sup class="para">[83] </sup></a>
+<a class="indexterm" name="idp61752784"></a>
+</p></div><div id="ftn.idp61755024" class="footnote"><p><a href="#idp61755024" class="para"><sup class="para">[83] </sup></a>
Ibid.
-</p></div><div id="ftn.idp6655936" class="footnote"><p><a href="#idp6655936" class="para"><sup class="para">[84] </sup></a>
+</p></div><div id="ftn.idp61760560" class="footnote"><p><a href="#idp61760560" class="para"><sup class="para">[84] </sup></a>
By one estimate, 75 percent of the music released by the major labels
is no longer in print. See Online Entertainment and Copyright
Senate Committee on the Judiciary, 107th Cong., 1st sess. (3 April
2001) (prepared statement of the Future of Music Coalition), available
at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #18</a>.
-</p></div><div id="ftn.idp6661168" class="footnote"><p><a href="#idp6661168" class="para"><sup class="para">[85] </sup></a>
+</p></div><div id="ftn.idp61766544" class="footnote"><p><a href="#idp61766544" class="para"><sup class="para">[85] </sup></a>
-<a class="indexterm" name="idp6661808"></a>
+<a class="indexterm" name="idp61767184"></a>
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
Association of Recording Merchandisers, <span class="quote">«<span class="quote">2002 Annual Survey
Results,</span>»</span> available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #20</a>.
-</p></div><div id="ftn.idp6685552" class="footnote"><p><a href="#idp6685552" class="para"><sup class="para">[86] </sup></a>
+</p></div><div id="ftn.idp61795392" class="footnote"><p><a href="#idp61795392" class="para"><sup class="para">[86] </sup></a>
See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34-
35 (N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183
account of the litigation and its toll on Napster, see Joseph Menn,
<em class="citetitle">All the Rave: The Rise and Fall of Shawn Fanning's Napster</em> (New
York: Crown Business, 2003), 269–82.
-</p></div><div id="ftn.idp6723312" class="footnote"><p><a href="#idp6723312" class="para"><sup class="para">[87] </sup></a>
+</p></div><div id="ftn.idp61840064" class="footnote"><p><a href="#idp61840064" class="para"><sup class="para">[87] </sup></a>
Copyright Infringements (Audio and Video Recorders): Hearing on
S. 1758 Before the Senate Committee on the Judiciary, 97th Cong., 1st
and 2nd sess., 459 (1982) (testimony of Jack Valenti, president, Motion
Picture Association of America, Inc.).
-</p></div><div id="ftn.idp6725344" class="footnote"><p><a href="#idp6725344" class="para"><sup class="para">[88] </sup></a>
+</p></div><div id="ftn.idp61842096" class="footnote"><p><a href="#idp61842096" class="para"><sup class="para">[88] </sup></a>
Copyright Infringements (Audio and Video Recorders), 475.
-</p></div><div id="ftn.idp6726320" class="footnote"><p><a href="#idp6726320" class="para"><sup class="para">[89] </sup></a>
+</p></div><div id="ftn.idp61843072" class="footnote"><p><a href="#idp61843072" class="para"><sup class="para">[89] </sup></a>
<em class="citetitle">Universal City Studios, Inc</em>. v. <em class="citetitle">Sony Corp. of America</em>, 480 F. Supp. 429,
(C.D. Cal., 1979).
-</p></div><div id="ftn.idp6729248" class="footnote"><p><a href="#idp6729248" class="para"><sup class="para">[90] </sup></a>
+</p></div><div id="ftn.idp61846000" class="footnote"><p><a href="#idp61846000" class="para"><sup class="para">[90] </sup></a>
Copyright Infringements (Audio and Video Recorders), 485 (testimony
of Jack Valenti).
-</p></div><div id="ftn.idp6732352" class="footnote"><p><a href="#idp6732352" class="para"><sup class="para">[91] </sup></a>
+</p></div><div id="ftn.idp61850080" class="footnote"><p><a href="#idp61850080" class="para"><sup class="para">[91] </sup></a>
<em class="citetitle">Universal City Studios, Inc</em>. v. <em class="citetitle">Sony Corp. of America</em>, 659 F. 2d 963 (9th Cir.
1981).
-</p></div><div id="ftn.idp6737504" class="footnote"><p><a href="#idp6737504" class="para"><sup class="para">[92] </sup></a>
+</p></div><div id="ftn.idp61856208" class="footnote"><p><a href="#idp61856208" class="para"><sup class="para">[92] </sup></a>
<em class="citetitle">Sony Corp. of America</em> v. <em class="citetitle">Universal City Studios, Inc</em>., 464 U.S. 417, 431 (1984).
-</p></div><div id="ftn.idp6754816" class="footnote"><p><a href="#idp6754816" class="para"><sup class="para">[93] </sup></a>
+</p></div><div id="ftn.idp61873520" class="footnote"><p><a href="#idp61873520" class="para"><sup class="para">[93] </sup></a>
+<a class="indexterm" name="idp61873904"></a>
These are the most important instances in our history, but there are other
cases as well. The technology of digital audio tape (DAT), for example,
eliminate the opportunity for free riding in the sense I've described. See
Lessig, <em class="citetitle">Future</em>, 71. See also Picker, <span class="quote">«<span class="quote">From Edison to the Broadcast Flag,</span>»</span>
<em class="citetitle">University of Chicago Law Review</em> 70 (2003): 293–96.
-<a class="indexterm" name="idp6687552"></a>
-<a class="indexterm" name="idp6758528"></a>
-</p></div><div id="ftn.idp6766288" class="footnote"><p><a href="#idp6766288" class="para"><sup class="para">[94] </sup></a>
+<a class="indexterm" name="idp61797392"></a>
+<a class="indexterm" name="idp61877984"></a>
+</p></div><div id="ftn.idp61885744" class="footnote"><p><a href="#idp61885744" class="para"><sup class="para">[94] </sup></a>
<em class="citetitle">Sony Corp. of America</em> v. <em class="citetitle">Universal City Studios, Inc</em>., 464 U.S. 417,
(1984).
-</p></div><div id="ftn.idp6772128" class="footnote"><p><a href="#idp6772128" class="para"><sup class="para">[95] </sup></a>
+</p></div><div id="ftn.idp61891584" class="footnote"><p><a href="#idp61891584" class="para"><sup class="para">[95] </sup></a>
John Schwartz, <span class="quote">«<span class="quote">New Economy: The Attack on Peer-to-Peer Software
Echoes Past Efforts,</span>»</span> <em class="citetitle">New York Times</em>, 22 September 2003, C3.
table in the backyard—by, for example, going to Sears, buying a
table, and putting it in my backyard? What is the thing I am taking
then?
-</p><a class="indexterm" name="idp6
783904"></a><p>
+</p><a class="indexterm" name="idp6
1903360"></a><p>
The point is not just about the thingness of picnic tables versus
ideas, though that's an important difference. The point instead is that
woman. Instead, as Thomas Jefferson said (and as is especially true
when I copy the way someone else dresses), <span class="quote">«<span class="quote">He who receives an idea
from me, receives instruction himself without lessening mine; as he who
-lights his taper at mine, receives light without darkening me.</span>»</span><a href="#ftn.idp6786176" class="footnote" name="idp6786176"><sup class="footnote">[96]</sup></a>
-</p><a class="indexterm" name="idp6
787632"></a><p>
+lights his taper at mine, receives light without darkening me.</span>»</span><a href="#ftn.idp61905632" class="footnote" name="idp61905632"><sup class="footnote">[96]</sup></a>
+</p><a class="indexterm" name="idp6
1907088"></a><p>
The exceptions to free use are ideas and expressions within the
reach of the law of patent and copyright, and a few other domains that
I won't discuss here. Here the law says you can't take my idea or
But how, and to what extent, and in what form—the details,
in other words—matter. To get a good sense of how this practice
of turning the intangible into property emerged, we need to place this
-<span class="quote">«<span class="quote">property</span>»</span> in its proper context.<a href="#ftn.idp6790176" class="footnote" name="idp6790176"><sup class="footnote">[97]</sup></a>
+<span class="quote">«<span class="quote">property</span>»</span> in its proper context.<a href="#ftn.idp61909632" class="footnote" name="idp61909632"><sup class="footnote">[97]</sup></a>
</p><p>
My strategy in doing this will be the same as my strategy in the
preceding part. I offer four stories to help put the idea of
statement—<span class="quote">«<span class="quote">copyright material is property</span>»</span>— will be a bit
more clear, and its implications will be revealed as quite different
from the implications that the copyright warriors would have us draw.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6786176" class="footnote"><p><a href="#idp6786176" class="para"><sup class="para">[96] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp61905632" class="footnote"><p><a href="#idp61905632" class="para"><sup class="para">[96] </sup></a>
Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in
<em class="citetitle">The Writings of Thomas Jefferson</em>, vol. 6 (Andrew A. Lipscomb and Albert
Ellery Bergh, eds., 1903), 330, 333–34.
-</p></div><div id="ftn.idp6790176" class="footnote"><p><a href="#idp6790176" class="para"><sup class="para">[97] </sup></a>
+</p></div><div id="ftn.idp61909632" class="footnote"><p><a href="#idp61909632" class="para"><sup class="para">[97] </sup></a>
As the legal realists taught American law, all property rights are
intangible. A property right is simply a right that an individual has
the object to which it is (metaphorically) attached is tangible. See
Adam Mossoff, <span class="quote">«<span class="quote">What Is Property? Putting the Pieces Back Together,</span>»</span>
<em class="citetitle">Arizona Law Review</em> 45 (2003): 373, 429 n. 241.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="founders"></a>Chapter 6. Chapter Six: Founders</h2></div></div></div><a class="indexterm" name="idxbooksenglishcopyrightlawdevelopedfor"></a><a class="indexterm" name="idxcopyrightlawdevelopmentof"></a><a class="indexterm" name="idxcopyrightlawenglish"></a><a class="indexterm" name="idxenglandcopyrightlawsdevelopedin"></a><a class="indexterm" name="idxunitedkingdomhistoryofcopyrightlawin"></a><a class="indexterm" name="idp6
802560"></a><a class="indexterm" name="idp6803312"></a><a class="indexterm" name="idp6804064"></a><a class="indexterm" name="idxromeoandjulietshakespeare"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="founders"></a>Chapter 6. Chapter Six: Founders</h2></div></div></div><a class="indexterm" name="idxbooksenglishcopyrightlawdevelopedfor"></a><a class="indexterm" name="idxcopyrightlawdevelopmentof"></a><a class="indexterm" name="idxcopyrightlawenglish"></a><a class="indexterm" name="idxenglandcopyrightlawsdevelopedin"></a><a class="indexterm" name="idxunitedkingdomhistoryofcopyrightlawin"></a><a class="indexterm" name="idp6
1922016"></a><a class="indexterm" name="idp61922768"></a><a class="indexterm" name="idp61923520"></a><a class="indexterm" name="idxromeoandjulietshakespeare"></a><p>
<span class="strong"><strong>William Shakespeare</strong></span> wrote
<em class="citetitle">Romeo and Juliet</em> in 1595. The play was first
published in 1597. It was the eleventh major play that Shakespeare had
once overheard someone commenting on Kenneth Branagh's adaptation of
Henry V: <span class="quote">«<span class="quote">I liked it, but Shakespeare is so full of
clichés.</span>»</span>
-</p><a class="indexterm" name="idp6
808400"></a><a class="indexterm" name="idxtonsonjacob"></a><p>
+</p><a class="indexterm" name="idp6
1927856"></a><a class="indexterm" name="idxtonsonjacob"></a><p>
In 1774, almost 180 years after <em class="citetitle">Romeo and Juliet</em> was written, the
<span class="quote">«<span class="quote">copy-right</span>»</span> for the work was still thought by many to be the exclusive
-right of a single London publisher, Jacob Tonson.<a href="#ftn.idp6811536" class="footnote" name="idp6811536"><sup class="footnote">[98]</sup></a>
+right of a single London publisher, Jacob Tonson.<a href="#ftn.idp61930992" class="footnote" name="idp61930992"><sup class="footnote">[98]</sup></a>
Tonson was the most prominent of a small group of publishers called
-the Conger<a href="#ftn.idp6815840" class="footnote" name="idp6815840"><sup class="footnote">[99]</sup></a>
+the Conger<a href="#ftn.idp61935296" class="footnote" name="idp61935296"><sup class="footnote">[99]</sup></a>
who controlled bookselling in England during the eighteenth
century. The Conger claimed a perpetual right to control the <span class="quote">«<span class="quote">copy</span>»</span> of
books that they had acquired from authors. That perpetual right meant
one else could publish copies of a book to which they held the
copyright. Prices of the classics were thus kept high; competition to
produce better or cheaper editions was eliminated.
-</p><a class="indexterm" name="idp6
818288"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp6820528"></a><a class="indexterm" name="idp6821536"></a><p>
+</p><a class="indexterm" name="idp6
1937744"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp61939984"></a><a class="indexterm" name="idp61940992"></a><p>
Now, there's something puzzling about the year 1774 to anyone who
knows a little about copyright law. The better-known year in the
history of copyright is 1710, the year that the British Parliament
act stated that all published works would get a copyright term of
fourteen years, renewable once if the author was alive, and that all
works already published by 1710 would get a single term of twenty-one
-additional years.<a href="#ftn.idp6823440" class="footnote" name="idp6823440"><sup class="footnote">[100]</sup></a> Under this law, <em class="citetitle">Romeo and Juliet</em> should have been
+additional years.<a href="#ftn.idp61942896" class="footnote" name="idp61942896"><sup class="footnote">[100]</sup></a> Under this law, <em class="citetitle">Romeo and Juliet</em> should have been
free in 1731. So why was there any issue about it still being under
Tonson's control in 1774?
-</p><a class="indexterm" name="idp6
826448"></a><a class="indexterm" name="idp6827424"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp6829888"></a><a class="indexterm" name="idp6830640"></a><p>
+</p><a class="indexterm" name="idp6
1945904"></a><a class="indexterm" name="idp61946880"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp61949344"></a><a class="indexterm" name="idp61950096"></a><p>
The reason is that the English hadn't yet agreed on what a <span class="quote">«<span class="quote">copyright</span>»</span>
was—indeed, no one had. At the time the English passed the
Statute of Anne, there was no other legislation governing copyrights.
published. But after it expired, there was no positive law that said
that the publishers, or <span class="quote">«<span class="quote">Stationers,</span>»</span> had an exclusive right to print
books.
-</p><a class="indexterm" name="idp6
833072"></a><a class="indexterm" name="idp6834048"></a><p>
+</p><a class="indexterm" name="idp6
1952528"></a><a class="indexterm" name="idp61953504"></a><p>
There was no <span class="emphasis"><em>positive</em></span> law, but that didn't mean
that there was no law. The Anglo-American legal tradition looks to
both the words of legislatures and the words of judges to know the
background only if it passes a law to displace it. And so the real
question after the licensing statutes had expired was whether the
common law protected a copyright, independent of any positive law.
-</p><a class="indexterm" name="idp6
836944"></a><a class="indexterm" name="idp6837920"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp6839904"></a><a class="indexterm" name="idxstatuteofanne"></a><p>
+</p><a class="indexterm" name="idp6
1956400"></a><a class="indexterm" name="idp61957376"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp61959360"></a><a class="indexterm" name="idxstatuteofanne"></a><p>
This question was important to the publishers, or <span class="quote">«<span class="quote">booksellers,</span>»</span> as
they were called, because there was growing competition from foreign
publishers. The Scottish, in particular, were increasingly publishing
copyright <span class="quote">«<span class="quote">expired,</span>»</span> and the work would then be free and could be
published by anyone. Or so the legislature is thought to have
believed.
-</p><a class="indexterm" name="idp6
846336"></a><p>
+</p><a class="indexterm" name="idp6
1965792"></a><p>
Now, the thing to puzzle about for a moment is this: Why would
Parliament limit the exclusive right? Not why would they limit it to
the particular limit they set, but why would they limit the right
<span class="emphasis"><em>at all?</em></span>
-</p><a class="indexterm" name="idp6
848288"></a><a class="indexterm" name="idp6849264"></a><a class="indexterm" name="idp6850016"></a><p>
+</p><a class="indexterm" name="idp6
1967744"></a><a class="indexterm" name="idp61968720"></a><a class="indexterm" name="idp61969472"></a><p>
For the booksellers, and the authors whom they represented, had a very
strong claim. Take <em class="citetitle">Romeo and Juliet</em> as an example: That play
was written by Shakespeare. It was his genius that brought it into the
why is it that the law would ever allow someone else to come along and
take Shakespeare's play without his, or his estate's, permission? What
reason is there to allow someone else to <span class="quote">«<span class="quote">steal</span>»</span> Shakespeare's work?
-</p><a class="indexterm" name="idp6
853024"></a><p>
+</p><a class="indexterm" name="idp6
1971984"></a><p>
The answer comes in two parts. We first need to see something special
about the notion of <span class="quote">«<span class="quote">copyright</span>»</span> that existed at the time of the
Statute of Anne. Second, we have to see something important about
<span class="quote">«<span class="quote">booksellers.</span>»</span>
-</p><a class="indexterm" name="idp6
855152"></a><p>
+</p><a class="indexterm" name="idp6
1974112"></a><p>
First, about copyright. In the last three hundred years, we have come
to apply the concept of <span class="quote">«<span class="quote">copyright</span>»</span> ever more broadly. But in 1710, it
wasn't so much a concept as it was a very particular right. The
large collection of restrictions on the freedom of others: It grants
the author the exclusive right to copy, the exclusive right to
distribute, the exclusive right to perform, and so on.
-</p><a class="indexterm" name="idp6
858704"></a><a class="indexterm" name="idp6859456"></a><p>
+</p><a class="indexterm" name="idp6
1977664"></a><a class="indexterm" name="idp61978416"></a><p>
So, for example, even if the copyright to Shakespeare's works were
perpetual, all that would have meant under the original meaning of the
term was that no one could reprint Shakespeare's work without the
the work could be translated, or whether Kenneth Branagh would be
allowed to make his films. The <span class="quote">«<span class="quote">copy-right</span>»</span> was only an exclusive
right to print—no less, of course, but also no more.
-</p><a class="indexterm" name="idp6
861520"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp6863504"></a><p>
+</p><a class="indexterm" name="idp6
1980480"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp61982464"></a><p>
Even that limited right was viewed with skepticism by the British.
They had had a long and ugly experience with <span class="quote">«<span class="quote">exclusive rights,</span>»</span>
especially <span class="quote">«<span class="quote">exclusive rights</span>»</span> granted by the Crown. The English had
have it forever.</span>»</span>) The state would protect the exclusive right, but
only so long as it benefited society. The British saw the harms from
specialinterest favors; they passed a law to stop them.
-</p><a class="indexterm" name="idp6
867952"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp6869936"></a><a class="indexterm" name="idxcopyrightdurationof3"></a><p>
+</p><a class="indexterm" name="idp6
1986912"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp61988896"></a><a class="indexterm" name="idxcopyrightdurationof3"></a><p>
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.
Booksellers sound quaint and harmless to us. They were not viewed
these monopolists were harsh: Milton described them as <span class="quote">«<span class="quote">old patentees
and monopolizers in the trade of book-selling</span>»</span>; they were <span class="quote">«<span class="quote">men who do
not therefore labour in an honest profession to which learning is
-indetted.</span>»</span><a href="#ftn.idp6874048" class="footnote" name="idp6874048"><sup class="footnote">[101]</sup></a>
-</p><a class="indexterm" name="idp6
875328"></a><a class="indexterm" name="idp6876080"></a><p>
+indetted.</span>»</span><a href="#ftn.idp61993008" class="footnote" name="idp61993008"><sup class="footnote">[101]</sup></a>
+</p><a class="indexterm" name="idp6
1994288"></a><a class="indexterm" name="idp61995040"></a><p>
Many believed the power the booksellers exercised over the spread of
knowledge was harming that spread, just at the time the Enlightenment
was teaching the importance of education and knowledge spread
Eye of the Law; it will be a great Cramp to Trade, a Discouragement to
Learning, no Benefit to the Authors, but a general Tax on the Publick;
and all this only to increase the private Gain of the
-Booksellers.<a href="#ftn.idp6885136" class="footnote" name="idp6885136"><sup class="footnote">[102]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
887360"></a><a class="indexterm" name="idp6888336"></a><a class="indexterm" name="idp6889312"></a><a class="indexterm" name="idp6890064"></a><a class="indexterm" name="idp6891072"></a><p>
+Booksellers.<a href="#ftn.idp62004096" class="footnote" name="idp62004096"><sup class="footnote">[102]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
2006320"></a><a class="indexterm" name="idp62007296"></a><a class="indexterm" name="idp62008272"></a><a class="indexterm" name="idp62009024"></a><a class="indexterm" name="idp62010032"></a><p>
Having failed in Parliament, the publishers turned to the courts in a
series of cases. Their argument was simple and direct: The Statute of
Anne gave authors certain protections through positive law, but those
they had the right to ban the publication of a book, even if its
Statute of Anne copyright had expired. This, they argued, was the only
way to protect authors.
-</p><a class="indexterm" name="idp6
893456"></a><p>
+</p><a class="indexterm" name="idp6
2012416"></a><p>
This was a clever argument, and one that had the support of some of
the leading jurists of the day. It also displayed extraordinary
chutzpah. Until then, as law professor Raymond Patterson has put it,
<span class="quote">«<span class="quote">The publishers … had as much concern for authors as a cattle
-rancher has for cattle.</span>»</span><a href="#ftn.idp6633760" class="footnote" name="idp6633760"><sup class="footnote">[103]</sup></a>
+rancher has for cattle.</span>»</span><a href="#ftn.idp61738384" class="footnote" name="idp61738384"><sup class="footnote">[103]</sup></a>
The bookseller didn't care squat for the rights of the author. His
concern was the monopoly profit that the author's work gave.
-</p><a class="indexterm" name="idxdonaldsonalexander"></a><a class="indexterm" name="idp6
899904"></a><a class="indexterm" name="idxscottishpublishers"></a><p>
+</p><a class="indexterm" name="idxdonaldsonalexander"></a><a class="indexterm" name="idp6
2018864"></a><a class="indexterm" name="idxscottishpublishers"></a><p>
The booksellers' argument was not accepted without a fight.
The hero of this fight was a Scottish bookseller named Alexander
-Donaldson.<a href="#ftn.idp6902304" class="footnote" name="idp6902304"><sup class="footnote">[104]</sup></a>
-</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp6
906048"></a><a class="indexterm" name="idp6906800"></a><p>
+Donaldson.<a href="#ftn.idp62021264" class="footnote" name="idp62021264"><sup class="footnote">[104]</sup></a>
+</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp6
2025008"></a><a class="indexterm" name="idp62025760"></a><p>
Donaldson was an outsider to the London Conger. He began his
career in Edinburgh in 1750. The focus of his business was inexpensive
reprints <span class="quote">«<span class="quote">of standard works whose copyright term had expired,</span>»</span> at least
-under the Statute of Anne.<a href="#ftn.idp6908352" class="footnote" name="idp6908352"><sup class="footnote">[105]</sup></a>
+under the Statute of Anne.<a href="#ftn.idp62027312" class="footnote" name="idp62027312"><sup class="footnote">[105]</sup></a>
Donaldson's publishing house prospered
and became <span class="quote">«<span class="quote">something of a center for literary Scotsmen.</span>»</span> <span class="quote">«<span class="quote">[A]mong
them,</span>»</span> Professor Mark Rose writes, was <span class="quote">«<span class="quote">the young James Boswell
who, together with his friend Andrew Erskine, published an anthology
-of contemporary Scottish poems with Donaldson.</span>»</span><a href="#ftn.idp6911696" class="footnote" name="idp6911696"><sup class="footnote">[106]</sup></a>
+of contemporary Scottish poems with Donaldson.</span>»</span><a href="#ftn.idp62030656" class="footnote" name="idp62030656"><sup class="footnote">[106]</sup></a>
</p><a class="indexterm" name="idxcommonlaw"></a><p>
When the London booksellers tried to shut down Donaldson's shop in
Scotland, he responded by moving his shop to London, where he sold
inexpensive editions <span class="quote">«<span class="quote">of the most popular English books, in defiance
of the supposed common law right of Literary
-Property.</span>»</span><a href="#ftn.idp6914624" class="footnote" name="idp6914624"><sup class="footnote">[107]</sup></a>
+Property.</span>»</span><a href="#ftn.idp62033584" class="footnote" name="idp62033584"><sup class="footnote">[107]</sup></a>
His books undercut the Conger prices by 30 to 50 percent, and he
rested his right to compete upon the ground that, under the Statute of
Anne, the works he was selling had passed out of protection.
-</p><a class="indexterm" name="idp6
916864"></a><a class="indexterm" name="idxmillarvtaylor"></a><p>
+</p><a class="indexterm" name="idp6
2035824"></a><a class="indexterm" name="idxmillarvtaylor"></a><p>
The London booksellers quickly brought suit to block <span class="quote">«<span class="quote">piracy</span>»</span> like
Donaldson's. A number of actions were successful against the <span class="quote">«<span class="quote">pirates,</span>»</span>
the most important early victory being <em class="citetitle">Millar</em> v. <em class="citetitle">Taylor</em>.
-</p><a class="indexterm" name="idp6
921072"></a><a class="indexterm" name="idp6922048"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp6925744"></a><a class="indexterm" name="idp6926496"></a><p>
+</p><a class="indexterm" name="idp6
2040032"></a><a class="indexterm" name="idp62041008"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp62044704"></a><a class="indexterm" name="idp62045456"></a><p>
Millar was a bookseller who in 1729 had purchased the rights to James
Thomson's poem <span class="quote">«<span class="quote">The Seasons.</span>»</span> Millar complied with the requirements of
the Statute of Anne, and therefore received the full protection of the
statute. After the term of copyright ended, Robert Taylor began
printing a competing volume. Millar sued, claiming a perpetual common
-law right, the Statute of Anne notwithstanding.<a href="#ftn.idp6928288" class="footnote" name="idp6928288"><sup class="footnote">[108]</sup></a>
+law right, the Statute of Anne notwithstanding.<a href="#ftn.idp62047248" class="footnote" name="idp62047248"><sup class="footnote">[108]</sup></a>
</p><a class="indexterm" name="idxmansfieldwilliammurraylord2"></a><p>
Astonishingly to modern lawyers, one of the greatest judges in English
history, Lord Mansfield, agreed with the booksellers. Whatever
reprinting Thomson's poem without Millar's permission. That common law
rule thus effectively gave the booksellers a perpetual right to
control the publication of any book assigned to them.
-</p><a class="indexterm" name="idp6
932672"></a><a class="indexterm" name="idp6933648"></a><a class="indexterm" name="idp6934624"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
+</p><a class="indexterm" name="idp6
2051632"></a><a class="indexterm" name="idp62052608"></a><a class="indexterm" name="idp62053584"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
Considered as a matter of abstract justice—reasoning as if
justice were just a matter of logical deduction from first
principles—Mansfield's conclusion might make some sense. But
a reasonable period of time. Within twenty-one years, Parliament
believed, Britain would mature from the controlled culture that the
Crown coveted to the free culture that we inherited.
-</p><a class="indexterm" name="idp6
938192"></a><a class="indexterm" name="idxdonaldsonalexander2"></a><a class="indexterm" name="idxscottishpublishers2"></a><p>
+</p><a class="indexterm" name="idp6
2057152"></a><a class="indexterm" name="idxdonaldsonalexander2"></a><a class="indexterm" name="idxscottishpublishers2"></a><p>
The fight to defend the limits of the Statute of Anne was not to end
there, however, and it is here that Donaldson enters the mix.
-</p><a class="indexterm" name="idp6
942160"></a><a class="indexterm" name="idp6942912"></a><a class="indexterm" name="idxhouseoflords"></a><a class="indexterm" name="idxsupremecourtushouseoflordsvs"></a><p>
+</p><a class="indexterm" name="idp6
2061120"></a><a class="indexterm" name="idp62061872"></a><a class="indexterm" name="idxhouseoflords"></a><a class="indexterm" name="idxsupremecourtushouseoflordsvs"></a><p>
Millar died soon after his victory, so his case was not appealed. His
estate sold Thomson's poems to a syndicate of printers that included
-Thomas Beckett.<a href="#ftn.idp6946816" class="footnote" name="idp6946816"><sup class="footnote">[109]</sup></a>
+Thomas Beckett.<a href="#ftn.idp62065776" class="footnote" name="idp62065776"><sup class="footnote">[109]</sup></a>
Donaldson then released an unauthorized edition
of Thomson's works. Beckett, on the strength of the decision in <em class="citetitle">Millar</em>,
got an injunction against Donaldson. Donaldson appealed the case to
the House of Lords, which functioned much like our own Supreme
Court. In February of 1774, that body had the chance to interpret the
meaning of Parliament's limits from sixty years before.
-</p><a class="indexterm" name="idp6
948496"></a><a class="indexterm" name="idp6949472"></a><a class="indexterm" name="idxdonaldsonvbeckett"></a><a class="indexterm" name="idxcommonlaw2"></a><p>
+</p><a class="indexterm" name="idp6
2067456"></a><a class="indexterm" name="idp62068432"></a><a class="indexterm" name="idxdonaldsonvbeckett"></a><a class="indexterm" name="idxcommonlaw2"></a><p>
As few legal cases ever do, <em class="citetitle">Donaldson</em> v. <em class="citetitle">Beckett</em> drew an
enormous amount of attention throughout Britain. Donaldson's lawyers
argued that whatever rights may have existed under the common law, the
publication came from that statute. Thus, they argued, after the term
specified in the Statute of Anne expired, works that had been
protected by the statute were no longer protected.
-</p><a class="indexterm" name="idp6
954544"></a><p>
+</p><a class="indexterm" name="idp6
2073504"></a><p>
The House of Lords was an odd institution. Legal questions were
presented to the House and voted upon first by the <span class="quote">«<span class="quote">law lords,</span>»</span>
members of special legal distinction who functioned much like the
Justices in our Supreme Court. Then, after the law lords voted, the
House of Lords generally voted.
-</p><a class="indexterm" name="idp6
956592"></a><a class="indexterm" name="idxcopyrightinperpetuity3"></a><a class="indexterm" name="idxpublicdomainenglishlegalestablishmentof"></a><p>
+</p><a class="indexterm" name="idp6
2075552"></a><a class="indexterm" name="idxcopyrightinperpetuity3"></a><a class="indexterm" name="idxpublicdomainenglishlegalestablishmentof"></a><p>
The reports about the law lords' votes are mixed. On some counts,
it looks as if perpetual copyright prevailed. But there is no ambiguity
Whatever one's understanding of the common law, now a copyright was
fixed for a limited time, after which the work protected by copyright
passed into the public domain.
-</p><a class="indexterm" name="idp6
961664"></a><a class="indexterm" name="idp6962416"></a><a class="indexterm" name="idp6963168"></a><a class="indexterm" name="idp6963920"></a><a class="indexterm" name="idp6964672"></a><p>
+</p><a class="indexterm" name="idp6
2080624"></a><a class="indexterm" name="idp62081376"></a><a class="indexterm" name="idp62082128"></a><a class="indexterm" name="idp62082880"></a><a class="indexterm" name="idp62083632"></a><p>
<span class="quote">«<span class="quote">The public domain.</span>»</span> Before the case of <em class="citetitle">Donaldson</em>
v. <em class="citetitle">Beckett</em>, there was no clear idea of a public domain in
England. Before 1774, there was a strong argument that common law
over creative works expired, and the greatest works in English
history—including those of Shakespeare, Bacon, Milton, Johnson,
and Bunyan—were free of legal restraint.
-</p><a class="indexterm" name="idp6
966832"></a><a class="indexterm" name="idp6968464"></a><a class="indexterm" name="idp6969440"></a><a class="indexterm" name="idp6970416"></a><a class="indexterm" name="idp6971392"></a><a class="indexterm" name="idp6972368"></a><p>
+</p><a class="indexterm" name="idp6
2085792"></a><a class="indexterm" name="idp62087424"></a><a class="indexterm" name="idp62088400"></a><a class="indexterm" name="idp62089376"></a><a class="indexterm" name="idp62090352"></a><a class="indexterm" name="idp62091328"></a><p>
It is hard for us to imagine, but this decision by the House of Lords
fueled an extraordinarily popular and political reaction. In Scotland,
where most of the <span class="quote">«<span class="quote">pirate publishers</span>»</span> did their work, people
public, and none has been tried before the House of Lords in the
decision of which so many individuals were interested.</span>»</span> <span class="quote">«<span class="quote">Great
rejoicing in Edinburgh upon victory over literary property: bonfires
-and illuminations.</span>»</span><a href="#ftn.idp6975264" class="footnote" name="idp6975264"><sup class="footnote">[110]</sup></a>
-</p><a class="indexterm" name="idp6
976160"></a><p>
+and illuminations.</span>»</span><a href="#ftn.idp62094224" class="footnote" name="idp62094224"><sup class="footnote">[110]</sup></a>
+</p><a class="indexterm" name="idp6
2095120"></a><p>
In London, however, at least among publishers, the reaction was
equally strong in the opposite direction. The <em class="citetitle">Morning Chronicle</em>
reported:
Copy-right, are in a manner ruined, and those who after many years
industry thought they had acquired a competency to provide for their
families now find themselves without a shilling to devise to their
-successors.<a href="#ftn.idp6895168" class="footnote" name="idp6895168"><sup class="footnote">[111]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp6
980064"></a><a class="indexterm" name="idp6980816"></a><p>
+successors.<a href="#ftn.idp62014128" class="footnote" name="idp62014128"><sup class="footnote">[111]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp6
2099024"></a><a class="indexterm" name="idp62099776"></a><p>
<span class="quote">«<span class="quote">Ruined</span>»</span> is a bit of an exaggeration. But it is not an exaggeration to
say that the change was profound. The decision of the House of Lords
context</em></span>, not a context in which the choices about what
culture is available to people and how they get access to it are made
by the few despite the wishes of the many.
-</p><a class="indexterm" name="idp6
985296"></a><a class="indexterm" name="idp6986272"></a><p>
+</p><a class="indexterm" name="idp6
2104256"></a><a class="indexterm" name="idp62105232"></a><p>
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.
-</p><a class="indexterm" name="idp6987648"></a><a class="indexterm" name="idp6988624"></a><a class="indexterm" name="idp6989600"></a><a class="indexterm" name="idp6990576"></a><a class="indexterm" name="idp6991552"></a><a class="indexterm" name="idp6992528"></a><a class="indexterm" name="idp6993504"></a><a class="indexterm" name="idp6994480"></a><a class="indexterm" name="idp6995456"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6811536" class="footnote"><p><a href="#idp6811536" class="para"><sup class="para">[98] </sup></a>
+</p><a class="indexterm" name="idp62106608"></a><a class="indexterm" name="idp62107584"></a><a class="indexterm" name="idp62108560"></a><a class="indexterm" name="idp62109536"></a><a class="indexterm" name="idp62110512"></a><a class="indexterm" name="idp62111488"></a><a class="indexterm" name="idp62112464"></a><a class="indexterm" name="idp62113440"></a><a class="indexterm" name="idp62114416"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp61930992" class="footnote"><p><a href="#idp61930992" class="para"><sup class="para">[98] </sup></a>
-<a class="indexterm" name="idp6812176"></a>
-<a class="indexterm" name="idp6812928"></a>
+<a class="indexterm" name="idp61931632"></a>
+<a class="indexterm" name="idp61932384"></a>
Jacob Tonson is typically remembered for his associations with prominent
eighteenth-century literary figures, especially John Dryden, and for his
handsome <span class="quote">«<span class="quote">definitive editions</span>»</span> of classic works. In addition to <em class="citetitle">Romeo and
heart of the English canon, including collected works of Shakespeare, Ben
Jonson, John Milton, and John Dryden. See Keith Walker, <span class="quote">«<span class="quote">Jacob Tonson,
Bookseller,</span>»</span> <em class="citetitle">American Scholar</em> 61:3 (1992): 424–31.
-</p></div><div id="ftn.idp6815840" class="footnote"><p><a href="#idp6815840" class="para"><sup class="para">[99] </sup></a>
+</p></div><div id="ftn.idp61935296" class="footnote"><p><a href="#idp61935296" class="para"><sup class="para">[99] </sup></a>
Lyman Ray Patterson, <em class="citetitle">Copyright in Historical Perspective</em> (Nashville:
Vanderbilt University Press, 1968), 151–52.
-</p></div><div id="ftn.idp6823440" class="footnote"><p><a href="#idp6823440" class="para"><sup class="para">[100] </sup></a>
+</p></div><div id="ftn.idp61942896" class="footnote"><p><a href="#idp61942896" class="para"><sup class="para">[100] </sup></a>
-<a class="indexterm" name="idp6824080"></a>
+<a class="indexterm" name="idp61943536"></a>
As Siva Vaidhyanathan nicely argues, it is erroneous to call this a
<span class="quote">«<span class="quote">copyright law.</span>»</span> See Vaidhyanathan, <em class="citetitle">Copyrights and Copywrongs</em>, 40.
-</p></div><div id="ftn.idp6874048" class="footnote"><p><a href="#idp6874048" class="para"><sup class="para">[101] </sup></a>
+</p></div><div id="ftn.idp61993008" class="footnote"><p><a href="#idp61993008" class="para"><sup class="para">[101] </sup></a>
Philip Wittenberg, <em class="citetitle">The Protection and Marketing of Literary
Property</em> (New York: J. Messner, Inc., 1937), 31.
-</p></div><div id="ftn.idp6885136" class="footnote"><p><a href="#idp6885136" class="para"><sup class="para">[102] </sup></a>
+</p></div><div id="ftn.idp62004096" class="footnote"><p><a href="#idp62004096" class="para"><sup class="para">[102] </sup></a>
A Letter to a Member of Parliament concerning the Bill now depending
in the House of Commons, for making more effectual an Act in the
the Authors or Purchasers of such Copies, during the Times therein
mentioned (London, 1735), in Brief Amici Curiae of Tyler T. Ochoa et
al., 8, <em class="citetitle">Eldred</em> v. <em class="citetitle">Ashcroft</em>, 537 U.S. 186 (2003) (No. 01-618).
-</p></div><div id="ftn.idp6633760" class="footnote"><p><a href="#idp6633760" class="para"><sup class="para">[103] </sup></a>
+</p></div><div id="ftn.idp61738384" class="footnote"><p><a href="#idp61738384" class="para"><sup class="para">[103] </sup></a>
-<a class="indexterm" name="idp6895904"></a>
-<a class="indexterm" name="idp6896656"></a>
+<a class="indexterm" name="idp62014864"></a>
+<a class="indexterm" name="idp62015616"></a>
Lyman Ray Patterson, <span class="quote">«<span class="quote">Free Speech, Copyright, and Fair Use,</span>»</span> <em class="citetitle">Vanderbilt
Law Review</em> 40 (1987): 28. For a wonderfully compelling account, see
Vaidhyanathan, 37–48.
-</p></div><div id="ftn.idp6902304" class="footnote"><p><a href="#idp6902304" class="para"><sup class="para">[104] </sup></a>
+</p></div><div id="ftn.idp62021264" class="footnote"><p><a href="#idp62021264" class="para"><sup class="para">[104] </sup></a>
For a compelling account, see David Saunders, <em class="citetitle">Authorship and Copyright</em>
(London: Routledge, 1992), 62–69.
-</p></div><div id="ftn.idp6908352" class="footnote"><p><a href="#idp6908352" class="para"><sup class="para">[105] </sup></a>
+</p></div><div id="ftn.idp62027312" class="footnote"><p><a href="#idp62027312" class="para"><sup class="para">[105] </sup></a>
Mark Rose, <em class="citetitle">Authors and Owners</em> (Cambridge: Harvard University Press,
1993), 92.
-<a class="indexterm" name="idp6909376"></a>
-</p></div><div id="ftn.idp6911696" class="footnote"><p><a href="#idp6911696" class="para"><sup class="para">[106] </sup></a>
+<a class="indexterm" name="idp62028336"></a>
+</p></div><div id="ftn.idp62030656" class="footnote"><p><a href="#idp62030656" class="para"><sup class="para">[106] </sup></a>
Ibid., 93.
-</p></div><div id="ftn.idp6914624" class="footnote"><p><a href="#idp6914624" class="para"><sup class="para">[107] </sup></a>
+</p></div><div id="ftn.idp62033584" class="footnote"><p><a href="#idp62033584" class="para"><sup class="para">[107] </sup></a>
-<a class="indexterm" name="idp6915264"></a>
+<a class="indexterm" name="idp62034224"></a>
Lyman Ray Patterson, <em class="citetitle">Copyright in Historical Perspective</em>, 167 (quoting
Borwell).
-</p></div><div id="ftn.idp6928288" class="footnote"><p><a href="#idp6928288" class="para"><sup class="para">[108] </sup></a>
+</p></div><div id="ftn.idp62047248" class="footnote"><p><a href="#idp62047248" class="para"><sup class="para">[108] </sup></a>
Howard B. Abrams, <span class="quote">«<span class="quote">The Historic Foundation of American Copyright Law:
Exploding the Myth of Common Law Copyright,</span>»</span> <em class="citetitle">Wayne Law Review</em> 29
(1983): 1152.
-</p></div><div id="ftn.idp6946816" class="footnote"><p><a href="#idp6946816" class="para"><sup class="para">[109] </sup></a>
+</p></div><div id="ftn.idp62065776" class="footnote"><p><a href="#idp62065776" class="para"><sup class="para">[109] </sup></a>
Ibid., 1156.
-</p></div><div id="ftn.idp6975264" class="footnote"><p><a href="#idp6975264" class="para"><sup class="para">[110] </sup></a>
+</p></div><div id="ftn.idp62094224" class="footnote"><p><a href="#idp62094224" class="para"><sup class="para">[110] </sup></a>
Rose, 97.
-</p></div><div id="ftn.idp6895168" class="footnote"><p><a href="#idp6895168" class="para"><sup class="para">[111] </sup></a>
+</p></div><div id="ftn.idp62014128" class="footnote"><p><a href="#idp62014128" class="para"><sup class="para">[111] </sup></a>
Ibid.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="recorders"></a>Chapter 7. Chapter Seven: Recorders</h2></div></div></div><a class="indexterm" name="idxcopyrightlawfairuseand"></a><a class="indexterm" name="idxdocumentaryfilm"></a><a class="indexterm" name="idxelsejon"></a><a class="indexterm" name="idxfairuseindocumentaryfilm"></a><a class="indexterm" name="idxfilmsfairuseofcopyrightedmaterialin"></a><p>
Else worked on a documentary that I was involved in. At a break,
he told me a story about the freedom to create with film in America
today.
-</p><a class="indexterm" name="idxwagnerrichard"></a><a class="indexterm" name="idp
7007968"></a><p>
+</p><a class="indexterm" name="idxwagnerrichard"></a><a class="indexterm" name="idp
62126928"></a><p>
In 1990, Else was working on a documentary about Wagner's Ring
Cycle. The focus was stagehands at the San Francisco Opera.
Stagehands are a particularly funny and colorful element of an opera.
it, this touch of cartoon helped capture the flavor of what was special
about the scene.
-</p><a class="indexterm" name="idp
7012080"></a><a class="indexterm" name="idp7013056"></a><p>
+</p><a class="indexterm" name="idp
62131040"></a><a class="indexterm" name="idp62132016"></a><p>
Years later, when he finally got funding to complete the film, Else
attempted to clear the rights for those few seconds of <em class="citetitle">The Simpsons</em>.
For of course, those few seconds are copyrighted; and of course, to use
Else called Fox and told them about the clip in the corner of the one
room shot of the film. Matt Groening had already given permission,
Else said. He was just confirming the permission with Fox.
-</p><a class="indexterm" name="idp
7021056"></a><p>
+</p><a class="indexterm" name="idp
62140016"></a><p>
Then, as Else told me, <span class="quote">«<span class="quote">two things happened. First we discovered
… that Matt Groening doesn't own his own creation—or at
least that someone [at Fox] believes he doesn't own his own creation.</span>»</span>
And second, Fox <span class="quote">«<span class="quote">wanted ten thousand dollars as a licensing fee for us
to use this four-point-five seconds of … entirely unsolicited
<em class="citetitle">Simpsons</em> which was in the corner of the shot.</span>»</span>
-</p><a class="indexterm" name="idp
7024000"></a><a class="indexterm" name="idp7024864"></a><a class="indexterm" name="idxherrerarebecca"></a><p>
+</p><a class="indexterm" name="idp
62143248"></a><a class="indexterm" name="idp62144384"></a><a class="indexterm" name="idxherrerarebecca"></a><p>
Else was certain there was a mistake. He worked his way up to someone
he thought was a vice president for licensing, Rebecca Herrera. He
explained to her, <span class="quote">«<span class="quote">There must be some mistake here. … We're
asking for your educational rate on this.</span>»</span> That was the educational
rate, Herrera told Else. A day or so later, Else called again to
confirm what he had been told.
-</p><a class="indexterm" name="idp
7028256"></a><p>
+</p><a class="indexterm" name="idp
62148416"></a><p>
<span class="quote">«<span class="quote">I wanted to make sure I had my facts straight,</span>»</span> he told me. <span class="quote">«<span class="quote">Yes, you
have your facts straight,</span>»</span> she said. It would cost $10,000 to use the
clip of <em class="citetitle">The Simpsons</em> in the corner of a shot in a documentary film
if you quote me, I'll turn you over to our attorneys.</span>»</span> As an assistant
to Herrera told Else later on, <span class="quote">«<span class="quote">They don't give a shit. They just want
the money.</span>»</span>
-</p><a class="indexterm" name="idp
7031728"></a><a class="indexterm" name="idp7032704"></a><a class="indexterm" name="idp7033456"></a><p>
+</p><a class="indexterm" name="idp
62152368"></a><a class="indexterm" name="idp62153648"></a><a class="indexterm" name="idp62154464"></a><p>
Else didn't have the money to buy the right to replay what was playing
on the television backstage at the San Francisco Opera. To reproduce
this reality was beyond the documentary filmmaker's budget. At the
by the law.
</p><p>
But when lawyers hear this story about Jon Else and Fox, their first
-thought is <span class="quote">«<span class="quote">fair use.</span>»</span><a href="#ftn.idp7042480" class="footnote" name="idp7042480"><sup class="footnote">[112]</sup></a>
+thought is <span class="quote">«<span class="quote">fair use.</span>»</span><a href="#ftn.idp62164432" class="footnote" name="idp62164432"><sup class="footnote">[112]</sup></a>
Else's use of just 4.5 seconds of an indirect shot of a <em class="citetitle">Simpsons</em>
episode is clearly a fair use of <em class="citetitle">The Simpsons</em>—and fair use does
not require the permission of anyone.
-</p><a class="indexterm" name="idp
7045808"></a><a class="indexterm" name="idp7046784"></a><p>
+</p><a class="indexterm" name="idp
62168320"></a><a class="indexterm" name="idp62169600"></a><p>
So I asked Else why he didn't just rely upon <span class="quote">«<span class="quote">fair use.</span>»</span> Here's his reply:
</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idxfairuselegalintimidationtacticsagainst"></a><p>
broadcast documentaries. I never had any doubt that it was <span class="quote">«<span class="quote">clearly
fair use</span>»</span> in an absolute legal sense. But I couldn't rely on the
concept in any concrete way. Here's why:
-</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><a class="indexterm" name="idp
7053296"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><a class="indexterm" name="idp
62177232"></a><p>
Before our films can be broadcast, the network requires that we buy
Errors and Omissions insurance. The carriers require a detailed
<span class="quote">«<span class="quote">visual cue sheet</span>»</span> listing the source and licensing status of each
shot in the film. They take a dim view of <span class="quote">«<span class="quote">fair use,</span>»</span> and a claim of
<span class="quote">«<span class="quote">fair use</span>»</span> can grind the application process to a halt.
-</p></li><li class="listitem"><a class="indexterm" name="idxfoxfilmcompany3"></a><a class="indexterm" name="idp
7057728"></a><a class="indexterm" name="idp7058544"></a><a class="indexterm" name="idp7059360"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idxfoxfilmcompany3"></a><a class="indexterm" name="idp
62182128"></a><a class="indexterm" name="idp62182944"></a><a class="indexterm" name="idp62183760"></a><p>
I probably never should have asked Matt Groening in the first
place. But I knew (at least from folklore) that Fox had a history of
would boil down to who had the bigger legal department and the deeper
pockets, me or them.
-</p><a class="indexterm" name="idp
7064880"></a></li><li class="listitem"><p>
+</p><a class="indexterm" name="idp
62189280"></a></li><li class="listitem"><p>
The question of fair use usually comes up at the end of the
project, when we are up against a release deadline and out of
money.
-</p></li></ol></div></blockquote></div><a class="indexterm" name="idp
7067488"></a><p>
+</p></li></ol></div></blockquote></div><a class="indexterm" name="idp
62191952"></a><p>
In theory, fair use means you need no permission. The theory therefore
supports free culture and insulates against a permission culture. But
in practice, fair use functions very differently. The fuzzy lines of
publishers' profits against the unfair competition of a pirate. It has
matured into a sword that interferes with any use, transformative or
not.
-</p><a class="indexterm" name="idp7070192"></a><a class="indexterm" name="idp7071584"></a><a class="indexterm" name="idp7072848"></a><a class="indexterm" name="idp7074096"></a><a class="indexterm" name="idp7075488"></a><a class="indexterm" name="idp7076768"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7042480" class="footnote"><p><a href="#idp7042480" class="para"><sup class="para">[112] </sup></a>
+</p><a class="indexterm" name="idp62194656"></a><a class="indexterm" name="idp62196048"></a><a class="indexterm" name="idp62197312"></a><a class="indexterm" name="idp62198624"></a><a class="indexterm" name="idp62199952"></a><a class="indexterm" name="idp62201232"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp62164432" class="footnote"><p><a href="#idp62164432" class="para"><sup class="para">[112] </sup></a>
For an excellent argument that such use is <span class="quote">«<span class="quote">fair use,</span>»</span> but that
lawyers don't permit recognition that it is <span class="quote">«<span class="quote">fair use,</span>»</span> see Richard
A. Posner with William F. Patry, <span class="quote">«<span class="quote">Fair Use and Statutory Reform in the
Wake of <em class="citetitle">Eldred</em></span>»</span> (draft on file with author), University of Chicago
Law School, 5 August 2003.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="transformers"></a>Chapter 8. Chapter Eight: Transformers</h2></div></div></div><a class="indexterm" name="idp
7079856"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp7082208"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="transformers"></a>Chapter 8. Chapter Eight: Transformers</h2></div></div></div><a class="indexterm" name="idp
62204384"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp62206688"></a><p>
<span class="strong"><strong>In 1993</strong></span>, Alex Alben was a lawyer
working at Starwave, Inc. Starwave was an innovative company founded
by Microsoft cofounder Paul Allen to develop digital
Alben replied, <span class="quote">«<span class="quote">Well, we're going to have to clear rights from
everyone who appears in these films, and the music and everything
else that we want to use in these film clips.</span>»</span> Slade said, <span class="quote">«<span class="quote">Great! Go
-for it.</span>»</span><a href="#ftn.idp7094400" class="footnote" name="idp7094400"><sup class="footnote">[113]</sup></a>
+for it.</span>»</span><a href="#ftn.idp62218928" class="footnote" name="idp62218928"><sup class="footnote">[113]</sup></a>
</p><p>
The problem was that neither Alben nor Slade had any idea what
clearing those rights would mean. Every actor in each of the films
glass—is it the actor or is it the stuntman? And then we just,
we put together a team, my assistant and some others, and we just
started calling people.
-</p></blockquote></div><a class="indexterm" name="idp
7102112"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
62226640"></a><p>
Some actors were glad to help—Donald Sutherland, for example,
followed up himself to be sure that the rights had been cleared.
Others were dumbfounded at their good fortune. Alben would ask,
And no doubt, the product itself was exceptionally good. Eastwood
loved it, and it sold very well.
-</p><a class="indexterm" name="idp
7110176"></a><p>
+</p><a class="indexterm" name="idp
62234704"></a><p>
But I pressed Alben about how weird it seems that it would have to
take a year's work simply to clear rights. No doubt Alben had done
this efficiently, but as Peter Drucker has famously quipped, <span class="quote">«<span class="quote">There is
nothing so useless as doing efficiently that which should not be done
-at all.</span>»</span><a href="#ftn.idp7111776" class="footnote" name="idp7111776"><sup class="footnote">[114]</sup></a>
+at all.</span>»</span><a href="#ftn.idp62236304" class="footnote" name="idp62236304"><sup class="footnote">[114]</sup></a>
Did it make sense, I asked Alben, that this is the way a new work
has to be made?
</p><p>
that the average Web designer would not have. So if it took him a
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?
-</p><a class="indexterm" name="idp
7120944"></a><a class="indexterm" name="idp7122048"></a><p>
+</p><a class="indexterm" name="idp
62245472"></a><a class="indexterm" name="idp62246640"></a><p>
These costs are the burdens of a kind of regulation. Put on a
Republican hat for a moment, and get angry for a bit. The government
defines the scope of these rights, and the scope defined determines
change, they make no sense at all. Or at least, a well-trained,
regulationminimizing Republican should look at the rights and ask,
<span class="quote">«<span class="quote">Does this still make sense?</span>»</span>
-</p><a class="indexterm" name="idp
7125344"></a><p>
+</p><a class="indexterm" name="idp
62250000"></a><p>
I've seen the flash of recognition when people get this point, but only
a few times. The first was at a conference of federal judges in California.
The judges were gathered to discuss the emerging topic of cyber-law. I
twentieth century, all framed around the idea of a <em class="citetitle">60 Minutes</em> episode.
The execution was perfect, down to the sixty-minute stopwatch. The
judges loved every minute of it.
-</p><a class="indexterm" name="idp
7128816"></a><p>
+</p><a class="indexterm" name="idp
62253408"></a><p>
When the lights came up, I looked over to my copanelist, David
Nimmer, perhaps the leading copyright scholar and practitioner in the
nation. He had an astonished look on his face, as he peered across the
began his talk with a question: <span class="quote">«<span class="quote">Do you know how many federal laws
were just violated in this room?</span>»</span>
</p><p>
-<a class="indexterm" name="idp7131056"></a>
-<a class="indexterm" name="idp7131872"></a>
-<a class="indexterm" name="idp7132688"></a>
-<a class="indexterm" name="idp7133792"></a>
-<a class="indexterm" name="idp7134624"></a>
+<a class="indexterm" name="idp62255648"></a>
+<a class="indexterm" name="idp62256464"></a>
+<a class="indexterm" name="idp62257280"></a>
+<a class="indexterm" name="idp62258384"></a>
+<a class="indexterm" name="idp62259216"></a>
For of course, the two brilliantly talented creators who made this
film hadn't done what Alben did. They hadn't spent a year clearing the
rights to these clips; technically, what they had done violated the
and paste architecture of the Internet created—in a second you can
find just about any image you want; in another second, you can have it
planted in your presentation.
-</p><a class="indexterm" name="idp
7137120"></a><p>
+</p><a class="indexterm" name="idp
62261712"></a><p>
But presentations are just a tiny beginning. Using the Internet and
its archives, musicians are able to string together mixes of sound
so you don't have to rely upon fair use rights. Either way, the creative
process is a process of paying lawyers—again a privilege, or perhaps a
curse, reserved for the few.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7094400" class="footnote"><p><a href="#idp7094400" class="para"><sup class="para">[113] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp62218928" class="footnote"><p><a href="#idp62218928" class="para"><sup class="para">[113] </sup></a>
Technically, the rights that Alben had to clear were mainly those of
publicity—rights an artist has to control the commercial
exploitation of his image. But these rights, too, burden <span class="quote">«<span class="quote">Rip, Mix,
Burn</span>»</span> creativity, as this chapter evinces.
-<a class="indexterm" name="idp7096000"></a>
-<a class="indexterm" name="idp7097120"></a>
-</p></div><div id="ftn.idp7111776" class="footnote"><p><a href="#idp7111776" class="para"><sup class="para">[114] </sup></a>
+<a class="indexterm" name="idp62220528"></a>
+<a class="indexterm" name="idp62221648"></a>
+</p></div><div id="ftn.idp62236304" class="footnote"><p><a href="#idp62236304" class="para"><sup class="para">[114] </sup></a>
U.S. Department of Commerce Office of Acquisition Management, <em class="citetitle">Seven
Steps to Performance-Based Services Acquisition</em>, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #22</a>.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Chapter 9. Chapter Nine: Collectors</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp
7155744"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Chapter 9. Chapter Nine: Collectors</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp
62280384"></a><p>
<span class="strong"><strong>In April 1996</strong></span>, millions of
<span class="quote">«<span class="quote">bots</span>»</span>—computer codes designed to
<span class="quote">«<span class="quote">spider,</span>»</span> or automatically search the Internet and copy
finished the whole of the Internet, they started again. Over and over
again, once every two months, these bits of code took copies of the
Internet and stored them.
-</p><a class="indexterm" name="idp
7159056"></a><p>
+</p><a class="indexterm" name="idp
62283696"></a><p>
By October 2001, the bots had collected more than five years of
copies. And at a small announcement in Berkeley, California, the
archive that these copies created, the Internet Archive, was opened to
the same as the content you read before. The page may seem the same,
but the content could easily be different. The Internet is Orwell's
library—constantly updated, without any reliable memory.
-</p><a class="indexterm" name="idp
7164832"></a><a class="indexterm" name="idp7166576"></a><p>
+</p><a class="indexterm" name="idp
62289424"></a><a class="indexterm" name="idp62291168"></a><p>
Until the Way Back Machine, at least. With the Way Back Machine, and
the Internet Archive underlying it, you can see what the Internet
was. You have the power to see what you remember. More importantly,
perhaps, you also have the power to find what you don't remember and
-what others might prefer you forget.<a href="#ftn.idp7167968" class="footnote" name="idp7167968"><sup class="footnote">[115]</sup></a>
-</p><a class="indexterm" name="idp
7171712"></a><p>
+what others might prefer you forget.<a href="#ftn.idp62292560" class="footnote" name="idp62292560"><sup class="footnote">[115]</sup></a>
+</p><a class="indexterm" name="idp
62297120"></a><p>
<span class="strong"><strong>We take it</strong></span> for granted that we can
go back to see what we remember reading. Think about newspapers. If
you wanted to study the reaction of your hometown newspaper to the
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.
-</p><p>
+</p><a class="indexterm" name="idxkahlebrewster"></a><p>
Brewster Kahle is the founder of the Internet Archive. He was a very
successful Internet entrepreneur after he was a successful computer
researcher. In the 1990s, Kahle decided he had had enough business
Internet Archive was just the first of the projects of this Andrew
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.
-</p><a class="indexterm" name="idp
7177696"></a><a class="indexterm" name="idp7178448"></a><a class="indexterm" name="idp7179232"></a><a class="indexterm" name="idp7180048"></a><a class="indexterm" name="idp7180864"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
+</p><a class="indexterm" name="idp
62304576"></a><a class="indexterm" name="idp62305392"></a><a class="indexterm" name="idp62306208"></a><a class="indexterm" name="idp62307024"></a><a class="indexterm" name="idp62307840"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
The Way Back Machine is the largest archive of human knowledge in
human history. At the end of 2002, it held <span class="quote">«<span class="quote">two hundred and thirty
terabytes of material</span>»</span>—and was <span class="quote">«<span class="quote">ten times larger than the
[television] is almost unavailable,</span>»</span> Kahle told me. <span class="quote">«<span class="quote">If you were
Barbara Walters you could get access to [the archives], but if you are
just a graduate student?</span>»</span> As Kahle put it,
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
7186816"></a><a class="indexterm" name="idp7187632"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
62313808"></a><a class="indexterm" name="idp62314624"></a><p>
Do you remember when Dan Quayle was interacting with Murphy Brown?
Remember that back and forth surreal experience of a politician
interacting with a fictional television character? If you were a
<em class="citetitle">60 Minutes</em> episode that came out after it … it would be almost
impossible. … Those materials are almost unfindable. …
-</p></blockquote></div><a class="indexterm" name="idp
7190208"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
62317200"></a><p>
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
recorded on videotape is not? How is it that we've created a world
of knowledge and to assure that a copy of the work would be around
once the copyright expired, so that others might access and copy the
work.
-</p><a class="indexterm" name="idp
7192832"></a><a class="indexterm" name="idp7193648"></a><p>
+</p><a class="indexterm" name="idp
62319824"></a><a class="indexterm" name="idp62320640"></a><p>
These rules applied to film as well. But in 1915, the Library
of Congress made an exception for film. Film could be copyrighted so
long as such deposits were made. But the filmmaker was then allowed to
1915 alone, there were more than 5,475 films deposited and <span class="quote">«<span class="quote">borrowed
back.</span>»</span> Thus, when the copyrights to films expire, there is no copy
held by any library. The copy exists—if it exists at
-all—in the library archive of the film company.<a href="#ftn.idp7195872" class="footnote" name="idp7195872"><sup class="footnote">[116]</sup></a>
+all—in the library archive of the film company.<a href="#ftn.idp62322864" class="footnote" name="idp62322864"><sup class="footnote">[116]</sup></a>
</p><p>
The same is generally true about television. Television broadcasts
were originally not copyrighted—there was no way to capture the
broadcasters. No library had any right to them; the government didn't
demand them. The content of this part of American culture is
practically invisible to anyone who would look.
-</p><a class="indexterm" name="idp
7200368"></a><p>
+</p><a class="indexterm" name="idp
62327360"></a><p>
Kahle was eager to correct this. Before September 11, 2001, he and
his allies had started capturing television. They selected twenty
their coverage during the week of September 11 available free on-line.
Anyone could see how news reports from around the world covered the
events of that day.
-</p><a class="indexterm" name="idp
7202336"></a><a class="indexterm" name="idp7203120"></a><a class="indexterm" name="idp7204224"></a><a class="indexterm" name="idp7205424"></a><a class="indexterm" name="idp7206528"></a><a class="indexterm" name="idp7207344"></a><a class="indexterm" name="idp7208160"></a><a class="indexterm" name="idp7208976"></a><p>
+</p><a class="indexterm" name="idp
62329328"></a><a class="indexterm" name="idp62330112"></a><a class="indexterm" name="idp62331216"></a><a class="indexterm" name="idp62332480"></a><a class="indexterm" name="idp62333584"></a><a class="indexterm" name="idp62334400"></a><a class="indexterm" name="idp62335216"></a><a class="indexterm" name="idp62336032"></a><p>
Kahle had the same idea with film. Working with Rick Prelinger, whose
archive of film includes close to 45,000 <span class="quote">«<span class="quote">ephemeral films</span>»</span> (meaning
films other than Hollywood movies, films that were never copyrighted),
build an archive of knowledge about our history. In this second life,
the content can continue to inform even if that information is no
longer sold.
-</p><a class="indexterm" name="idp
7216048"></a><p>
+</p><a class="indexterm" name="idp
62343104"></a><p>
The same has always been true about books. A book goes out of print
-very quickly (the average today is after about a year<a href="#ftn.idp7217520" class="footnote" name="idp7217520"><sup class="footnote">[117]</sup></a>). After
+very quickly (the average today is after about a year<a href="#ftn.idp62344576" class="footnote" name="idp62344576"><sup class="footnote">[117]</sup></a>). After
it is out of print, it can be sold in used book stores without the
copyright owner getting anything and stored in libraries, where many
get to read the book, also for free. Used book stores and libraries
before. The Brewster Kahles of our history have dreamed about it; but
we are for the first time at a point where that dream is possible. As
Kahle describes,
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
7226736"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
62353792"></a><a class="indexterm" name="idp62354864"></a><a class="indexterm" name="idp62355968"></a><a class="indexterm" name="idp62357088"></a><a class="indexterm" name="idp62358192"></a><p>
It looks like there's about two to three million recordings of music.
Ever. There are about a hundred thousand theatrical releases of
movies, … and about one to two million movies [distributed] during
… thrilling. It could be one of the things humankind would be most
proud of. Up there with the Library of Alexandria, putting a man on
the moon, and the invention of the printing press.
-</p></blockquote></div><a class="indexterm" name="idp
7229136"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
62360624"></a><p>
Kahle is not the only librarian. The Internet Archive is not the only
archive. But Kahle and the Internet Archive suggest what the future of
libraries or archives could be. <span class="emphasis"><em>When</em></span> the
the <span class="quote">«<span class="quote">content</span>»</span> that is collected in these digital spaces is also
someone's <span class="quote">«<span class="quote">property.</span>»</span> And the law of property restricts the freedoms
that Kahle and others would exercise.
-</p><a class="indexterm" name="idp7234608"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7167968" class="footnote"><p><a href="#idp7167968" class="para"><sup class="para">[115] </sup></a>
+</p><a class="indexterm" name="idp62366144"></a><a class="indexterm" name="idp62367456"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp62292560" class="footnote"><p><a href="#idp62292560" class="para"><sup class="para">[115] </sup></a>
-<a class="indexterm" name="idp7168704"></a>
-<a class="indexterm" name="idp7169488"></a>
+<a class="indexterm" name="idp62293296"></a>
+<a class="indexterm" name="idp62294080"></a>
+<a class="indexterm" name="idp62294896"></a>
The temptations remain, however. Brewster Kahle reports that the White
House changes its own press releases without notice. A May 13, 2003,
press release stated, <span class="quote">«<span class="quote">Combat Operations in Iraq Have Ended.</span>»</span> That was
later changed, without notice, to <span class="quote">«<span class="quote">Major Combat Operations in Iraq
Have Ended.</span>»</span> E-mail from Brewster Kahle, 1 December 2003.
-</p></div><div id="ftn.idp7195872" class="footnote"><p><a href="#idp7195872" class="para"><sup class="para">[116] </sup></a>
+</p></div><div id="ftn.idp62322864" class="footnote"><p><a href="#idp62322864" class="para"><sup class="para">[116] </sup></a>
Doug Herrick, <span class="quote">«<span class="quote">Toward a National Film Collection: Motion Pictures at
the Library of Congress,</span>»</span> <em class="citetitle">Film Library Quarterly</em> 13 nos. 2–3
(1980): 5; Anthony Slide, <em class="citetitle">Nitrate Won't Wait: A History of Film
Preservation in the United States</em> (Jefferson, N.C.: McFarland &
Co., 1992), 36.
-</p></div><div id="ftn.idp7217520" class="footnote"><p><a href="#idp7217520" class="para"><sup class="para">[117] </sup></a>
+</p></div><div id="ftn.idp62344576" class="footnote"><p><a href="#idp62344576" class="para"><sup class="para">[117] </sup></a>
-<a class="indexterm" name="idp7218256"></a>
+<a class="indexterm" name="idp62345312"></a>
Dave Barns, <span class="quote">«<span class="quote">Fledgling Career in Antique Books: Woodstock Landlord,
Bar Owner Starts a New Chapter by Adopting Business,</span>»</span> <em class="citetitle">Chicago Tribune</em>,
5 September 1997, at Metro Lake 1L. Of books published between 1927
and 1946, only 2.2 percent were in print in 2002. R. Anthony Reese,
<span class="quote">«<span class="quote">The First Sale Doctrine in the Era of Digital Networks,</span>»</span> <em class="citetitle">Boston
College Law Review</em> 44 (2003): 593 n. 51.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="property-i"></a>Chapter 10. Chapter Ten: <span class="quote">«<span class="quote">Property</span>»</span></h2></div></div></div><a class="indexterm" name="idp
7237984"></a><a class="indexterm" name="idp7238800"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="property-i"></a>Chapter 10. Chapter Ten: <span class="quote">«<span class="quote">Property</span>»</span></h2></div></div></div><a class="indexterm" name="idp
62370832"></a><a class="indexterm" name="idp62371648"></a><a class="indexterm" name="idxvalentijackbackgroundof"></a><p>
<span class="strong"><strong>Jack Valenti</strong></span> has been the president
of the Motion Picture Association of America since 1966. He first came
to Washington, D.C., with Lyndon Johnson's
Kennedy has Valenti in the background. In his almost forty years of
running the MPAA, Valenti has established himself as perhaps the most
prominent and effective lobbyist in Washington.
-</p><a class="indexterm" name="idp
7240560"></a><a class="indexterm" name="idp7241984"></a><a class="indexterm" name="idp7242816"></a><a class="indexterm" name="idp7243648"></a><a class="indexterm" name="idp7244464"></a><a class="indexterm" name="idp7245280"></a><a class="indexterm" name="idp7246096"></a><p>
+</p><a class="indexterm" name="idp
62375280"></a><a class="indexterm" name="idp62376704"></a><a class="indexterm" name="idp62377488"></a><a class="indexterm" name="idp62378304"></a><a class="indexterm" name="idp62379120"></a><a class="indexterm" name="idp62379952"></a><a class="indexterm" name="idp62380768"></a><p>
The MPAA is the American branch of the international Motion Picture
Association. It was formed in 1922 as a trade association whose goal
was to defend American movies against increasing domestic criticism.
owners must be accorded the same rights and protection resident in all
other property owners in the nation</em></span>. That is the issue.
That is the question. And that is the rostrum on which this entire
-hearing and the debates to follow must rest.<a href="#ftn.idp7252496" class="footnote" name="idp7252496"><sup class="footnote">[118]</sup></a>
+hearing and the debates to follow must rest.<a href="#ftn.idp62387168" class="footnote" name="idp62387168"><sup class="footnote">[118]</sup></a>
</p></blockquote></div><p>
The strategy of this rhetoric, like the strategy of most of Valenti's
rhetoric, is brilliant and simple and brilliant because simple. The
have <span class="emphasis"><em>no</em></span> 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.
-</p><p>
+</p><a class="indexterm" name="idp62393264"></a><p>
While <span class="quote">«<span class="quote">creative property</span>»</span> is certainly <span class="quote">«<span class="quote">property</span>»</span> in a nerdy and
-precise sense that lawyers are trained to understand,<a href="#ftn.idp7259872" class="footnote" name="idp7259872"><sup class="footnote">[119]</sup></a> it has never been the case, nor should it be, that
+precise sense that lawyers are trained to understand,<a href="#ftn.idp62395824" class="footnote" name="idp62395824"><sup class="footnote">[119]</sup></a> it has never been the case, nor should it be, that
<span class="quote">«<span class="quote">creative property owners</span>»</span> have been <span class="quote">«<span class="quote">accorded the same rights and
protection resident in all other property owners.</span>»</span> Indeed, if creative
property owners were given the same rights as all other property
creative property be given the same rights as all other property? Why
did they require that for creative property there must be a public
domain?
-</p><a class="indexterm" name="idp
7281120"></a><p>
+</p><a class="indexterm" name="idp
62417120"></a><p>
To answer this question, we need to get some perspective on the
history of these <span class="quote">«<span class="quote">creative property</span>»</span> rights, and the control that they
enabled. Once we see clearly how differently these rights have been
ought to be. Not <span class="emphasis"><em>whether</em></span> artists should be paid,
but whether institutions designed to assure that artists get paid need
also control how culture develops.
-</p><a class="indexterm" name="idxfreeculturefourmodalitiesofconstrainton"></a><a class="indexterm" name="idxregulationfourmodalitiesof"></a><a class="indexterm" name="idxcopyrightlawasexpostregulationmodality"></a><a class="indexterm" name="idxlawasconstraintmodality"></a><p>
+</p><a class="indexterm" name="id
p62421088"></a><a class="indexterm" name="idp62421904"></a><a class="indexterm" name="idxfreeculturefourmodalitiesofconstrainton"></a><a class="indexterm" name="idxregulationfourmodalitiesof"></a><a class="indexterm" name="idxcopyrightlawasexpostregulationmodality"></a><a class="indexterm" name="idxlawasconstraintmodality"></a><p>
To answer these questions, we need a more general way to talk about
perspective. For any particular right or regulation, this model asks
how four different modalities of regulation interact to support or
weaken the right or regulation. I represented it with this diagram:
-</p><div class="figure"><a name="fig-1331"></a><p class="title"><b>Figure 10.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp7296464"></a><p>
+</p><div class="figure"><a name="fig-1331"></a><p class="title"><b>Figure 10.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp62434048"></a><p>
At the center of this picture is a regulated dot: the individual or
group that is the target of regulation, or the holder of a right. (In
each case throughout, we can describe this either as regulation or as
with a $150,000 fine. The fine is an ex post punishment for violating
an ex ante rule. It is imposed by the state.
-<a class="indexterm" name="idp7298800"></a>
-</p><a class="indexterm" name="idp
7299680"></a><p>
+<a class="indexterm" name="idp62436384"></a>
+</p><a class="indexterm" name="idp
62437264"></a><p>
Norms are a different kind of constraint. They, too, punish an
individual for violating a rule. But the punishment of a norm is
imposed by a community, not (or not only) by the state. There may be
sold. But given a set of norms, and a background of property and
contract law, the market imposes a simultaneous constraint upon how an
individual or group might behave.
-</p><a class="indexterm" name="idp
7303280"></a><p>
+</p><a class="indexterm" name="idp
62440816"></a><p>
Finally, and for the moment, perhaps, most mysteriously,
<span class="quote">«<span class="quote">architecture</span>»</span>—the physical world as one finds it—is a
constraint on behavior. A fallen bridge might constrain your ability
blocks your way, it is the law of gravity that enforces this
constraint. If a $500 airplane ticket stands between you and a flight
to New York, it is the market that enforces this constraint.
-</p><a class="indexterm" name="idp
7306912"></a><a class="indexterm" name="idp7308240"></a><a class="indexterm" name="idp7309568"></a><a class="indexterm" name="idxlawasconstraintmodality2"></a><p>
+</p><a class="indexterm" name="idp
62444448"></a><a class="indexterm" name="idp62445776"></a><a class="indexterm" name="idp62447104"></a><a class="indexterm" name="idxlawasconstraintmodality2"></a><p>
So the first point about these four modalities of regulation is
be; my claim is not about comprehensiveness), these four are among the
most significant, and any regulator (whether controlling or freeing)
must consider how these four in particular interact.
-</p><a class="indexterm" name="idp
7314544"></a><a class="indexterm" name="idp7315360"></a><a class="indexterm" name="idp7316176"></a><a class="indexterm" name="idxdrivingspeedconstraintson"></a><a class="indexterm" name="idxspeedingconstraintson"></a><p>
+</p><a class="indexterm" name="idp
62451968"></a><a class="indexterm" name="idp62452784"></a><a class="indexterm" name="idp62453600"></a><a class="indexterm" name="idxdrivingspeedconstraintson"></a><a class="indexterm" name="idxspeedingconstraintson"></a><p>
So, for example, consider the <span class="quote">«<span class="quote">freedom</span>»</span> to drive a car at a high
speed. That freedom is in part restricted by laws: speed limits that
say how fast you can drive in particular places at particular
</p><p>
The final point about this simple model should also be fairly clear:
While these four modalities are analytically independent, law has a
-special role in affecting the three.<a href="#ftn.idp7322208" class="footnote" name="idp7322208"><sup class="footnote">[120]</sup></a>
+special role in affecting the three.<a href="#ftn.idp62459632" class="footnote" name="idp62459632"><sup class="footnote">[120]</sup></a>
The law, in other words, sometimes operates to increase or decrease
the constraint of a particular modality. Thus, the law might be used
to increase taxes on gasoline, so as to increase the incentives to
strict—a federal requirement that states decrease the speed
limit, for example—so as to decrease the attractiveness of fast
driving.
-</p><a class="indexterm" name="idp
7325904"></a><a class="indexterm" name="idp7327168"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figure 10.2. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/1361.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp7330768"></a><p>
+</p><a class="indexterm" name="idp
62464144"></a><a class="indexterm" name="idp62465472"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figure 10.2. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="45%"><tr><td align="center"><img src="images/1361.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp62469200"></a><p>
These constraints can thus change, and they can be changed. To
understand the effective protection of liberty or protection of
property at any particular moment, we must track these changes over
time. A restriction imposed by one modality might be erased by
another. A freedom enabled by one modality might be displaced by
-another.<a href="#ftn.idp7332224" class="footnote" name="idp7332224"><sup class="footnote">[121]</sup></a>
-</p><a class="indexterm" name="idp
7341024"></a><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="hollywood"></a>10.1. Why Hollywood Is Right</h2></div></div></div><a class="indexterm" name="idxcopyrightfourregulatorymodalitieson"></a><p>
+another.<a href="#ftn.idp62470656" class="footnote" name="idp62470656"><sup class="footnote">[121]</sup></a>
+</p><a class="indexterm" name="idp
62480272"></a><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="hollywood"></a>10.1. Why Hollywood Is Right</h2></div></div></div><a class="indexterm" name="idxcopyrightfourregulatorymodalitieson"></a><p>
The most obvious point that this model reveals is just why, or just
how, Hollywood is right. The copyright warriors have rallied Congress
and the courts to defend copyright. This model helps us see why that
</p><p>
Let's say this is the picture of copyright's regulation before the
Internet:
-</p><div class="figure"><a name="fig-1371"></a><p class="title"><b>Figure 10.3. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxarchitectureconstrainteffectedthrough"></a><a class="indexterm" name="idp7350512"></a><a class="indexterm" name="idxnormsregulatoryinfluenceof2"></a><p>
+</p><div class="figure"><a name="fig-1371"></a><p class="title"><b>Figure 10.3. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxarchitectureconstrainteffectedthrough"></a><a class="indexterm" name="idp62489600"></a><a class="indexterm" name="idxnormsregulatoryinfluenceof2"></a><p>
There is balance between law, norms, market, and architecture. The law
limits the ability to copy and share content, by imposing penalties on
uses of copyrighted material may well be infringement, but the norms
of our society (before the Internet, at least) had no problem with
this form of infringement.
-</p><a class="indexterm" name="idxinternetcopyrightregulatorybalancelostwith"></a><a class="indexterm" name="idp
7356448"></a><a class="indexterm" name="idp7357584"></a><a class="indexterm" name="idp7358400"></a><p>
+</p><a class="indexterm" name="idxinternetcopyrightregulatorybalancelostwith"></a><a class="indexterm" name="idp
62495568"></a><a class="indexterm" name="idp62496704"></a><a class="indexterm" name="idp62497520"></a><p>
Enter the Internet, or, more precisely, technologies such as MP3s and
p2p sharing. Now the constraint of architecture changes dramatically,
as does the constraint of the market. And as both the market and
architecture relax the regulation of copyright, norms pile on. The
happy balance (for the warriors, at least) of life before the Internet
becomes an effective state of anarchy after the Internet.
-</p><a class="indexterm" name="idp
7360016"></a><a class="indexterm" name="idp7361328"></a><a class="indexterm" name="idp7362656"></a><p>
+</p><a class="indexterm" name="idp
62499136"></a><a class="indexterm" name="idp62500512"></a><a class="indexterm" name="idp62501840"></a><p>
Thus the sense of, and justification for, the warriors' response.
Technology has changed, the warriors say, and the effect of this
change, when ramified through the market and norms, is that a balance
after the fall of Saddam, but this time no government is justifying the
looting that results.
-</p><div class="figure"><a name="fig-1381"></a><p class="title"><b>Figure 10.4. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/1381.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp7367248"></a><a class="indexterm" name="idxregulationasestablishmentprotectionism"></a><p>
+</p><div class="figure"><a name="fig-1381"></a><p class="title"><b>Figure 10.4. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/1381.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp62506304"></a><a class="indexterm" name="idxregulationasestablishmentprotectionism"></a><p>
Neither this analysis nor the conclusions that follow are new to the
warriors. Indeed, in a <span class="quote">«<span class="quote">White Paper</span>»</span> prepared by the Commerce
Department (one heavily influenced by the copyright warriors) in 1995,
innovative marketing techniques, (3) technologists should push to
develop code to protect copyrighted material, and (4) educators should
educate kids to better protect copyright.
-</p><a class="indexterm" name="idp
7371504"></a><a class="indexterm" name="idp7372816"></a><a class="indexterm" name="idp7374144"></a><a class="indexterm" name="idp7374960"></a><p>
+</p><a class="indexterm" name="idp
62510560"></a><a class="indexterm" name="idp62511936"></a><a class="indexterm" name="idp62513264"></a><a class="indexterm" name="idp62514080"></a><p>
This mixed strategy is just what copyright needed—if it was to
preserve the particular balance that existed before the change induced
by the Internet. And it's just what we should expect the content
to bail them out when a virus (architecture) devastates their
crop. Unions have no hesitation appealing to the government to bail
them out when imports (market) wipe out the U.S. steel industry.
-</p><a class="indexterm" name="idp
7377392"></a><a class="indexterm" name="idp7378640"></a><a class="indexterm" name="idp7380032"></a><p>
+</p><a class="indexterm" name="idp
62516448"></a><a class="indexterm" name="idp62517696"></a><a class="indexterm" name="idp62518960"></a><p>
Thus, there's nothing wrong or surprising in the content industry's
campaign to protect itself from the harmful consequences of a
technological innovation. And I would be the last person to argue that
the changing technology of the Internet has not had a profound effect
on the content industry's way of doing business, or as John Seely
Brown describes it, its <span class="quote">«<span class="quote">architecture of revenue.</span>»</span>
-</p><a class="indexterm" name="idp
7382048"></a><a class="indexterm" name="idp7382864"></a><a class="indexterm" name="idp7383968"></a><a class="indexterm" name="idp7384784"></a><a class="indexterm" name="idp7385600"></a><a class="indexterm" name="idp7386416"></a><a class="indexterm" name="idp7387232"></a><a class="indexterm" name="idp7388048"></a><p>
+</p><a class="indexterm" name="idp
62520976"></a><a class="indexterm" name="idp62521792"></a><a class="indexterm" name="idp62522896"></a><a class="indexterm" name="idp62523712"></a><a class="indexterm" name="idp62524528"></a><a class="indexterm" name="idp62525344"></a><a class="indexterm" name="idp62526160"></a><a class="indexterm" name="idp62526976"></a><p>
But just because a particular interest asks for government support, it
doesn't follow that support should be granted. And just because
technology has weakened a particular way of doing business, it doesn't
follow that the government should intervene to support that old way of
doing business. Kodak, for example, has lost perhaps as much as 20
percent of their traditional film market to the emerging technologies
-of digital cameras.<a href="#ftn.idp7389568" class="footnote" name="idp7389568"><sup class="footnote">[122]</sup></a>
+of digital cameras.<a href="#ftn.idp62528496" class="footnote" name="idp62528496"><sup class="footnote">[122]</sup></a>
Does anyone believe the government should ban digital cameras just to
support Kodak? Highways have weakened the freight business for
market. But does anyone believe we should regulate remotes to
reinforce commercial television? (Maybe by limiting them to function
only once a second, or to switch to only ten channels within an hour?)
-</p><a class="indexterm" name="idxfreemarkettechnologicalchangesin"></a><a class="indexterm" name="idp
7396160"></a><a class="indexterm" name="idp7396976"></a><a class="indexterm" name="idp7397792"></a><a class="indexterm" name="idp7398896"></a><a class="indexterm" name="idp7399712"></a><a class="indexterm" name="idp7400528"></a><p>
+</p><a class="indexterm" name="idxfreemarkettechnologicalchangesin"></a><a class="indexterm" name="idp
62535136"></a><a class="indexterm" name="idp62535952"></a><a class="indexterm" name="idp62536768"></a><a class="indexterm" name="idp62537872"></a><a class="indexterm" name="idp62538688"></a><a class="indexterm" name="idp62539504"></a><p>
The obvious answer to these obviously rhetorical questions is no.
In a free society, with a free market, supported by free enterprise and
free trade, the government's role is not to support one way of doing
them against loss. If the government did this generally, then we would
never have any progress. As Microsoft chairman Bill Gates wrote in
1991, in a memo criticizing software patents, <span class="quote">«<span class="quote">established companies
-have an interest in excluding future competitors.</span>»</span><a href="#ftn.idp7402720" class="footnote" name="idp7402720"><sup class="footnote">[123]</sup></a>
+have an interest in excluding future competitors.</span>»</span><a href="#ftn.idp62541696" class="footnote" name="idp62541696"><sup class="footnote">[123]</sup></a>
And relative to a
startup, established companies also have the means. (Think RCA and
FM radio.) A world in which competitors with new ideas must fight
changes they create, in response to the request of those hurt by
changing technology, are changes that preserve the incentives and
opportunities for innovation and change.
-</p><a class="indexterm" name="idp
7405840"></a><a class="indexterm" name="idp7406912"></a><a class="indexterm" name="idp7407728"></a><p>
+</p><a class="indexterm" name="idp
62544448"></a><a class="indexterm" name="idp62545520"></a><a class="indexterm" name="idp62546336"></a><p>
In the context of laws regulating speech—which include,
obviously, copyright law—that duty is even stronger. When the
industry complaining about changing technologies is asking Congress to
Congress is being asked to pass laws that would <span class="quote">«<span class="quote">abridge</span>»</span> the freedom
of speech, it should ask— carefully—whether such
regulation is justified.
-</p><a class="indexterm" name="idp
7410976"></a><a class="indexterm" name="idp7412272"></a><p>
+</p><a class="indexterm" name="idp
62549584"></a><a class="indexterm" name="idp62550880"></a><p>
My argument just now, however, has nothing to do with whether
the changes that are being pushed by the copyright warriors are
No one doubts that killing disease-carrying pests or increasing crop
production is a good thing. No one doubts that the work of Müller was
important and valuable and probably saved lives, possibly millions.
-</p><a class="indexterm" name="idp
7423600"></a><a class="indexterm" name="idp7424416"></a><a class="indexterm" name="idxenvironmentalism"></a><p>
+</p><a class="indexterm" name="idp
62562112"></a><a class="indexterm" name="idp62562928"></a><a class="indexterm" name="idxenvironmentalism"></a><p>
But in 1962, Rachel Carson published <em class="citetitle">Silent Spring</em>, which argued that
DDT, whatever its primary benefits, was also having unintended
environmental consequences. Birds were losing the ability to
problems DDT caused were worse than the problems it solved, at least
when considering the other, more environmentally friendly ways to
solve the problems that DDT was meant to solve.
-</p><a class="indexterm" name="idp
7428976"></a><a class="indexterm" name="idp7430288"></a><a class="indexterm" name="idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2"></a><p>
+</p><a class="indexterm" name="idp
62567488"></a><a class="indexterm" name="idp62568800"></a><a class="indexterm" name="idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2"></a><p>
It is to this image precisely that Duke University law professor James
Boyle appeals when he argues that we need an <span class="quote">«<span class="quote">environmentalism</span>»</span> for
-culture.<a href="#ftn.idp7434000" class="footnote" name="idp7434000"><sup class="footnote">[124]</sup></a>
+culture.<a href="#ftn.idp62572448" class="footnote" name="idp62572448"><sup class="footnote">[124]</sup></a>
His point, and the point I want to develop in the balance of this
chapter, is not that the aims of copyright are flawed. Or that authors
should not be paid for their work. Or that music should be given away
protecting copyright not an endorsement of anarchy or an attack on
authors. It is an environment of creativity that we seek, and we
should be aware of our actions' effects on the environment.
-</p><a class="indexterm" name="idp
7437360"></a><p>
+</p><a class="indexterm" name="idp
62575808"></a><p>
My argument, in the balance of this chapter, tries to map exactly
this effect. No doubt the technology of the Internet has had a dramatic
effect on the ability of copyright owners to protect their content. But
not be only that copyrighted work is effectively protected. Also, and
generally missed, the net effect of this massive increase in protection
will be devastating to the environment for creativity.
-</p><a class="indexterm" name="idp
7439600"></a><p>
+</p><a class="indexterm" name="idp
62578048"></a><p>
In a line: To kill a gnat, we are spraying DDT with consequences
for free culture that will be far more devastating than that this gnat will
be lost.
-</p><a class="indexterm" name="idp
7441568"></a><a class="indexterm" name="idp7442880"></a><a class="indexterm" name="idp7444256"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="beginnings"></a>10.2. Beginnings</h2></div></div></div><a class="indexterm" name="idp7446736"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp7451664"></a><a class="indexterm" name="idp7452736"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp7457264"></a><p>
+</p><a class="indexterm" name="idp
62580080"></a><a class="indexterm" name="idp62581392"></a><a class="indexterm" name="idp62582832"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="beginnings"></a>10.2. Beginnings</h2></div></div></div><a class="indexterm" name="idp62585360"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp62590272"></a><a class="indexterm" name="idp62591344"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp62595888"></a><p>
America copied English copyright law. Actually, we copied and improved
English copyright law. Our Constitution makes the purpose of <span class="quote">«<span class="quote">creative
property</span>»</span> rights clear; its express limitations reinforce the English
The power to establish <span class="quote">«<span class="quote">creative property</span>»</span> 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:
-</p><p>
+</p><div class="blockquote"><blockquote class="blockquote"><p>
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.
-
-
+</p></blockquote></div><p>
We can call this the <span class="quote">«<span class="quote">Progress Clause,</span>»</span> for notice what this clause
does not say. It does not say Congress has the power to grant
<span class="quote">«<span class="quote">creative property rights.</span>»</span> It says that Congress has the power
<span class="emphasis"><em>to promote progress</em></span>. The grant of power is its
purpose, and its purpose is a public one, not the purpose of enriching
publishers, nor even primarily the purpose of rewarding authors.
-</p><a class="indexterm" name="idp
7464928"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
+</p><a class="indexterm" name="idp
62604384"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
The Progress Clause expressly limits the term of copyrights. As we saw
in chapter <a class="xref" href="#founders" title="Chapter 6. Chapter Six: Founders">6</a>,
the English limited the term of copyright so as to assure that a few
followed the English for a similar purpose. Indeed, unlike the
English, the framers reinforced that objective, by requiring that
copyrights extend <span class="quote">«<span class="quote">to Authors</span>»</span> only.
-</p><a class="indexterm" name="idp
7472256"></a><a class="indexterm" name="idp7473072"></a><a class="indexterm" name="idp7474192"></a><p>
+</p><a class="indexterm" name="idp
62611696"></a><a class="indexterm" name="idp62612512"></a><a class="indexterm" name="idp62613632"></a><p>
The design of the Progress Clause reflects something about the
Constitution's design in general. To avoid a problem, the framers
built structure. To prevent the concentrated power of publishers, they
case, a <span class="emphasis"><em>structure</em></span> built checks and balances into
the constitutional frame, structured to prevent otherwise inevitable
concentrations of power.
-</p><a class="indexterm" name="idp
7476656"></a><a class="indexterm" name="idp7478048"></a><p>
+</p><a class="indexterm" name="idp
62616112"></a><a class="indexterm" name="idp62617424"></a><p>
I doubt the framers would recognize the regulation we call <span class="quote">«<span class="quote">copyright</span>»</span>
today. The scope of that regulation is far beyond anything they ever
considered. To begin to understand what they did, we need to put our
<span class="quote">«<span class="quote">copyright</span>»</span> in context: We need to see how it has changed in the 210
years since they first struck its design.
-</p><a class="indexterm" name="idp
7480880"></a><a class="indexterm" name="idp7482320"></a><a class="indexterm" name="idp7483696"></a><a class="indexterm" name="idp7485024"></a><p>
+</p><a class="indexterm" name="idp
62620192"></a><a class="indexterm" name="idp62621632"></a><a class="indexterm" name="idp62623008"></a><a class="indexterm" name="idp62624336"></a><p>
Some of these changes come from the law: some in light of changes
in technology, and some in light of changes in technology given a
particular concentration of market power. In terms of our model, we
started here:
-</p><div class="figure"><a name="fig-1441"></a><p class="title"><b>Figure 10.5. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1441"></a><p class="title"><b>Figure 10.5. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
We will end here:
-</p><div class="figure"><a name="fig-1442"></a><p class="title"><b>Figure 10.6. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/1442.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1442"></a><p class="title"><b>Figure 10.6. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/1442.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Let me explain how.
-</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawduration"></a>10.3. Law: Duration</h2></div></div></div><a class="indexterm" name="idxcopyrightdurationof4"></a><a class="indexterm" name="idxcongressusoncopyrightlaws5"></a><a class="indexterm" name="idxcopyrightact"></a><a class="indexterm" name="idp
7499360"></a><a class="indexterm" name="idxpublicdomainbalanceofuscontentin"></a><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawduration"></a>10.3. Law: Duration</h2></div></div></div><a class="indexterm" name="idxcopyrightdurationof4"></a><a class="indexterm" name="idxcongressusoncopyrightlaws5"></a><a class="indexterm" name="idxcopyrightact"></a><a class="indexterm" name="idp
62638560"></a><a class="indexterm" name="idxpublicdomainbalanceofuscontentin"></a><p>
When the first Congress enacted laws to protect creative property, it
faced the same uncertainty about the status of creative property that
the English had confronted in 1774. Many states had passed laws
protecting creative property, and some believed that these laws simply
supplemented common law rights that already protected creative
-authorship.<a href="#ftn.idp7503008" class="footnote" name="idp7503008"><sup class="footnote">[125]</sup></a>
+authorship.<a href="#ftn.idp62642144" class="footnote" name="idp62642144"><sup class="footnote">[125]</sup></a>
This meant that there was no guaranteed public domain in the United
States in 1790. If copyrights were protected by the common law, then
there was no simple way to know whether a work published in the United
States was controlled or free. Just as in England, this lingering
uncertainty would make it hard for publishers to rely upon a public
domain to reprint and distribute works.
-</p><a class="indexterm" name="idp
7506768"></a><a class="indexterm" name="idxlawfederalvsstate"></a><p>
+</p><a class="indexterm" name="idp
62645904"></a><a class="indexterm" name="idxlawfederalvsstate"></a><p>
That uncertainty ended after Congress passed legislation granting
copyrights. Because federal law overrides any contrary state law,
federal protections for copyrighted works displaced any state law
the author was alive at the end of that fourteen years, then he could
opt to renew the copyright for another fourteen years. If he did not
renew the copyright, his work passed into the public domain.
-</p><a class="indexterm" name="idp
7513104"></a><p>
+</p><a class="indexterm" name="idp
62651904"></a><p>
While there were many works created in the United States in the first
ten years of the Republic, only 5 percent of the works were actually
registered under the federal copyright regime. Of all the work created
in the United States both before 1790 and from 1790 through 1800, 95
percent immediately passed into the public domain; the balance would
pass into the pubic domain within twenty-eight years at most, and more
-likely within fourteen years.<a href="#ftn.idp7515104" class="footnote" name="idp7515104"><sup class="footnote">[126]</sup></a>
-</p><a class="indexterm" name="idp
7519280"></a><a class="indexterm" name="idp7520496"></a><p>
+likely within fourteen years.<a href="#ftn.idp62653904" class="footnote" name="idp62653904"><sup class="footnote">[126]</sup></a>
+</p><a class="indexterm" name="idp
62658080"></a><a class="indexterm" name="idp62659360"></a><p>
This system of renewal was a crucial part of the American system
of copyright. It assured that the maximum terms of copyright would be
copyright owners at that time, it was long enough: Only a small
minority of them renewed their copyright after fourteen years; the
balance allowed their work to pass into the public
-domain.<a href="#ftn.idp7523440" class="footnote" name="idp7523440"><sup class="footnote">[127]</sup></a>
-</p><a class="indexterm" name="idp
7526608"></a><a class="indexterm" name="idp7527936"></a><a class="indexterm" name="idp7529040"></a><p>
+domain.<a href="#ftn.idp62662240" class="footnote" name="idp62662240"><sup class="footnote">[127]</sup></a>
+</p><a class="indexterm" name="idp
62665408"></a><a class="indexterm" name="idp62666736"></a><a class="indexterm" name="idp62667840"></a><p>
Even today, this structure would make sense. Most creative work
has an actual commercial life of just a couple of years. Most books fall
-out of print after one year.<a href="#ftn.idp7530576" class="footnote" name="idp7530576"><sup class="footnote">[128]</sup></a> When that happens, the
+out of print after one year.<a href="#ftn.idp62669376" class="footnote" name="idp62669376"><sup class="footnote">[128]</sup></a> When that happens, the
used books are traded free of copyright regulation. Thus the books are
no longer <span class="emphasis"><em>effectively</em></span> controlled by
copyright. The only practical commercial use of the books at that time
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.
-</p><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea"></a><a class="indexterm" name="idxpublicdomainfuturepatentsvsfuturecopyrightsin"></a><p>
+</p><a class="indexterm" name="id
p62677440"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea"></a><a class="indexterm" name="idxpublicdomainfuturepatentsvsfuturecopyrightsin"></a><p>
Then, beginning in 1962, Congress started a practice that has defined
copyright law since. Eleven times in the last forty years, Congress
has extended the terms of existing copyrights; twice in those forty
In 1976, Congress extended all existing copyrights by nineteen years.
And in 1998, in the Sonny Bono Copyright Term Extension Act, Congress
extended the term of existing and future copyrights by twenty years.
-</p><a class="indexterm" name="idp
7543088"></a><p>
+</p><a class="indexterm" name="idp
62683088"></a><p>
The effect of these extensions is simply to toll, or delay, the passing
of works into the public domain. This latest extension means that the
public domain will have been tolled for thirty-nine out of fifty-five
after the Sonny Bono Act, while one million patents will pass into the
public domain, zero copyrights will pass into the public domain by virtue
of the expiration of a copyright term.
-</p><a class="indexterm" name="idp
7545408"></a><p>
+</p><a class="indexterm" name="idp
62685408"></a><p>
The effect of these extensions has been exacerbated by another,
little-noticed change in the copyright law. Remember I said that the
framers established a two-part copyright regime, requiring a copyright
would pass more quickly into the public domain. The works remaining
under protection would be those that had some continuing commercial
value.
-</p><a class="indexterm" name="idp
7547568"></a><a class="indexterm" name="idp7548352"></a><a class="indexterm" name="idp7549472"></a><p>
+</p><a class="indexterm" name="idp
62687568"></a><a class="indexterm" name="idp62688352"></a><a class="indexterm" name="idp62689472"></a><p>
The United States abandoned this sensible system in 1976. For
all works created after 1978, there was only one copyright term—the
maximum term. For <span class="quote">«<span class="quote">natural</span>»</span> authors, that term was life plus fifty
is orphaned by these changes in copyright law. Despite the requirement
that terms be <span class="quote">«<span class="quote">limited,</span>»</span> we have no evidence that anything will limit
them.
-</p><a class="indexterm" name="idp
7553152"></a><a class="indexterm" name="idp7554544"></a><p>
+</p><a class="indexterm" name="idp
62693152"></a><a class="indexterm" name="idp62694480"></a><p>
The effect of these changes on the average duration of copyright is
dramatic. In 1973, more than 85 percent of copyright owners failed to
renew their copyright. That meant that the average term of copyright
in 1973 was just 32.2 years. Because of the elimination of the renewal
requirement, the average term of copyright is now the maximum term.
In thirty years, then, the average term has tripled, from 32.2 years to 95
-years.<a href="#ftn.idp7556576" class="footnote" name="idp7556576"><sup class="footnote">[129]</sup></a>
-</p><a class="indexterm" name="idp
7558240"></a><a class="indexterm" name="idp7559488"></a><a class="indexterm" name="idp7560880"></a><a class="indexterm" name="idp7562160"></a><a class="indexterm" name="idp7563504"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawscope"></a>10.4. Law: Scope</h2></div></div></div><a class="indexterm" name="idxcopyrightscopeof"></a><p>
+years.<a href="#ftn.idp62696512" class="footnote" name="idp62696512"><sup class="footnote">[129]</sup></a>
+</p><a class="indexterm" name="idp
62698176"></a><a class="indexterm" name="idp62699424"></a><a class="indexterm" name="idp62700752"></a><a class="indexterm" name="idp62702032"></a><a class="indexterm" name="idp62703376"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawscope"></a>10.4. Law: Scope</h2></div></div></div><a class="indexterm" name="idxcopyrightscopeof"></a><p>
The <span class="quote">«<span class="quote">scope</span>»</span> of a copyright is the range of rights granted by the law.
The scope of American copyright has changed dramatically. Those
changes are not necessarily bad. But we should understand the extent
of the changes if we're to keep this debate in context.
-</p><a class="indexterm" name="idp
7569296"></a><a class="indexterm" name="idxderivativeworkshistoricalshiftincopyrightcoverageof"></a><p>
+</p><a class="indexterm" name="idp
62709120"></a><a class="indexterm" name="idxderivativeworkshistoricalshiftincopyrightcoverageof"></a><p>
In 1790, that scope was very narrow. Copyright covered only <span class="quote">«<span class="quote">maps,
charts, and books.</span>»</span> That means it didn't cover, for example, music or
architecture. More significantly, the right granted by a copyright gave
of the history of American copyright law, there was a requirement that
works be deposited with the government before a copyright could be
secured.
-</p><a class="indexterm" name="idp
7584416"></a><p>
+</p><a class="indexterm" name="idp
62724032"></a><p>
The reason for the registration requirement was the sensible
understanding that for most works, no copyright was required. Again,
in the first ten years of the Republic, 95 percent of works eligible
that after the copyright expired, there would be a copy of the work
somewhere so that it could be copied by others without locating the
original author.
-</p><a class="indexterm" name="idp
7586112"></a><p>
+</p><a class="indexterm" name="idp
62725808"></a><p>
All of these <span class="quote">«<span class="quote">formalities</span>»</span> were abolished in the American system when
we decided to follow European copyright law. There is no requirement
that you register a work to get a copyright; the copyright now is
automatic; the copyright exists whether or not you mark your work with
a ©; and the copyright exists whether or not you actually make a
copy available for others to copy.
-</p><a class="indexterm" name="idp
7589344"></a><a class="indexterm" name="idp7590944"></a><a class="indexterm" name="idp7592144"></a><p>
+</p><a class="indexterm" name="idp
62729024"></a><a class="indexterm" name="idp62730672"></a><a class="indexterm" name="idp62731920"></a><p>
Consider a practical example to understand the scope of these
differences.
</p><a class="indexterm" name="idxcopyrightact2"></a><p>
against another publisher's taking your book and republishing it
without your permission. The aim of the act was to regulate publishers
so as to prevent that kind of unfair competition. In 1790, there were
-174 publishers in the United States.<a href="#ftn.idp7596128" class="footnote" name="idp7596128"><sup class="footnote">[130]</sup></a>
+174 publishers in the United States.<a href="#ftn.idp62735792" class="footnote" name="idp62735792"><sup class="footnote">[130]</sup></a>
The Copyright Act was thus a tiny
regulation of a tiny proportion of a tiny part of the creative market in
the United States—publishers.
those activities were regulated by the original copyright act. These
creative activities remained free, while the activities of publishers
were restrained.
-</p><a class="indexterm" name="idp
7605280"></a><p>
+</p><a class="indexterm" name="idp
62744944"></a><p>
Today the story is very different: If you write a book, your book is
automatically protected. Indeed, not just your book. Every e-mail,
every note to your spouse, every doodle, <span class="emphasis"><em>every</em></span>
exclusive
right to your writings, but an exclusive right to your writings
and a large proportion of the writings inspired by them.
-</p><a class="indexterm" name="idp
7609904"></a><p>
+</p><a class="indexterm" name="idp
62749504"></a><p>
It is this derivative right that would seem most bizarre to our
framers, though it has become second nature to us. Initially, this
expansion
<span class="emphasis"><em>that</em></span> wrong is, transforming someone else's work
is a different wrong. Some view transformation as no wrong at
all—they believe that our law, as the framers penned it, should
-not protect derivative rights at all.<a href="#ftn.idp7613424" class="footnote" name="idp7613424"><sup class="footnote">[131]</sup></a>
+not protect derivative rights at all.<a href="#ftn.idp62752960" class="footnote" name="idp62752960"><sup class="footnote">[131]</sup></a>
Whether or not you go that far, it seems
plain that whatever wrong is involved is fundamentally different from
the wrong of direct piracy.
Yet copyright law treats these two different wrongs in the same way. I
can go to court and get an injunction against your pirating my book. I
can go to court and get an injunction against your transformative use
-of my book.<a href="#ftn.idp7617648" class="footnote" name="idp7617648"><sup class="footnote">[132]</sup></a>
+of my book.<a href="#ftn.idp62757184" class="footnote" name="idp62757184"><sup class="footnote">[132]</sup></a>
These two different uses of my creative work are treated the same.
-</p><a class="indexterm" name="idp
7621040"></a><a class="indexterm" name="idp7622368"></a><a class="indexterm" name="idp7623184"></a><p>
+</p><a class="indexterm" name="idp
62760656"></a><a class="indexterm" name="idp62762048"></a><a class="indexterm" name="idp62762864"></a><p>
This again may seem right to you. If I wrote a book, then why should
you be able to write a movie that takes my story and makes money from
it without paying me or crediting me? Or if Disney creates a creature
derivative right is unjustified. My aim just now is much narrower:
simply to make clear that this expansion is a significant change from
the rights originally granted.
-</p><a class="indexterm" name="idp
7625808"></a><a class="indexterm" name="idp7627008"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawreach"></a>10.5. Law and Architecture: Reach</h2></div></div></div><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof"></a><a class="indexterm" name="idxcopyrightlawscopeof"></a><p>
+</p><a class="indexterm" name="idp
62765488"></a><a class="indexterm" name="idp62766752"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawreach"></a>10.5. Law and Architecture: Reach</h2></div></div></div><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof"></a><a class="indexterm" name="idxcopyrightlawscopeof"></a><p>
Whereas originally the law regulated only publishers, the change in
copyright's scope means that the law today regulates publishers, users,
and authors. It regulates them because all three are capable of making
-copies, and the core of the regulation of copyright law is copies.<a href="#ftn.idp7633904" class="footnote" name="idp7633904"><sup class="footnote">[133]</sup></a>
-</p><a class="indexterm" name="idp
7637760"></a><a class="indexterm" name="idxcreativepropertyotherpropertyrightsvs2"></a><p>
+copies, and the core of the regulation of copyright law is copies.<a href="#ftn.idp62773712" class="footnote" name="idp62773712"><sup class="footnote">[133]</sup></a>
+</p><a class="indexterm" name="idp
62777568"></a><a class="indexterm" name="idxcreativepropertyotherpropertyrightsvs2"></a><p>
<span class="quote">«<span class="quote">Copies.</span>»</span> That certainly sounds like the obvious thing for
<span class="emphasis"><em>copy</em></span>right law to regulate. But as with Jack
copies should <span class="emphasis"><em>not</em></span> be the trigger for copyright
law. More precisely, they should not <span class="emphasis"><em>always</em></span> be
the trigger for copyright law.
-</p><a class="indexterm" name="idp
7644992"></a><p>
+</p><a class="indexterm" name="idp
62784848"></a><p>
This is perhaps the central claim of this book, so let me take this
very slowly so that the point is not easily missed. My claim is that the
Internet should at least force us to rethink the conditions under which
-the law of copyright automatically applies,<a href="#ftn.idp7646912" class="footnote" name="idp7646912"><sup class="footnote">[134]</sup></a>
+the law of copyright automatically applies,<a href="#ftn.idp62786768" class="footnote" name="idp62786768"><sup class="footnote">[134]</sup></a>
because it is clear that the
current reach of copyright was never contemplated, much less chosen,
by the legislators who enacted copyright law.
-</p><a class="indexterm" name="idp
7648368"></a><a class="indexterm" name="idp7649600"></a><p>
+</p><a class="indexterm" name="idp
62788224"></a><a class="indexterm" name="idp62789456"></a><p>
We can see this point abstractly by beginning with this largely
empty circle.
</p><div class="figure"><a name="fig-1521"></a><p class="title"><b>Figure 10.7. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/1521.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxbooksthreetypesofusesof"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof2"></a><a class="indexterm" name="idxinternetcopyrightapplicabilityalteredbytechnologyof"></a><a class="indexterm" name="idxtechnologycopyrightintentalteredby"></a><a class="indexterm" name="idxderivativeworkspiracyvs4"></a><a class="indexterm" name="idxpiracyderivativeworkvs4"></a><p>
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 figure <a class="xref" href="#fig-1541" title="Figure 10.9. ">10.9</a>).
-</p><a class="indexterm" name="idp
7671152"></a><a class="indexterm" name="idp7672512"></a><div class="figure"><a name="fig-1541"></a><p class="title"><b>Figure 10.9. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/1541.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
+</p><a class="indexterm" name="idp
62810976"></a><a class="indexterm" name="idp62812272"></a><div class="figure"><a name="fig-1541"></a><p class="title"><b>Figure 10.9. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/1541.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
Finally, there is a tiny sliver of otherwise regulated copying uses
that remain unregulated because the law considers these <span class="quote">«<span class="quote">fair uses.</span>»</span>
-</p><a class="indexterm" name="idp
7680816"></a><a class="indexterm" name="idp7681888"></a><p>
+</p><a class="indexterm" name="idp
62820704"></a><a class="indexterm" name="idp62821776"></a><p>
These are uses that themselves involve copying, but which the law
treats as unregulated because public policy demands that they remain
unregulated. You are free to quote from this book, even in a review
In real space, then, the possible uses of a book are divided into three
sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that
are nonetheless deemed <span class="quote">«<span class="quote">fair</span>»</span> regardless of the copyright owner's views.
-</p><a class="indexterm" name="idp
7689680"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp7694736"></a><p>
+</p><a class="indexterm" name="idp
62829552"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp62834560"></a><p>
Enter the Internet—a distributed, digital network where every use
-of a copyrighted work produces a copy.<a href="#ftn.idp7696288" class="footnote" name="idp7696288"><sup class="footnote">[135]</sup></a>
+of a copyrighted work produces a copy.<a href="#ftn.idp62836112" class="footnote" name="idp62836112"><sup class="footnote">[135]</sup></a>
And because of this single, arbitrary feature of the design of a
digital network, the scope of category 1 changes dramatically. Uses
that before were presumptively unregulated are now presumptively
would defend the unregulated uses of copyrighted work must look
exclusively to category 3, fair uses, to bear the burden of this
shift.
-</p><a class="indexterm" name="idp
7697792"></a><a class="indexterm" name="idp7699792"></a><p>
+</p><a class="indexterm" name="idp
62837616"></a><a class="indexterm" name="idp62839680"></a><p>
So let's be very specific to make this general point clear. Before the
Internet, if you purchased a book and read it ten times, there would
be no plausible <span class="emphasis"><em>copyright</em></span>-related argument that
copyright law and hence the need for a fair use defense. The right to
read was effectively protected before because reading was not
regulated.
-</p><a class="indexterm" name="idp
7723056"></a><a class="indexterm" name="idp7724400"></a><a class="indexterm" name="idp7725792"></a><a class="indexterm" name="idp7727120"></a><a class="indexterm" name="idp7728512"></a><p>
+</p><a class="indexterm" name="idp
62862800"></a><a class="indexterm" name="idp62864080"></a><a class="indexterm" name="idp62865472"></a><a class="indexterm" name="idp62866800"></a><a class="indexterm" name="idp62868064"></a><p>
This point about fair use is totally ignored, even by advocates for
free culture. We have been cornered into arguing that our rights
depend upon fair use—never even addressing the earlier question
<span class="emphasis"><em>unregulated</em></span>. But when everything becomes
presumptively regulated, then the protections of fair use are not
enough.
-</p><a class="indexterm" name="idp
7731264"></a><a class="indexterm" name="idp7732416"></a><a class="indexterm" name="idp7733664"></a><a class="indexterm" name="idp7734912"></a><a class="indexterm" name="idp7736160"></a><a class="indexterm" name="idp7737488"></a><a class="indexterm" name="idp7738832"></a><a class="indexterm" name="idxvideopipeline"></a><a class="indexterm" name="idxadvertising"></a><a class="indexterm" name="idxfilmindustrytraileradvertisementsof"></a><p>
+</p><a class="indexterm" name="idp
62870816"></a><a class="indexterm" name="idp62872096"></a><a class="indexterm" name="idp62873296"></a><a class="indexterm" name="idp62874608"></a><a class="indexterm" name="idp62875920"></a><a class="indexterm" name="idp62877312"></a><a class="indexterm" name="idp62878656"></a><a class="indexterm" name="idxvideopipeline"></a><a class="indexterm" name="idxadvertising"></a><a class="indexterm" name="idxfilmindustrytraileradvertisementsof"></a><p>
The case of Video Pipeline is a good example. Video Pipeline was
in the business of making <span class="quote">«<span class="quote">trailer</span>»</span> advertisements for movies available
to video stores. The video stores displayed the trailers as a way to sell
videos. Video Pipeline got the trailers from the film distributors, put
the trailers on tape, and sold the tapes to the retail stores.
-</p><a class="indexterm" name="idp
7746272"></a><p>
+</p><a class="indexterm" name="idp
62886032"></a><p>
The company did this for about fifteen years. Then, in 1997, it began
to think about the Internet as another way to distribute these
previews. The idea was to expand their <span class="quote">«<span class="quote">selling by sampling</span>»</span>
<span class="quote">«<span class="quote">browsing.</span>»</span> Just as in a bookstore you can read a few pages of a book
before you buy the book, so, too, you would be able to sample a bit
from the movie on-line before you bought it.
-</p><a class="indexterm" name="idxdisneyinc2"></a><a class="indexterm" name="idp
7750336"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof3"></a><a class="indexterm" name="idxfairuselegalintimidationtacticsagainst2"></a><p>
+</p><a class="indexterm" name="idxdisneyinc2"></a><a class="indexterm" name="idp
62890048"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof3"></a><a class="indexterm" name="idxfairuselegalintimidationtacticsagainst2"></a><p>
In 1998, Video Pipeline informed Disney and other film distributors
that it intended to distribute the trailers through the Internet
(rather than sending the tapes) to distributors of their videos. Two
<span class="quote">«<span class="quote">fair use</span>»</span> rights to distribute the clips as they had. So they filed a
lawsuit to ask the court to declare that these rights were in fact
their rights.
-</p><a class="indexterm" name="idp
7757088"></a><a class="indexterm" name="idp7758336"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp7763584"></a><p>
+</p><a class="indexterm" name="idp
62896928"></a><a class="indexterm" name="idp62898176"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp62903408"></a><p>
Disney countersued—for $100 million in damages. Those damages
were predicated upon a claim that Video Pipeline had <span class="quote">«<span class="quote">willfully
infringed</span>»</span> on Disney's copyright. When a court makes a finding of
permitted to list the titles of the films they were selling, but they were
not allowed to show clips of the films as a way of selling them without
Disney's permission.
-</p><a class="indexterm" name="idp
7766640"></a><p>
+</p><a class="indexterm" name="idp
62906464"></a><p>
Now, you might think this is a close case, and I think the courts
would consider it a close case. My point here is to map the change
that gives Disney this power. Before the Internet, Disney couldn't
copy, use on the Internet becomes subject to the copyright owner's
control. The technology expands the scope of effective control,
because the technology builds a copy into every transaction.
-</p><a class="indexterm" name="idp
7769040"></a><a class="indexterm" name="idp7770352"></a><a class="indexterm" name="idp7771664"></a><a class="indexterm" name="idp7772992"></a><a class="indexterm" name="idp7774384"></a><a class="indexterm" name="idp7775696"></a><a class="indexterm" name="idp7777040"></a><a class="indexterm" name="idp7777856"></a><a class="indexterm" name="idp7778672"></a><p>
+</p><a class="indexterm" name="idp
62908864"></a><a class="indexterm" name="idp62910176"></a><a class="indexterm" name="idp62911424"></a><a class="indexterm" name="idp62912752"></a><a class="indexterm" name="idp62914080"></a><a class="indexterm" name="idp62915456"></a><a class="indexterm" name="idp62916800"></a><a class="indexterm" name="idp62917616"></a><a class="indexterm" name="idp62918432"></a><p>
No doubt, a potential is not yet an abuse, and so the potential for
control is not yet the abuse of control. Barnes & Noble has the
second important change brought about by the Internet magnifies its
significance. This second change does not affect the reach of copyright
regulation; it affects how such regulation is enforced.
-</p><a class="indexterm" name="idp
7785664"></a><a class="indexterm" name="idp7786752"></a><p>
+</p><a class="indexterm" name="idp
62925472"></a><a class="indexterm" name="idp62926560"></a><p>
In the world before digital technology, it was generally the law that
controlled whether and how someone was regulated by copyright law.
The law, meaning a court, meaning a judge: In the end, it was a human,
trained in the tradition of the law and cognizant of the balances that
tradition embraced, who said whether and how the law would restrict
your freedom.
-</p><a class="indexterm" name="idp
7788640"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
+</p><a class="indexterm" name="idp
62928448"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
There's a famous story about a battle between the Marx Brothers
and Warner Brothers. The Marxes intended to make a parody of
<em class="citetitle">Casablanca</em>. Warner Brothers objected. They
wrote a nasty letter to the Marxes, warning them that there would be
serious legal consequences if they went forward with their
-plan.<a href="#ftn.idp7793824" class="footnote" name="idp7793824"><sup class="footnote">[136]</sup></a>
+plan.<a href="#ftn.idp62933520" class="footnote" name="idp62933520"><sup class="footnote">[136]</sup></a>
</p><p>
This led the Marx Brothers to respond in kind. They warned
Warner Brothers that the Marx Brothers <span class="quote">«<span class="quote">were brothers long before
-you were.</span>»</span><a href="#ftn.idp7796416" class="footnote" name="idp7796416"><sup class="footnote">[137]</sup></a>
+you were.</span>»</span><a href="#ftn.idp62936112" class="footnote" name="idp62936112"><sup class="footnote">[137]</sup></a>
The Marx Brothers therefore owned the word
<em class="citetitle">brothers</em>, and if Warner Brothers insisted on
trying to control <em class="citetitle">Casablanca</em>, then the Marx
like the Marx Brothers, knew that no court would ever enforce such a
silly claim. This extremism was irrelevant to the real freedoms anyone
(including Warner Brothers) enjoyed.
-</p><a class="indexterm" name="idxbooksoninternet2"></a><p>
+</p><a class="indexterm" name="idxbooksoninternet2"></a><a class="indexterm" name="idxinternetbookson3"></a><p>
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
machine: Increasingly, the rules of copyright law, as interpreted by
problem with code regulations is that, unlike law, code has no
shame. Code would not get the humor of the Marx Brothers. The
consequence of that is not at all funny.
-</p><a class="indexterm" name="idp
7803520"></a><a class="indexterm" name="idp7804832"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
+</p><a class="indexterm" name="idp
62945536"></a><a class="indexterm" name="idp62946784"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
Consider the life of my Adobe eBook Reader.
</p><p>
An e-book is a book delivered in electronic form. An Adobe eBook is
print ten pages from the book every ten days. Lastly, I have the
permission to use the Read Aloud button to hear <em class="citetitle">Middlemarch</em>
read aloud through the computer.
-</p><a class="indexterm" name="idp
7819968"></a><a class="indexterm" name="idp7820784"></a><p>
+</p><a class="indexterm" name="idp
62961792"></a><a class="indexterm" name="idp62962608"></a><p>
Here's the e-book for another work in the public domain (including the
translation): Aristotle's <em class="citetitle">Politics</em>.
</p><div class="figure"><a name="fig-1621"></a><p class="title"><b>Figure 10.14. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/aristotele-ebook.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
According to its permissions, no printing or copying is permitted
at all. But fortunately, you can use the Read Aloud button to hear
the book.
-</p><div class="figure"><a name="fig-1622"></a><p class="title"><b>Figure 10.15. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/1622.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp
7828224"></a><a class="indexterm" name="idp7829056"></a><p>
+</p><div class="figure"><a name="fig-1622"></a><p class="title"><b>Figure 10.15. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/1622.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp
62970000"></a><a class="indexterm" name="idp62970832"></a><p>
Finally (and most embarrassingly), here are the permissions for the
original e-book version of my last book, <em class="citetitle">The Future of
Ideas</em>:
you use these works. For works under copyright, the copyright owner
certainly does have the power—up to the limits of the copyright
law. But for work not under copyright, there is no such copyright
-power.<a href="#ftn.idp7834576" class="footnote" name="idp7834576"><sup class="footnote">[138]</sup></a>
+power.<a href="#ftn.idp62976416" class="footnote" name="idp62976416"><sup class="footnote">[138]</sup></a>
When my e-book of <em class="citetitle">Middlemarch</em> says I have the
permission to copy only ten text selections into the memory every ten
days, what that really means is that the eBook Reader has enabled the
aloud—it's not that the company will sue you if you do; instead,
if you push the Read Aloud button with my book, the machine simply
won't read aloud.
-</p><a class="indexterm" name="idp
7838864"></a><a class="indexterm" name="idp7840576"></a><p>
+</p><a class="indexterm" name="idp
62980704"></a><a class="indexterm" name="idp62982416"></a><p>
These are <span class="emphasis"><em>controls</em></span>, not permissions. Imagine a
world where the Marx Brothers sold word processing software that, when
could use a computer to read the book aloud, would Adobe agree that
such a use of an eBook Reader was fair? Adobe didn't answer because
the answer, however absurd it might seem, is no.
-</p><a class="indexterm" name="idp
7857632"></a><a class="indexterm" name="idp7859024"></a><p>
+</p><a class="indexterm" name="idp
62998800"></a><a class="indexterm" name="idp63000128"></a><p>
The point is not to blame Adobe. Indeed, Adobe is among the most
innovative companies developing strategies to balance open access to
content with incentives for companies to innovate. But Adobe's
technology enables control, and Adobe has an incentive to defend this
control. That incentive is understandable, yet what it creates is
often crazy.
-</p><a class="indexterm" name="idp
7861120"></a><a class="indexterm" name="idp7862384"></a><p>
+</p><a class="indexterm" name="idp
63002224"></a><a class="indexterm" name="idp63003488"></a><a class="indexterm" name="idp63004736"></a><p>
To see the point in a particularly absurd context, consider a favorite
story of mine that makes the same point.
</p><a class="indexterm" name="idxaibo1"></a><a class="indexterm" name="idxroboticdog1"></a><a class="indexterm" name="idxsonyaibo1"></a><p>
how to teach the dog to do new tricks is just to say that aibopet.com
was giving information to users of the Aibo pet about how to hack
their computer <span class="quote">«<span class="quote">dog</span>»</span> to make it do new tricks (thus, aibohack.com).
-</p><a class="indexterm" name="idp
7872848"></a><p>
+</p><a class="indexterm" name="idp
63015360"></a><p>
If you're not a programmer or don't know many programmers, the word
<em class="citetitle">hack</em> has a particularly unfriendly
connotation. Nonprogrammers hack bushes or weeds. Nonprogrammers in
dance jazz. The dog wasn't programmed to dance jazz. It was a clever
bit of tinkering that turned the dog into a more talented creature
than Sony had built.
-</p><a class="indexterm" name="idp
7877856"></a><a class="indexterm" name="idp7879168"></a><a class="indexterm" name="idp7880480"></a><p>
+</p><a class="indexterm" name="idp
63020368"></a><a class="indexterm" name="idp63021680"></a><a class="indexterm" name="idp63022928"></a><p>
I've told this story in many contexts, both inside and outside the
United States. Once I was asked by a puzzled member of the audience,
is it permissible for a dog to dance jazz in the United States? We
completely legal activity. One imagines that the owner of aibopet.com
thought, <span class="emphasis"><em>What possible problem could there be with teaching
a robot dog to dance?</em></span>
-</p><a class="indexterm" name="idp
7883632"></a><p>
+</p><a class="indexterm" name="idp
63026080"></a><p>
Let's put the dog to sleep for a minute, and turn to a pony show—
not literally a pony show, but rather a paper that a Princeton academic
named Ed Felten prepared for a conference. This Princeton academic
lawyers, Ed Felten stood his ground. He was not about to be bullied
into being silent about something he knew very well.
</p><p>
-But Felten's bravery was really tested in April 2001.<a href="#ftn.idp7886144" class="footnote" name="idp7886144"><sup class="footnote">[139]</sup></a>
+But Felten's bravery was really tested in April 2001.<a href="#ftn.idp63028592" class="footnote" name="idp63028592"><sup class="footnote">[139]</sup></a>
He and a group of colleagues were working on a paper to be submitted
at conference. The paper was intended to describe the weakness in an
encryption system being developed by the Secure Digital Music
Your site contains information providing the means to circumvent
AIBO-ware's copy protection protocol constituting a violation of the
anti-circumvention provisions of the Digital Millennium Copyright Act.
-</p></blockquote></div><a class="indexterm" name="idp
7905840"></a><a class="indexterm" name="idp7907152"></a><a class="indexterm" name="idp7908464"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
63048400"></a><a class="indexterm" name="idp63049712"></a><a class="indexterm" name="idp63050960"></a><p>
And though an academic paper describing the weakness in a system
of encryption should also be perfectly legal, Felten received a letter
from an RIAA lawyer that read:
measures. It was designed to ban those devices, whether or not the use
of the copyrighted material made possible by that circumvention would
have been a copyright violation.
-</p><a class="indexterm" name="idp
7917168"></a><a class="indexterm" name="idp7917984"></a><a class="indexterm" name="idp7918800"></a><p>
+</p><a class="indexterm" name="idp
63059600"></a><a class="indexterm" name="idp63060416"></a><a class="indexterm" name="idp63061232"></a><p>
Aibopet.com and Felten make the point. The Aibo hack circumvented a
copyright protection system for the purpose of enabling the dog to
dance jazz. That enablement no doubt involved the use of copyrighted
suggested, Felten himself was distributing a circumvention technology.
Thus, even though he was not himself infringing anyone's copyright,
his academic paper was enabling others to infringe others' copyright.
-</p><a class="indexterm" name="idp
7922064"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
+</p><a class="indexterm" name="idp
63064496"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
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
the VCR could be banned because it was a copyright-infringing
that were legal: Fred Rogers, aka <span class="quote">«<span class="quote"><em class="citetitle">Mr. Rogers</em>,</span>»</span>
for example, had testified in that case that he wanted people to feel
free to tape Mr. Rogers' Neighborhood.
-<a class="indexterm" name="idp7926080"></a>
+<a class="indexterm" name="idp63068576"></a>
</p><div class="blockquote"><blockquote class="blockquote"><p>
Some public stations, as well as commercial stations, program the
<span class="quote">«<span class="quote">Neighborhood</span>»</span> at hours when some children cannot use it. I think that
you are. You can make healthy decisions.</span>»</span> Maybe I'm going on too long,
but I just feel that anything that allows a person to be more active
in the control of his or her life, in a healthy way, is
-important.<a href="#ftn.idp7930096" class="footnote" name="idp7930096"><sup class="footnote">[140]</sup></a>
+important.<a href="#ftn.idp63072592" class="footnote" name="idp63072592"><sup class="footnote">[140]</sup></a>
</p></blockquote></div><p>
Even though there were uses that were legal, because there were
This led Conrad to draw the cartoon in figure
<a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figure 10.18. — On which item have the courts ruled that manufacturers and retailers be held responsible for having supplied the equipment?">10.18</a>, which we can adopt to the
DMCA.
-<a class="indexterm" name="idp7936944"></a>
+<a class="indexterm" name="idp63079456"></a>
</p><p>
No argument I have can top this picture, but let me try to get close.
</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-1711-vcr-handgun-cartoonfig"></a><p class="title"><b>Figure 10.18. — On which item have the courts ruled that manufacturers and
retailers be held responsible for having supplied the
-equipment?</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
65%"><tr><td align="center"><img src="images/vcr-comic.png" align="middle" width="100%" alt="— On which item have the courts ruled that manufacturers and retailers be held responsible for having supplied the equipment?"></td></tr></table></div></div></div><br class="figure-break"></div><p>
+equipment?</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
55%"><tr><td align="center"><img src="images/vcr-comic.png" align="middle" width="100%" alt="— On which item have the courts ruled that manufacturers and retailers be held responsible for having supplied the equipment?"></td></tr></table></div></div></div><br class="figure-break"></div><p>
The anticircumvention provisions of the DMCA target copyright
circumvention technologies. Circumvention technologies can be used for
different ends. They can be used, for example, to enable massive
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.
-</p><a class="indexterm" name="idp
7944304"></a><p>
+</p><a class="indexterm" name="idp
63086816"></a><p>
The obvious point of Conrad's cartoon is the weirdness of a world
where guns are legal, despite the harm they can do, while VCRs (and
circumvention technologies) are illegal. Flash: <span class="emphasis"><em>No one ever
died from copyright circumvention</em></span>. Yet the law bans circumvention
technologies absolutely, despite the potential that they might do some
good, but permits guns, despite the obvious and tragic harm they do.
-</p><a class="indexterm" name="idp
7946304"></a><a class="indexterm" name="idp7947616"></a><a class="indexterm" name="idp7948928"></a><a class="indexterm" name="idp7949744"></a><a class="indexterm" name="idp7950560"></a><p>
+</p><a class="indexterm" name="idp
63088816"></a><a class="indexterm" name="idp63090128"></a><a class="indexterm" name="idp63091376"></a><a class="indexterm" name="idp63092192"></a><a class="indexterm" name="idp63093008"></a><p>
The Aibo and RIAA examples demonstrate how copyright owners are
changing the balance that copyright law grants. Using code, copyright
owners restrict fair use; using the DMCA, they punish those who would
gathered every month to share trivia, and maybe to enact a kind of fan
fiction about the show. One person would play Spock, another, Captain
Kirk. The characters would begin with a plot from a real story, then
-simply continue it.<a href="#ftn.idp7956608" class="footnote" name="idp7956608"><sup class="footnote">[141]</sup></a>
+simply continue it.<a href="#ftn.idp63099056" class="footnote" name="idp63099056"><sup class="footnote">[141]</sup></a>
</p><p>
Before the Internet, this was, in effect, a totally unregulated
activity. No matter what happened inside your club room, you would
never be interfered with by the copyright police. You were free in
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.
-</p><a class="indexterm" name="idp
7959328"></a><p>
+</p><a class="indexterm" name="idp
63101776"></a><p>
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
scouring the Net for trademark and copyright infringement would
</p><p>
These changes are of two sorts: the scope of concentration, and its
nature.
-</p><a class="indexterm" name="idp
7967024"></a><a class="indexterm" name="idp7967808"></a><a class="indexterm" name="idp7968640"></a><a class="indexterm" name="idp7969424"></a><a class="indexterm" name="idp7970240"></a><a class="indexterm" name="idp7971056"></a><p>
+</p><a class="indexterm" name="idp
63109488"></a><a class="indexterm" name="idp63110272"></a><a class="indexterm" name="idp63111104"></a><a class="indexterm" name="idp63111936"></a><a class="indexterm" name="idp63112752"></a><a class="indexterm" name="idp63113568"></a><p>
Changes in scope are the easier ones to describe. As Senator John
McCain summarized the data produced in the FCC's review of media
-ownership, <span class="quote">«<span class="quote">five companies control 85 percent of our media sources.</span>»</span><a href="#ftn.idp7972544" class="footnote" name="idp7972544"><sup class="footnote">[142]</sup></a>
+ownership, <span class="quote">«<span class="quote">five companies control 85 percent of our media sources.</span>»</span><a href="#ftn.idp63115056" class="footnote" name="idp63115056"><sup class="footnote">[142]</sup></a>
The five recording labels of Universal Music Group, BMG, Sony Music
Entertainment, Warner Music Group, and EMI control 84.8 percent of the
-U.S. music market.<a href="#ftn.idp7973760" class="footnote" name="idp7973760"><sup class="footnote">[143]</sup></a>
+U.S. music market.<a href="#ftn.idp63116272" class="footnote" name="idp63116272"><sup class="footnote">[143]</sup></a>
The <span class="quote">«<span class="quote">five largest cable companies pipe
-programming to 74 percent of the cable subscribers nationwide.</span>»</span><a href="#ftn.idp7975888" class="footnote" name="idp7975888"><sup class="footnote">[144]</sup></a>
-</p><p>
+programming to 74 percent of the cable subscribers nationwide.</span>»</span><a href="#ftn.idp63118400" class="footnote" name="idp63118400"><sup class="footnote">[144]</sup></a>
+</p><a class="indexterm" name="idxradioownershipconsolidationin"></a><p>
The story with radio is even more dramatic. Before deregulation,
the nation's largest radio broadcasting conglomerate owned fewer than
markets, the two largest broadcasters control 74 percent of that
market's revenues. Overall, just four companies control 90 percent of
the nation's radio advertising revenues.
-</p><a class="indexterm" name="idp
7979440"></a><p>
+</p><a class="indexterm" name="idp
63123760"></a><a class="indexterm" name="idxnewspapersownershipconsolidationof"></a><p>
Newspaper ownership is becoming more concentrated as well. Today,
there are six hundred fewer daily newspapers in the United States than
there were eighty years ago, and ten companies control half of the
of all cable revenue. This is a market far from the free press the
framers sought to protect. Indeed, it is a market that is quite well
protected— by the market.
-</p><a class="indexterm" name="idp
7980480"></a><p>
+</p><a class="indexterm" name="idp
63126704"></a><p>
Concentration in size alone is one thing. The more invidious
change is in the nature of that concentration. As author James Fallows
put it in a recent article about Rupert Murdoch,
through which the content reaches the customers. Murdoch's satellite
systems now distribute News Corp. content in Europe and Asia; if
Murdoch becomes DirecTV's largest single owner, that system will serve
-the same function in the United States.<a href="#ftn.idp7983280" class="footnote" name="idp7983280"><sup class="footnote">[145]</sup></a>
-</p></blockquote></div><p>
+the same function in the United States.<a href="#ftn.idp63129504" class="footnote" name="idp63129504"><sup class="footnote">[145]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp63132816"></a><a class="indexterm" name="idp63134160"></a><p>
The pattern with Murdoch is the pattern of modern media. Not
just large companies owning many radio stations, but a few companies
owning as many outlets of media as possible. A picture describes this
</p><p>
Here's a representative story that begins to suggest how this
integration may matter.
-</p><a class="indexterm" name="idp
7991776"></a><a class="indexterm" name="idp7992560"></a><a class="indexterm" name="idp7993344"></a><p>
+</p><a class="indexterm" name="idp
63140736"></a><a class="indexterm" name="idp63141520"></a><a class="indexterm" name="idp63142304"></a><p>
In 1969, Norman Lear created a pilot for <em class="citetitle">All in the Family</em>. He took
the pilot to ABC. The network didn't like it. It was too edgy, they told
Lear. Make it again. Lear made a second pilot, more edgy than the
Rather than comply, Lear simply took the show elsewhere. CBS
was happy to have the series; ABC could not stop Lear from walking.
The copyrights that Lear held assured an independence from network
-control.<a href="#ftn.idp7995776" class="footnote" name="idp7995776"><sup class="footnote">[146]</sup></a>
+control.<a href="#ftn.idp63144736" class="footnote" name="idp63144736"><sup class="footnote">[146]</sup></a>
</p><p>
it controlled. Last year, the percentage of shows produced by
controlled companies more than quintupled to 77 percent.</span>»</span> <span class="quote">«<span class="quote">In 1992, 16
new series were produced independently of conglomerate control, last
-year there was one.</span>»</span><a href="#ftn.idp8002336" class="footnote" name="idp8002336"><sup class="footnote">[147]</sup></a>
+year there was one.</span>»</span><a href="#ftn.idp63151296" class="footnote" name="idp63151296"><sup class="footnote">[147]</sup></a>
In 2002, 75 percent of prime time television was owned by the networks
that ran it. <span class="quote">«<span class="quote">In the ten-year period between 1992 and 2002, the number
of prime time television hours per week produced by network studios
increased over 200%, whereas the number of prime time television hours
per week produced by independent studios decreased
-63%.</span>»</span><a href="#ftn.idp8004880" class="footnote" name="idp8004880"><sup class="footnote">[148]</sup></a>
-</p><a class="indexterm" name="idp
8005872"></a><p>
+63%.</span>»</span><a href="#ftn.idp63153840" class="footnote" name="idp63153840"><sup class="footnote">[148]</sup></a>
+</p><a class="indexterm" name="idp
63154832"></a><p>
Today, another Norman Lear with another <em class="citetitle">All in the Family</em> would
find that he had the choice either to make the show less edgy or to be
fired: The content of any show developed for a network is increasingly
owned by the network.
-</p><a class="indexterm" name="idp
8007744"></a><a class="indexterm" name="idp8008560"></a><p>
+</p><a class="indexterm" name="idp
63156704"></a><a class="indexterm" name="idp63157520"></a><p>
While the number of channels has increased dramatically, the ownership
of those channels has narrowed to an ever smaller and smaller few. As
Barry Diller said to Bill Moyers,
u]sed to have dozens and dozens of thriving independent production
companies producing television programs. Now you have less than a
-handful.<a href="#ftn.idp8011232" class="footnote" name="idp8011232"><sup class="footnote">[149]</sup></a>
-</p></blockquote></div><p>
+handful.<a href="#ftn.idp63160192" class="footnote" name="idp63160192"><sup class="footnote">[149]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp63162896"></a><p>
This narrowing has an effect on what is produced. The product of such
large and concentrated networks is increasingly homogenous.
Increasingly safe. Increasingly sterile. The product of news shows
to Siberia, but punishment nonetheless. Independent, critical,
different views are quashed. This is not the environment for a
democracy.
-</p><a class="indexterm" name="idp
8014192"></a><p>
+</p><a class="indexterm" name="idp
63164256"></a><p>
Economics itself offers a parallel that explains why this integration
affects creativity. Clay Christensen has written about the <span class="quote">«<span class="quote">Innovator's
Dilemma</span>»</span>: the fact that large traditional firms find it rational to ignore
new, breakthrough technologies that compete with their core business.
The same analysis could help explain why large, traditional media
-companies would find it rational to ignore new cultural trends.<a href="#ftn.idp8016896" class="footnote" name="idp8016896"><sup class="footnote">[150]</sup></a>
+companies would find it rational to ignore new cultural trends.<a href="#ftn.idp63166960" class="footnote" name="idp63166960"><sup class="footnote">[150]</sup></a>
Lumbering giants not only don't, but should not, sprint. Yet if the
field is only open to the giants, there will be far too little
sprinting.
-<a class="indexterm" name="idp8020304"></a>
+<a class="indexterm" name="idp63170368"></a>
</p><p>
I don't think we know enough about the economics of the media
market to say with certainty what concentration and integration will
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.
-</p><p>
+</p><a class="indexterm" name="idp63172960"></a><p>
Let me hereby disqualify myself from any possible appointment to
any position in government by saying I believe this war is a profound
mistake. I am not pro drugs. Indeed, I come from a family once
is through votes that we are to choose policy. But to do that, we
depend fundamentally upon the press to help inform Americans about
these issues.
-</p><a class="indexterm" name="idxadvertising3"></a><a class="indexterm" name="idxcommercials"></a><a class="indexterm" name="idxtelevisionadvertisingon"></a><a class="indexterm" name="idp
8030848"></a><p>
+</p><a class="indexterm" name="idxadvertising3"></a><a class="indexterm" name="idxcommercials"></a><a class="indexterm" name="idxtelevisionadvertisingon"></a><a class="indexterm" name="idp
63181136"></a><p>
Beginning in 1998, the Office of National Drug Control Policy launched
a media campaign as part of the <span class="quote">«<span class="quote">war on drugs.</span>»</span> The campaign produced
scores of short film clips about issues related to illegal drugs. In
money. Assume a group of concerned citizens donates all the money in
the world to help you get your message out. Can you be sure your
message will be heard then?
-</p><a class="indexterm" name="idp
8035232"></a><a class="indexterm" name="idp8036304"></a><a class="indexterm" name="idp8037120"></a><a class="indexterm" name="idp8038240"></a><p>
+</p><a class="indexterm" name="idp
63185520"></a><a class="indexterm" name="idp63186592"></a><a class="indexterm" name="idp63187408"></a><a class="indexterm" name="idp63188528"></a><p>
No. You cannot. Television stations have a general policy of avoiding
<span class="quote">«<span class="quote">controversial</span>»</span> ads. Ads sponsored by the government are deemed
uncontroversial; ads disagreeing with the government are
the right to choose what they run. Thus, the major channels of
commercial media will refuse one side of a crucial debate the
opportunity to present its case. And the courts will defend the
-rights of the stations to be this biased.<a href="#ftn.idp8040592" class="footnote" name="idp8040592"><sup class="footnote">[151]</sup></a>
-</p><a class="indexterm" name="idp
8053104"></a><a class="indexterm" name="idp8054352"></a><p>
+rights of the stations to be this biased.<a href="#ftn.idp63190880" class="footnote" name="idp63190880"><sup class="footnote">[151]</sup></a>
+</p><a class="indexterm" name="idp
63203392"></a><a class="indexterm" name="idp63204704"></a><p>
I'd be happy to defend the networks' rights, as well—if we lived
in a media market that was truly diverse. But concentration in the
media throws that condition into doubt. If a handful of companies
matters. You might like the positions the handful of companies
selects. But you should not like a world in which a mere few get to
decide which issues the rest of us get to know about.
-</p><a class="indexterm" name="idp
8056832"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="together"></a>10.8. Together</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
63207760"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="together"></a>10.8. Together</h2></div></div></div><p>
There is something innocent and obvious about the claim of the
copyright warriors that the government should <span class="quote">«<span class="quote">protect my property.</span>»</span>
In the abstract, it is obviously true and, ordinarily, totally
of the overall creative process. Law plus technology plus the market
now interact to turn this historically benign regulation into the most
significant regulation of culture that our free society has
-known.<a href="#ftn.idp8068432" class="footnote" name="idp8068432"><sup class="footnote">[152]</sup></a>
+known.<a href="#ftn.idp63219376" class="footnote" name="idp63219376"><sup class="footnote">[152]</sup></a>
</p><p>
<span class="strong"><strong>This has been</strong></span> a long chapter. Its
point can now be briefly stated.
course copyright is a kind of <span class="quote">«<span class="quote">property,</span>»</span> and of course, as with any
property, the state ought to protect it. But first impressions
notwithstanding, historically, this property right (as with all
-property rights<a href="#ftn.idp8110960" class="footnote" name="idp8110960"><sup class="footnote">[153]</sup></a>)
+property rights<a href="#ftn.idp63261808" class="footnote" name="idp63261808"><sup class="footnote">[153]</sup></a>)
has been crafted to balance the important need to give authors and
artists incentives with the equally important need to assure access to
creative work. This balance has always been struck in light of new
build upon or transform a creative work. American culture was born
free, and for almost 180 years our country consistently protected a
vibrant and rich free culture.
-</p><a class="indexterm" name="idp
8115296"></a><p>
+</p><a class="indexterm" name="idp
63266144"></a><p>
We achieved that free culture because our law respected important
limits on the scope of the interests protected by <span class="quote">«<span class="quote">property.</span>»</span> The very
birth of <span class="quote">«<span class="quote">copyright</span>»</span> as a statutory right recognized those limits, by
opportunity to create and transform becomes weakened in a world in
which creation requires permission and creativity must check with a
lawyer.
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7252496" class="footnote"><p><a href="#idp7252496" class="para"><sup class="para">[118] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp62387168" class="footnote"><p><a href="#idp62387168" class="para"><sup class="para">[118] </sup></a>
Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R.
4794, H.R. 4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the
Justice of the Committee on the Judiciary of the House of
Representatives, 97th Cong., 2nd sess. (1982): 65 (testimony of Jack
Valenti).
-</p></div><div id="ftn.idp7259872" class="footnote"><p><a href="#idp7259872" class="para"><sup class="para">[119] </sup></a>
+</p></div><div id="ftn.idp62395824" class="footnote"><p><a href="#idp62395824" class="para"><sup class="para">[119] </sup></a>
Lawyers speak of <span class="quote">«<span class="quote">property</span>»</span> not as an absolute thing, but as a bundle
of rights that are sometimes associated with a particular
the best effort to connect the ordinary meaning of <span class="quote">«<span class="quote">property</span>»</span> to
<span class="quote">«<span class="quote">lawyer talk,</span>»</span> see Bruce Ackerman, <em class="citetitle">Private Property and the
Constitution</em> (New Haven: Yale University Press, 1977), 26–27.
-</p></div><div id="ftn.idp7322208" class="footnote"><p><a href="#idp7322208" class="para"><sup class="para">[120] </sup></a>
+</p></div><div id="ftn.idp62459632" class="footnote"><p><a href="#idp62459632" class="para"><sup class="para">[120] </sup></a>
By describing the way law affects the other three modalities, I don't
mean to suggest that the other three don't affect law. Obviously, they
Other Laws of Cyberspace</em> (New York: Basic Books, 1999): 90–95;
Lawrence Lessig, <span class="quote">«<span class="quote">The New Chicago School,</span>»</span> <em class="citetitle">Journal of Legal Studies</em>,
June 1998.
-</p></div><div id="ftn.idp7332224" class="footnote"><p><a href="#idp7332224" class="para"><sup class="para">[121] </sup></a>
+<a class="indexterm" name="idp62462080"></a>
+</p></div><div id="ftn.idp62470656" class="footnote"><p><a href="#idp62470656" class="para"><sup class="para">[121] </sup></a>
Some people object to this way of talking about <span class="quote">«<span class="quote">liberty.</span>»</span> They object
because their focus when considering the constraints that exist at any
conditions changes the liberty of a particular group. The effect of
those interventions should be accounted for in order to understand the
effective liberty that each of these groups might face.
-<a class="indexterm" name="idp7337456"></a>
-<a class="indexterm" name="idp7338288"></a>
-<a class="indexterm" name="idp7339104"></a>
-<a class="indexterm" name="idp7339952"></a>
-</p></div><div id="ftn.idp7389568" class="footnote"><p><a href="#idp7389568" class="para"><sup class="para">[122] </sup></a>
+<a class="indexterm" name="idp62475888"></a>
+<a class="indexterm" name="idp62476720"></a>
+<a class="indexterm" name="idp62477536"></a>
+<a class="indexterm" name="idp62478384"></a>
+<a class="indexterm" name="idp62479200"></a>
+</p></div><div id="ftn.idp62528496" class="footnote"><p><a href="#idp62528496" class="para"><sup class="para">[122] </sup></a>
See Geoffrey Smith, <span class="quote">«<span class="quote">Film vs. Digital: Can Kodak Build a Bridge?</span>»</span>
BusinessWeek online, 2 August 1999, available at
R. Schoenberger, <span class="quote">«<span class="quote">Can Kodak Make Up for Lost Moments?</span>»</span> Forbes.com, 6
October 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #24</a>.
-</p></div><div id="ftn.idp7402720" class="footnote"><p><a href="#idp7402720" class="para"><sup class="para">[123] </sup></a>
+</p></div><div id="ftn.idp62541696" class="footnote"><p><a href="#idp62541696" class="para"><sup class="para">[123] </sup></a>
Fred Warshofsky, <em class="citetitle">The Patent Wars</em> (New York: Wiley, 1994), 170–71.
-</p></div><div id="ftn.idp7434000" class="footnote"><p><a href="#idp7434000" class="para"><sup class="para">[124] </sup></a>
+</p></div><div id="ftn.idp62572448" class="footnote"><p><a href="#idp62572448" class="para"><sup class="para">[124] </sup></a>
See, for example, James Boyle, <span class="quote">«<span class="quote">A Politics of Intellectual Property:
Environmentalism for the Net?</span>»</span> <em class="citetitle">Duke Law Journal</em> 47 (1997): 87.
-</p></div><div id="ftn.idp7503008" class="footnote"><p><a href="#idp7503008" class="para"><sup class="para">[125] </sup></a>
+</p></div><div id="ftn.idp62642144" class="footnote"><p><a href="#idp62642144" class="para"><sup class="para">[125] </sup></a>
William W. Crosskey, <em class="citetitle">Politics and the Constitution in the History of
the United States</em> (London: Cambridge University Press, 1953), vol. 1,
Law of the Land,' <span class="emphasis"><em>the perpetual rights which authors had, or
were supposed by some to have, under the Common Law</em></span></span>»</span>
(emphasis added).
-<a class="indexterm" name="idp7505296"></a>
-</p></div><div id="ftn.idp7515104" class="footnote"><p><a href="#idp7515104" class="para"><sup class="para">[126] </sup></a>
+<a class="indexterm" name="idp62644432"></a>
+</p></div><div id="ftn.idp62653904" class="footnote"><p><a href="#idp62653904" class="para"><sup class="para">[126] </sup></a>
Although 13,000 titles were published in the United States from 1790
to 1799, only 556 copyright registrations were filed; John Tebbel, <em class="citetitle">A
copyrighted fell into the public domain quickly, because the term of
copyright was short. The initial term of copyright was fourteen years,
with the option of renewal for an additional fourteen years. Copyright
-Act of May 31, 1790, §1, 1 stat. 124. </p></div><div id="ftn.idp7523440" class="footnote"><p><a href="#idp7523440" class="para"><sup class="para">[127] </sup></a>
+Act of May 31, 1790, §1, 1 stat. 124. </p></div><div id="ftn.idp62662240" class="footnote"><p><a href="#idp62662240" class="para"><sup class="para">[127] </sup></a>
Few copyright holders ever chose to renew their copyrights. For
instance, of the 25,006 copyrights registered in 1883, only 894 were
1963), 618. For a more recent and comprehensive analysis, see William
M. Landes and Richard A. Posner, <span class="quote">«<span class="quote">Indefinitely Renewable Copyright,</span>»</span>
<em class="citetitle">University of Chicago Law Review</em> 70 (2003): 471, 498–501, and
-accompanying figures. </p></div><div id="ftn.idp7530576" class="footnote"><p><a href="#idp7530576" class="para"><sup class="para">[128] </sup></a>
+accompanying figures. </p></div><div id="ftn.idp62669376" class="footnote"><p><a href="#idp62669376" class="para"><sup class="para">[128] </sup></a>
-See Ringer, ch. 9, n. 2. </p></div><div id="ftn.idp7556576" class="footnote"><p><a href="#idp7556576" class="para"><sup class="para">[129] </sup></a>
+See Ringer, ch. 9, n. 2. </p></div><div id="ftn.idp62696512" class="footnote"><p><a href="#idp62696512" class="para"><sup class="para">[129] </sup></a>
These statistics are understated. Between the years 1910 and 1962 (the
first year the renewal term was extended), the average term was never
more than thirty-two years, and averaged thirty years. See Landes and
Posner, <span class="quote">«<span class="quote">Indefinitely Renewable Copyright,</span>»</span> loc. cit.
-</p></div><div id="ftn.idp7596128" class="footnote"><p><a href="#idp7596128" class="para"><sup class="para">[130] </sup></a>
+</p></div><div id="ftn.idp62735792" class="footnote"><p><a href="#idp62735792" class="para"><sup class="para">[130] </sup></a>
See Thomas Bender and David Sampliner, <span class="quote">«<span class="quote">Poets, Pirates, and the
Creation of American Literature,</span>»</span> 29 <em class="citetitle">New York University Journal of
International Law and Politics</em> 255 (1997), and James Gilraeth, ed.,
Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987).
-</p></div><div id="ftn.idp7613424" class="footnote"><p><a href="#idp7613424" class="para"><sup class="para">[131] </sup></a>
+</p></div><div id="ftn.idp62752960" class="footnote"><p><a href="#idp62752960" class="para"><sup class="para">[131] </sup></a>
Jonathan Zittrain, <span class="quote">«<span class="quote">The Copyright Cage,</span>»</span> <em class="citetitle">Legal
Affairs</em>, July/August 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #26</a>.
-<a class="indexterm" name="idp7615920"></a>
-</p></div><div id="ftn.idp7617648" class="footnote"><p><a href="#idp7617648" class="para"><sup class="para">[132] </sup></a>
+<a class="indexterm" name="idp62755456"></a>
+</p></div><div id="ftn.idp62757184" class="footnote"><p><a href="#idp62757184" class="para"><sup class="para">[132] </sup></a>
Professor Rubenfeld has presented a powerful constitutional argument
about the difference that copyright law should draw (from the
Copyright's Constitutionality,</span>»</span> <em class="citetitle">Yale Law
Journal</em> 112 (2002): 1–60 (see especially
pp. 53–59).
-<a class="indexterm" name="idp7619856"></a>
-</p></div><div id="ftn.idp7633904" class="footnote"><p><a href="#idp7633904" class="para"><sup class="para">[133] </sup></a>
+<a class="indexterm" name="idp62759472"></a>
+</p></div><div id="ftn.idp62773712" class="footnote"><p><a href="#idp62773712" class="para"><sup class="para">[133] </sup></a>
This is a simplification of the law, but not much of one. The law
certainly regulates more than <span class="quote">«<span class="quote">copies</span>»</span>—a public performance of a
<em class="citetitle">United States Code</em>, section 112(a). But the presumption under the
existing law (which regulates <span class="quote">«<span class="quote">copies;</span>»</span> 17 <em class="citetitle">United States Code</em>, section
102) is that if there is a copy, there is a right.
-</p></div><div id="ftn.idp7646912" class="footnote"><p><a href="#idp7646912" class="para"><sup class="para">[134] </sup></a>
+</p></div><div id="ftn.idp62786768" class="footnote"><p><a href="#idp62786768" class="para"><sup class="para">[134] </sup></a>
Thus, my argument is not that in each place that copyright law
extends, we should repeal it. It is instead that we should have a good
argument for its extending where it does, and should not determine its
reach on the basis of arbitrary and automatic changes caused by
technology.
-</p></div><div id="ftn.idp7696288" class="footnote"><p><a href="#idp7696288" class="para"><sup class="para">[135] </sup></a>
+</p></div><div id="ftn.idp62836112" class="footnote"><p><a href="#idp62836112" class="para"><sup class="para">[135] </sup></a>
I don't mean <span class="quote">«<span class="quote">nature</span>»</span> in the sense that it couldn't be different, but
rather that its present instantiation entails a copy. Optical networks
need not make copies of content they transmit, and a digital network
could be designed to delete anything it copies so that the same number
of copies remain.
-</p></div><div id="ftn.idp7793824" class="footnote"><p><a href="#idp7793824" class="para"><sup class="para">[136] </sup></a>
+</p></div><div id="ftn.idp62933520" class="footnote"><p><a href="#idp62933520" class="para"><sup class="para">[136] </sup></a>
See David Lange, <span class="quote">«<span class="quote">Recognizing the Public Domain,</span>»</span> <em class="citetitle">Law and
Contemporary Problems</em> 44 (1981): 172–73.
-</p></div><div id="ftn.idp7796416" class="footnote"><p><a href="#idp7796416" class="para"><sup class="para">[137] </sup></a>
+</p></div><div id="ftn.idp62936112" class="footnote"><p><a href="#idp62936112" class="para"><sup class="para">[137] </sup></a>
-<a class="indexterm" name="idp7797120"></a>
+<a class="indexterm" name="idp62936816"></a>
Ibid. See also Vaidhyanathan, <em class="citetitle">Copyrights and
Copywrongs</em>, 1–3.
-</p></div><div id="ftn.idp7834576" class="footnote"><p><a href="#idp7834576" class="para"><sup class="para">[138] </sup></a>
+</p></div><div id="ftn.idp62976416" class="footnote"><p><a href="#idp62976416" class="para"><sup class="para">[138] </sup></a>
In principle, a contract might impose a requirement on me. I might,
for example, buy a book from you that includes a contract that says I
obligation) would come from the contract, not from copyright law, and
the obligations of contract would not necessarily pass to anyone who
subsequently acquired the book.
-</p></div><div id="ftn.idp7886144" class="footnote"><p><a href="#idp7886144" class="para"><sup class="para">[139] </sup></a>
+</p></div><div id="ftn.idp63028592" class="footnote"><p><a href="#idp63028592" class="para"><sup class="para">[139] </sup></a>
See Pamela Samuelson, <span class="quote">«<span class="quote">Anticircumvention Rules: Threat to Science,</span>»</span>
<em class="citetitle">Science</em> 293 (2001): 2028; Brendan I. Koerner, <span class="quote">«<span class="quote">Play Dead: Sony Muzzles
April 2001; Electronic Frontier Foundation, <span class="quote">«<span class="quote">Frequently Asked
Questions about <em class="citetitle">Felten and USENIX</em> v. <em class="citetitle">RIAA</em> Legal Case,</span>»</span> available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #27</a>.
-<a class="indexterm" name="idp7893024"></a>
-</p></div><div id="ftn.idp7930096" class="footnote"><p><a href="#idp7930096" class="para"><sup class="para">[140] </sup></a>
+<a class="indexterm" name="idp63035472"></a>
+</p></div><div id="ftn.idp63072592" class="footnote"><p><a href="#idp63072592" class="para"><sup class="para">[140] </sup></a>
-<a class="indexterm" name="idp7930832"></a>
+<a class="indexterm" name="idp63073328"></a>
<em class="citetitle">Sony Corporation of America</em> v. <em class="citetitle">Universal City Studios, Inc</em>., 464 U.S. 417,
455 fn. 27 (1984). Rogers never changed his view about the VCR. See
James Lardner, <em class="citetitle">Fast Forward: Hollywood, the Japanese, and the Onslaught of
the VCR</em> (New York: W. W. Norton, 1987), 270–71.
-<a class="indexterm" name="idp7798416"></a>
-</p></div><div id="ftn.idp7956608" class="footnote"><p><a href="#idp7956608" class="para"><sup class="para">[141] </sup></a>
+<a class="indexterm" name="idp62938112"></a>
+</p></div><div id="ftn.idp63099056" class="footnote"><p><a href="#idp63099056" class="para"><sup class="para">[141] </sup></a>
For an early and prescient analysis, see Rebecca Tushnet, <span class="quote">«<span class="quote">Legal Fictions,
Copyright, Fan Fiction, and a New Common Law,</span>»</span> <em class="citetitle">Loyola of Los Angeles
Entertainment Law Journal</em> 17 (1997): 651.
-</p></div><div id="ftn.idp7972544" class="footnote"><p><a href="#idp7972544" class="para"><sup class="para">[142] </sup></a>
+</p></div><div id="ftn.idp63115056" class="footnote"><p><a href="#idp63115056" class="para"><sup class="para">[142] </sup></a>
FCC Oversight: Hearing Before the Senate Commerce, Science and
Transportation Committee, 108th Cong., 1st sess. (22 May 2003)
-(statement of Senator John McCain). </p></div><div id="ftn.idp7973760" class="footnote"><p><a href="#idp7973760" class="para"><sup class="para">[143] </sup></a>
+(statement of Senator John McCain). </p></div><div id="ftn.idp63116272" class="footnote"><p><a href="#idp63116272" class="para"><sup class="para">[143] </sup></a>
Lynette Holloway, <span class="quote">«<span class="quote">Despite a Marketing Blitz, CD Sales Continue to
Slide,</span>»</span> <em class="citetitle">New York Times</em>, 23 December 2002.
-</p></div><div id="ftn.idp7975888" class="footnote"><p><a href="#idp7975888" class="para"><sup class="para">[144] </sup></a>
+</p></div><div id="ftn.idp63118400" class="footnote"><p><a href="#idp63118400" class="para"><sup class="para">[144] </sup></a>
Molly Ivins, <span class="quote">«<span class="quote">Media Consolidation Must Be Stopped,</span>»</span> <em class="citetitle">Charleston Gazette</em>,
31 May 2003.
-</p></div><div id="ftn.idp7983280" class="footnote"><p><a href="#idp7983280" class="para"><sup class="para">[145] </sup></a>
+</p></div><div id="ftn.idp63129504" class="footnote"><p><a href="#idp63129504" class="para"><sup class="para">[145] </sup></a>
James Fallows, <span class="quote">«<span class="quote">The Age of Murdoch,</span>»</span> <em class="citetitle">Atlantic Monthly</em> (September
2003): 89.
-<a class="indexterm" name="idp7985392"></a>
-</p></div><div id="ftn.idp7995776" class="footnote"><p><a href="#idp7995776" class="para"><sup class="para">[146] </sup></a>
+<a class="indexterm" name="idp63131616"></a>
+</p></div><div id="ftn.idp63144736" class="footnote"><p><a href="#idp63144736" class="para"><sup class="para">[146] </sup></a>
Leonard Hill, <span class="quote">«<span class="quote">The Axis of Access,</span>»</span> remarks before Weidenbaum Center
Forum, <span class="quote">«<span class="quote">Entertainment Economics: The Movie Industry,</span>»</span> St. Louis,
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #28</a>;
for the Lear story, not included in the prepared remarks, see
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #29</a>).
-</p></div><div id="ftn.idp8002336" class="footnote"><p><a href="#idp8002336" class="para"><sup class="para">[147] </sup></a>
+</p></div><div id="ftn.idp63151296" class="footnote"><p><a href="#idp63151296" class="para"><sup class="para">[147] </sup></a>
NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media
Ownership Before the Senate Commerce Committee, 108th Cong., 1st
quotes Victoria Riskin, president of Writers Guild of America, West,
in her Remarks at FCC En Banc Hearing, Richmond, Virginia, 27 February
2003.
-</p></div><div id="ftn.idp8004880" class="footnote"><p><a href="#idp8004880" class="para"><sup class="para">[148] </sup></a>
+</p></div><div id="ftn.idp63153840" class="footnote"><p><a href="#idp63153840" class="para"><sup class="para">[148] </sup></a>
Ibid.
-</p></div><div id="ftn.idp8011232" class="footnote"><p><a href="#idp8011232" class="para"><sup class="para">[149] </sup></a>
+</p></div><div id="ftn.idp63160192" class="footnote"><p><a href="#idp63160192" class="para"><sup class="para">[149] </sup></a>
<span class="quote">«<span class="quote">Barry Diller Takes on Media Deregulation,</span>»</span> <em class="citetitle">Now with Bill Moyers</em>, Bill
Moyers, 25 April 2003, edited transcript available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #31</a>.
-</p></div><div id="ftn.idp8016896" class="footnote"><p><a href="#idp8016896" class="para"><sup class="para">[150] </sup></a>
+</p></div><div id="ftn.idp63166960" class="footnote"><p><a href="#idp63166960" class="para"><sup class="para">[150] </sup></a>
Clayton M. Christensen, <em class="citetitle">The Innovator's Dilemma: The
Revolutionary National Bestseller that Changed the Way We Do Business</em>
235–51. For a more recent study, see Richard Foster and Sarah
Kaplan, <em class="citetitle">Creative Destruction: Why Companies That Are Built to Last
Underperform the Market—and How to Successfully Transform Them</em>
-(New York: Currency/Doubleday, 2001). </p></div><div id="ftn.idp8040592" class="footnote"><p><a href="#idp8040592" class="para"><sup class="para">[151] </sup></a>
-
-<a class="indexterm" name="idp8041328"></a>
-<a class="indexterm" name="idp8042080"></a>
-<a class="indexterm" name="idp8042896"></a>
-<a class="indexterm" name="idp8043728"></a>
-<a class="indexterm" name="idp8044560"></a>
-<a class="indexterm" name="idp8045376"></a>
-<a class="indexterm" name="idp8046160"></a>
+(New York: Currency/Doubleday, 2001). </p></div><div id="ftn.idp63190880" class="footnote"><p><a href="#idp63190880" class="para"><sup class="para">[151] </sup></a>
+
+<a class="indexterm" name="idp63191616"></a>
+<a class="indexterm" name="idp63192368"></a>
+<a class="indexterm" name="idp63193184"></a>
+<a class="indexterm" name="idp63194016"></a>
+<a class="indexterm" name="idp63194800"></a>
+<a class="indexterm" name="idp63195616"></a>
+<a class="indexterm" name="idp63196448"></a>
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 <span class="quote">«<span class="quote">against
available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#32</a>. The ground was that the criticism was <span class="quote">«<span class="quote">too
controversial.</span>»</span>
-</p></div><div id="ftn.idp8068432" class="footnote"><p><a href="#idp8068432" class="para"><sup class="para">[152] </sup></a>
+</p></div><div id="ftn.idp63219376" class="footnote"><p><a href="#idp63219376" class="para"><sup class="para">[152] </sup></a>
-<a class="indexterm" name="idp8069504"></a>
+<a class="indexterm" name="idp63220448"></a>
Siva Vaidhyanathan captures a similar point in his <span class="quote">«<span class="quote">four surrenders</span>»</span> of
copyright law in the digital age. See Vaidhyanathan, 159–60.
-</p></div><div id="ftn.idp8110960" class="footnote"><p><a href="#idp8110960" class="para"><sup class="para">[153] </sup></a>
+</p></div><div id="ftn.idp63261808" class="footnote"><p><a href="#idp63261808" class="para"><sup class="para">[153] </sup></a>
-<a class="indexterm" name="idp8111696"></a>
+<a class="indexterm" name="idp63262544"></a>
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, <span class="quote">«<span class="quote">The
<span class="strong"><strong>In a well-known</strong></span> short story by
H. G. Wells, a mountain climber named Nunez trips (literally, down an
ice slope) into an unknown and isolated valley in the Peruvian
-Andes.<a href="#ftn.idp8133296" class="footnote" name="idp8133296"><sup class="footnote">[154]</sup></a>
+Andes.<a href="#ftn.idp63284928" class="footnote" name="idp63284928"><sup class="footnote">[154]</sup></a>
The valley is extraordinarily beautiful, with <span class="quote">«<span class="quote">sweet water, pasture,
an even climate, slopes of rich brown soil with tangles of a shrub
that bore an excellent fruit.</span>»</span> But the villagers are all blind. Nunez
plot for murder mysteries. <span class="quote">«<span class="quote">But the DNA shows with 100 percent
certainty that she was not the person whose blood was at the
scene. …</span>»</span>
-</p><a class="indexterm" name="idp
8151120"></a><a class="indexterm" name="idp8152224"></a><p>
+</p><a class="indexterm" name="idp
63302800"></a><a class="indexterm" name="idp63303904"></a><p>
Before I had read about chimeras, I would have said they were
impossible. A single person can't have two sets of DNA. The very idea
of DNA is that it is the code of an individual. Yet in fact, not only
(finally) releases a new album, rather than buying it, I go to Kazaa
and find a free copy to take, that is very much like stealing a copy
from Tower.
-<a class="indexterm" name="idp8160880"></a>
+<a class="indexterm" name="idp63312560"></a>
</p><p>
we can get universities to monitor all computer traffic to make sure
that no computer is used to commit this crime. These responses might
be extreme, but each of them has either been proposed or actually
-implemented.<a href="#ftn.idp8164672" class="footnote" name="idp8164672"><sup class="footnote">[155]</sup></a>
+implemented.<a href="#ftn.idp63316352" class="footnote" name="idp63316352"><sup class="footnote">[155]</sup></a>
-</p><a class="indexterm" name="idp
8175856"></a><p>
+</p><a class="indexterm" name="idp
63327536"></a><p>
Alternatively, we could respond to file sharing the way many kids act
as though we've responded. We could totally legalize it. Let there be
no copyright liability, either civil or criminal, for making
which they will be able to access digital media and the equipment
that they will require to do so. Poor choices made this early in the
game will retard the growth of this market, hurting everyone's
-interests.<a href="#ftn.idp8184640" class="footnote" name="idp8184640"><sup class="footnote">[156]</sup></a>
+interests.<a href="#ftn.idp63335776" class="footnote" name="idp63335776"><sup class="footnote">[156]</sup></a>
</p></blockquote></div><p>
In April 2001, eMusic.com was purchased by Vivendi Universal,
one of <span class="quote">«<span class="quote">the major labels.</span>»</span> Its position on these matters has now
changed.
-<a class="indexterm" name="idp8187312"></a>
+<a class="indexterm" name="idp63338448"></a>
</p><p>
Reversing our tradition of tolerance now will not merely quash
piracy. It will sacrifice values that are important to this culture,
and will kill opportunities that could be extraordinarily valuable.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8133296" class="footnote"><p><a href="#idp8133296" class="para"><sup class="para">[154] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp63284928" class="footnote"><p><a href="#idp63284928" class="para"><sup class="para">[154] </sup></a>
H. G. Wells, <span class="quote">«<span class="quote">The Country of the Blind</span>»</span> (1904, 1911). See H. G. Wells,
<em class="citetitle">The Country of the Blind and Other Stories</em>, Michael Sherborne, ed. (New
York: Oxford University Press, 1996).
-</p></div><div id="ftn.idp8164672" class="footnote"><p><a href="#idp8164672" class="para"><sup class="para">[155] </sup></a>
+</p></div><div id="ftn.idp63316352" class="footnote"><p><a href="#idp63316352" class="para"><sup class="para">[155] </sup></a>
-<a class="indexterm" name="idp8165376"></a>
+<a class="indexterm" name="idp63317056"></a>
For an excellent summary, see the report prepared by GartnerG2 and the
Berkman Center for Internet and Society at Harvard Law School,
<span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster World,</span>»</span> 27 June 2003,
identities, see James Collins, <span class="quote">«<span class="quote">RIAA Steps Up Bid to Force BC, MIT to
Name Students,</span>»</span> <em class="citetitle">Boston Globe</em>, 8 August 2003, D3, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #36</a>.
-<a class="indexterm" name="idp8173968"></a>
-<a class="indexterm" name="idp8174784"></a>
-</p></div><div id="ftn.idp8184640" class="footnote"><p><a href="#idp8184640" class="para"><sup class="para">[156] </sup></a>
+<a class="indexterm" name="idp63325648"></a>
+<a class="indexterm" name="idp63326464"></a>
+</p></div><div id="ftn.idp63335776" class="footnote"><p><a href="#idp63335776" class="para"><sup class="para">[156] </sup></a>
WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital
Entertainment on the Internet and Other Media: Hearing Before the
first time, the law should defend the old against the new, just when the
power of the property called <span class="quote">«<span class="quote">intellectual property</span>»</span> is at its greatest in
our history.
-</p><a class="indexterm" name="idp
8194960"></a><a class="indexterm" name="idp8195776"></a><p>
+</p><a class="indexterm" name="idp
63346192"></a><a class="indexterm" name="idp63347008"></a><p>
Yet <span class="quote">«<span class="quote">common sense</span>»</span> does not see it this way. Common sense is still on
the side of the Causbys and the content industry. The extreme claims
of control in the name of property still resonate; the uncritical
rejection of <span class="quote">«<span class="quote">piracy</span>»</span> still has play.
-</p><a class="indexterm" name="idp
8198096"></a><p>
+</p><a class="indexterm" name="idp
63349328"></a><p>
There will be many consequences of continuing this war. I want to
describe just three. All three might be said to be unintended. I am quite
statement. You could write a poem to express your love, or you could
weave together a string—a mash-up— of songs from your
favorite artists in a collage and make it available on the Net.
-</p><p>
+</p><a class="indexterm" name="idp63352608"></a><a class="indexterm" name="idp63354784"></a><p>
This digital <span class="quote">«<span class="quote">capturing and sharing</span>»</span> is in part an extension of the
capturing and sharing that has always been integral to our culture,
and in part it is something new. It is continuous with the Kodak, but
on remote topics of science or culture. There is a vast amount of creative
work spread across the Internet. But as the law is currently crafted, this
work is presumptively illegal.
-</p><a class="indexterm" name="idp
8206192"></a><a class="indexterm" name="idp8206976"></a><a class="indexterm" name="idp8208096"></a><a class="indexterm" name="idp8209216"></a><a class="indexterm" name="idp8210048"></a><p>
+</p><a class="indexterm" name="idp
63359408"></a><a class="indexterm" name="idp63360192"></a><a class="indexterm" name="idp63361312"></a><a class="indexterm" name="idp63362432"></a><a class="indexterm" name="idp63363264"></a><p>
That presumption will increasingly chill creativity, as the
examples of extreme penalties for vague infringements continue to
proliferate. It is impossible to get a clear sense of what's allowed
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.<a href="#ftn.idp8212832" class="footnote" name="idp8212832"><sup class="footnote">[157]</sup></a>
+million.<a href="#ftn.idp63365984" class="footnote" name="idp63365984"><sup class="footnote">[157]</sup></a>
And under legislation being pushed in Congress right now, a doctor who
negligently removes the wrong leg in an operation would be liable for
no more than $250,000 in damages for pain and
-suffering.<a href="#ftn.idp8216720" class="footnote" name="idp8216720"><sup class="footnote">[158]</sup></a>
+suffering.<a href="#ftn.idp63369872" class="footnote" name="idp63369872"><sup class="footnote">[158]</sup></a>
Can common sense recognize the absurdity in a world where
the maximum fine for downloading two songs off the Internet is more
than the fine for a doctor's negligently butchering a patient?
-</p><a class="indexterm" name="idp
8221568"></a><p>
+</p><a class="indexterm" name="idp
63375536"></a><p>
The consequence of this legal uncertainty, tied to these extremely
high penalties, is that an extraordinary amount of creativity will
either never be exercised, or never be exercised in the open. We drive
message is necessarily political, or because the subject is
controversial, but because the very act of creating the art is legally
fraught. Already, exhibits of <span class="quote">«<span class="quote">illegal art</span>»</span> tour the United
-States.<a href="#ftn.idp8224720" class="footnote" name="idp8224720"><sup class="footnote">[159]</sup></a>
+States.<a href="#ftn.idp63378688" class="footnote" name="idp63378688"><sup class="footnote">[159]</sup></a>
In what does their <span class="quote">«<span class="quote">illegality</span>»</span> consist?
In the act of mixing the culture around us with an expression that is
critical or reflective.
-</p><a class="indexterm" name="idp
8228656"></a><p>
+</p><a class="indexterm" name="idp
63382624"></a><p>
Part of the reason for this fear of illegality has to do with the
changing law. I described that change in detail in chapter
<a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>. But an
content. It is as if your cassette tape player transmitted a list of
the songs that you played in the privacy of your own home that anyone
could tune into for whatever reason they chose.
-</p><a class="indexterm" name="idp
8231472"></a><p>
+</p><a class="indexterm" name="idp
63385440"></a><p>
Never in our history has a painter had to worry about whether
his painting infringed on someone else's work; but the modern-day
painter, using the tools of Photoshop, sharing content on the Web,
perspectives are constantly attuned to the ways in which regulation
simply enables the powerful industries of today to protect themselves
against the competitors of tomorrow.
-</p><a class="indexterm" name="idp
8253968"></a><a class="indexterm" name="idp8256864"></a><a class="indexterm" name="idp8257680"></a><p>
+</p><a class="indexterm" name="idp
63407824"></a><a class="indexterm" name="idp63409952"></a><a class="indexterm" name="idp63410768"></a><p>
This is the single most dramatic effect of the shift in regulatory
strategy that I described in chapter <a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>. The consequence of this massive
that were designed and executed to teach venture capitalists a
lesson. That lesson—what former Napster CEO Hank Barry calls a
<span class="quote">«<span class="quote">nuclear pall</span>»</span> that has fallen over the Valley—has been learned.
-</p><a class="indexterm" name="idp
8261248"></a><a class="indexterm" name="idp8261888"></a><p>
+</p><a class="indexterm" name="idp
63414336"></a><a class="indexterm" name="idp63414976"></a><p>
Consider one example to make the point, a story whose beginning
I told in <em class="citetitle">The Future of Ideas</em> and which has progressed in a way that
even I (pessimist extraordinaire) would never have predicted.
-</p><a class="indexterm" name="idxmpcom"></a><a class="indexterm" name="idxmympcom"></a><a class="indexterm" name="idp
8266752"></a><p>
+</p><a class="indexterm" name="idxmpcom"></a><a class="indexterm" name="idxmympcom"></a><a class="indexterm" name="idp
63419888"></a><p>
In 1997, Michael Roberts launched a company called MP3.com. MP3.com
was keen to remake the music business. Their goal was not just to
facilitate new ways to get access to content. Their goal was also to
facilitate new ways to create content. Unlike the major labels,
MP3.com offered creators a venue to distribute their creativity,
without demanding an exclusive engagement from the creators.
-</p><a class="indexterm" name="idp
8268368"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
+</p><a class="indexterm" name="idp
63421504"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
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
my.mp3.com service was to give users access to their own content, and
as a by-product, by seeing the content they already owned, to discover
the kind of content the users liked.
-</p><a class="indexterm" name="idp
8273856"></a><p>
+</p><a class="indexterm" name="idp
63426992"></a><p>
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
uploaded the music, but that would have taken a great deal of time,
had a copy of the CD they wanted to access. So while this was 50,000
copies, it was 50,000 copies directed at giving customers something
they had already bought.
-</p><a class="indexterm" name="idxvivendiuniversal"></a><a class="indexterm" name="idp
8278240"></a><a class="indexterm" name="idp8279376"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp8282448"></a><a class="indexterm" name="idp8283568"></a><a class="indexterm" name="idp8284672"></a><p>
+</p><a class="indexterm" name="idxvivendiuniversal"></a><a class="indexterm" name="idp
63430624"></a><a class="indexterm" name="idp63431760"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp63434880"></a><a class="indexterm" name="idp63436000"></a><a class="indexterm" name="idp63437104"></a><p>
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
with four of the five. Nine months later, a federal judge found
illegal; therefore, this lawsuit sought to punish any lawyer who had
dared to suggest that the law was less restrictive than the labels
demanded.
-</p><a class="indexterm" name="idp
8288048"></a><p>
+</p><a class="indexterm" name="idp
63440480"></a><p>
The clear purpose of this lawsuit (which was settled for an
unspecified amount shortly after the story was no longer covered in
the press) was to send an unequivocal message to lawyers advising
industry directs its guns against them. It is also you. So those of
you who believe the law should be less restrictive should realize that
such a view of the law will cost you and your firm dearly.
-</p><a class="indexterm" name="idp
8290576"></a><a class="indexterm" name="idp8291856"></a><a class="indexterm" name="idp8293168"></a><a class="indexterm" name="idp8294608"></a><a class="indexterm" name="idp8295424"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp8299568"></a><a class="indexterm" name="idp8300352"></a><a class="indexterm" name="idp8301168"></a><a class="indexterm" name="idp8301984"></a><a class="indexterm" name="idp8302800"></a><a class="indexterm" name="idp8303616"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp8306240"></a><a class="indexterm" name="idp8307056"></a><p>
+</p><a class="indexterm" name="idp
63443008"></a><a class="indexterm" name="idp63444288"></a><a class="indexterm" name="idp63445600"></a><a class="indexterm" name="idp63446976"></a><a class="indexterm" name="idp63447792"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp63451920"></a><a class="indexterm" name="idp63452704"></a><a class="indexterm" name="idp63453520"></a><a class="indexterm" name="idp63454336"></a><a class="indexterm" name="idp63455152"></a><a class="indexterm" name="idp63455968"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp63458592"></a><a class="indexterm" name="idp63459408"></a><p>
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
-(Hank Barry).<a href="#ftn.idp8308432" class="footnote" name="idp8308432"><sup class="footnote">[160]</sup></a>
+(Hank Barry).<a href="#ftn.idp63460784" class="footnote" name="idp63460784"><sup class="footnote">[160]</sup></a>
The claim here, as well, was that the VC should have recognized the
right of the content industry to control how the industry should
develop. They should be held personally liable for funding a company
the car's built-in sound system, but that the company's marketing
and legal departments weren't comfortable with pushing this
forward for release stateside. Even today, no new cars are sold in the
-United States with bona fide MP3 players. … <a href="#ftn.idp8240512" class="footnote" name="idp8240512"><sup class="footnote">[161]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8318416"></a><a class="indexterm" name="idp8319728"></a><a class="indexterm" name="idp8321040"></a><p>
+United States with bona fide MP3 players. … <a href="#ftn.idp63394480" class="footnote" name="idp63394480"><sup class="footnote">[161]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
63470768"></a><a class="indexterm" name="idp63472016"></a><a class="indexterm" name="idp63473328"></a><p>
This is the world of the mafia—filled with <span class="quote">«<span class="quote">your money or your
life</span>»</span> offers, governed in the end not by courts but by the threats
that the law empowers copyright holders to exercise. It is a system
innovation. If innovation is constantly checked by this uncertain and
unlimited liability, we will have much less vibrant innovation and
much less creativity.
-</p><a class="indexterm" name="idp
8325488"></a><p>
+</p><a class="indexterm" name="idp
63477776"></a><p>
The point is directly parallel to the crunchy-lefty point about fair
use. Whatever the <span class="quote">«<span class="quote">real</span>»</span> law is, realism about the effect of law in
both contexts is the same. This wildly punitive system of regulation
of content. One obvious response to this efficiency is thus to make
the Internet less efficient. If the Internet enables <span class="quote">«<span class="quote">piracy,</span>»</span> then,
this response says, we should break the kneecaps of the Internet.
-</p><a class="indexterm" name="idp
8332640"></a><p>
+</p><a class="indexterm" name="idp
63484928"></a><p>
The examples of this form of legislation are many. At the urging of
the content industry, some in Congress have threatened legislation that
would require computers to determine whether the content they access
-is protected or not, and to disable the spread of protected content.<a href="#ftn.idp8334000" class="footnote" name="idp8334000"><sup class="footnote">[162]</sup></a>
+is protected or not, and to disable the spread of protected content.<a href="#ftn.idp63486288" class="footnote" name="idp63486288"><sup class="footnote">[162]</sup></a>
Congress has already launched proceedings to explore a mandatory
<span class="quote">«<span class="quote">broadcast flag</span>»</span> that would be required on any device capable of
transmitting digital video (i.e., a computer), and that would disable
the copying of any content that is marked with a broadcast flag. Other
members of Congress have proposed immunizing content providers from
liability for technology they might deploy that would hunt down
-copyright violators and disable their machines.<a href="#ftn.idp8336944" class="footnote" name="idp8336944"><sup class="footnote">[163]</sup></a>
+copyright violators and disable their machines.<a href="#ftn.idp63489232" class="footnote" name="idp63489232"><sup class="footnote">[163]</sup></a>
</p><p>
In one sense, these solutions seem sensible. If the problem is the
code, why not regulate the code to remove the problem. But any
the technology, but will likely be eclipsed by advances around exactly
those requirements.
-</p><a class="indexterm" name="idp
8339056"></a><p>
+</p><a class="indexterm" name="idp
63491344"></a><p>
In March 2002, a broad coalition of technology companies, led by
Intel, tried to get Congress to see the harm that such legislation
-would impose.<a href="#ftn.idp8340256" class="footnote" name="idp8340256"><sup class="footnote">[164]</sup></a>
+would impose.<a href="#ftn.idp63492544" class="footnote" name="idp63492544"><sup class="footnote">[164]</sup></a>
Their argument was obviously not that copyright should not be
protected. Instead, they argued, any protection should not do more
harm than good.
of regulation. It is a regulation that benefits some and harms others.
When done right, it benefits creators and harms leeches. When done
wrong, it is regulation the powerful use to defeat competitors.
-</p><a class="indexterm" name="idp
8343904"></a><a class="indexterm" name="idp8344976"></a><a class="indexterm" name="idp8345792"></a><a class="indexterm" name="idp8346608"></a><p>
+</p><a class="indexterm" name="idp
63496192"></a><a class="indexterm" name="idp63497264"></a><a class="indexterm" name="idp63498080"></a><a class="indexterm" name="idp63498896"></a><p>
As I described in chapter <a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>, despite this feature of copyright as
regulation, and subject to important qualifications outlined by
Jessica Litman in her book <em class="citetitle">Digital
-Copyright</em>,<a href="#ftn.idp8349488" class="footnote" name="idp8349488"><sup class="footnote">[165]</sup></a>
+Copyright</em>,<a href="#ftn.idp63501776" class="footnote" name="idp63501776"><sup class="footnote">[165]</sup></a>
overall this history of copyright is not bad. As chapter
<a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a> details,
when new technologies have come along, Congress has struck a balance
creators, both the courts and Congress have imposed legal restrictions
that will have the effect of smothering the new to benefit the old.
</p><a class="indexterm" name="idxinternetradioon"></a><a class="indexterm" name="idxradiooninternet"></a><p>
-The response by the courts has been fairly universal.<a href="#ftn.idp8358352" class="footnote" name="idp8358352"><sup class="footnote">[166]</sup></a>
+The response by the courts has been fairly universal.<a href="#ftn.idp63510800" class="footnote" name="idp63510800"><sup class="footnote">[166]</sup></a>
It has been mirrored in the responses threatened and actually
implemented by Congress. I won't catalog all of those responses
-here.<a href="#ftn.idp5811296" class="footnote" name="idp5811296"><sup class="footnote">[167]</sup></a>
+here.<a href="#ftn.idp63515120" class="footnote" name="idp63515120"><sup class="footnote">[167]</sup></a>
But there is one example that captures the flavor of them all. This is
the story of the demise of Internet radio.
-</p><a class="indexterm" name="idp
5818048"></a><a class="indexterm" name="idp5819136"></a><p>
+</p><a class="indexterm" name="idp
63521872"></a><a class="indexterm" name="idp63522960"></a><a class="indexterm" name="idp63523776"></a><a class="indexterm" name="idxradiomusicrecordingsplayedon2"></a><p>
As I described in chapter <a class="xref" href="#pirates" title="Chapter 4. Chapter Four: «Pirates»">4</a>, when a radio station plays a song, the recording
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.
-</p><p>
+</p><a class="indexterm" name="idp63530960"></a><p>
Enter Internet radio. Like regular radio, Internet radio is a
technology to stream content from a broadcaster to a listener. The
broadcast travels across the Internet, not across the ether of radio
easily develop and market their content to a relatively large number
of users worldwide. According to some estimates, more than eighty
million users worldwide have tuned in to this new form of radio.
-</p><a class="indexterm" name="idp
5826048"></a><p>
+</p><a class="indexterm" name="idp
63534560"></a><p>
Internet radio is thus to radio what FM was to AM. It is an
became possible for men freely to acquire printing presses and freely
to run them. FM in this sense was as great an invention as the
printing presses, for it gave radio the opportunity to strike off its
-shackles.<a href="#ftn.idp8314672" class="footnote" name="idp8314672"><sup class="footnote">[168]</sup></a>
+shackles.<a href="#ftn.idp63467024" class="footnote" name="idp63467024"><sup class="footnote">[168]</sup></a>
</p></blockquote></div><p>
This potential for FM radio was never realized—not
because Armstrong was wrong about the technology, but because he
underestimated the power of <span class="quote">«<span class="quote">vested interests, habits, customs and
-legislation</span>»</span><a href="#ftn.idp8400352" class="footnote" name="idp8400352"><sup class="footnote">[169]</sup></a>
+legislation</span>»</span><a href="#ftn.idp63539728" class="footnote" name="idp63539728"><sup class="footnote">[169]</sup></a>
to retard the growth of this competing technology.
</p><p>
Now the very same claim could be made about Internet radio. For
those imposed by the law. Copyright law is one such law. So the first
question we should ask is, what copyright rules would govern Internet
radio?
-</p><a class="indexterm" name="idxartistsrecordingindustrypaymentsto3"></a><a class="indexterm" name="idp
8403920"></a><a class="indexterm" name="idp8405024"></a><a class="indexterm" name="idp8406128"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin3"></a><a class="indexterm" name="idxrecordingindustryradiobroadcastand2"></a><a class="indexterm" name="idxrecordingindustryinternetradiohamperedby"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaalobbyingpowerof"></a><p>
+</p><a class="indexterm" name="idxartistsrecordingindustrypaymentsto3"></a><a class="indexterm" name="idp
63543360"></a><a class="indexterm" name="idp63544464"></a><a class="indexterm" name="idp63545568"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin3"></a><a class="indexterm" name="idxrecordingindustryradiobroadcastand2"></a><a class="indexterm" name="idxrecordingindustryinternetradiohamperedby"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaalobbyingpowerof"></a><p>
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
William Fisher estimates, if an Internet radio station distributed adfree
popular music to (on average) ten thousand listeners, twenty-four
hours a day, the total artist fees that radio station would owe would be
-over $1 million a year.<a href="#ftn.idp8419808" class="footnote" name="idp8419808"><sup class="footnote">[170]</sup></a>
+over $1 million a year.<a href="#ftn.idp63559312" class="footnote" name="idp63559312"><sup class="footnote">[170]</sup></a>
A regular radio station broadcasting the same content would pay no
equivalent fee.
-</p><a class="indexterm" name="idp
8425472"></a><a class="indexterm" name="idp8426864"></a><a class="indexterm" name="idp8428256"></a><a class="indexterm" name="idp8429584"></a><a class="indexterm" name="idp8430960"></a><p>
+</p><a class="indexterm" name="idp
63564992"></a><a class="indexterm" name="idp63566384"></a><a class="indexterm" name="idp63567776"></a><a class="indexterm" name="idp63569104"></a><a class="indexterm" name="idp63570544"></a><p>
The burden is not financial only. Under the original rules that were
proposed, an Internet radio station (but not a terrestrial radio
station) would have to collect the following data from <span class="emphasis"><em>every
unique user identifier;
</p></li><li class="listitem"><p>
the country in which the user received the transmissions.
-</p></li></ol></div><a class="indexterm" name="idp
8449120"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp
63588704"></a><p>
The Librarian of Congress eventually suspended these reporting
requirements, pending further study. And he also changed the original
rates set by the arbitration panel charged with setting rates. But the
Why? What justifies this difference? Was there any study of the
economic consequences from Internet radio that would justify these
differences? Was the motive to protect artists against piracy?
-</p><a class="indexterm" name="idp
8451696"></a><a class="indexterm" name="idxalbenalex2"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees2"></a><a class="indexterm" name="idxartistsrecordingindustrypaymentsto4"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin4"></a><p>
+</p><a class="indexterm" name="idp
63591280"></a><a class="indexterm" name="idxalbenalex2"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees2"></a><a class="indexterm" name="idxartistsrecordingindustrypaymentsto4"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin4"></a><p>
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
Policy at Real Networks, told me,
that should establish the market rate, and if you set the rate so
high, you're going to drive the small webcasters out of
business. …</span>»</span>
-</p><a class="indexterm" name="idp
8462384"></a><p>
+</p><a class="indexterm" name="idp
63602192"></a><p>
And the RIAA experts said, <span class="quote">«<span class="quote">Well, we don't really model this as an
industry with thousands of webcasters, <span class="emphasis"><em>we think it should be
an industry with, you know, five or seven big players who can pay a
high rate and it's a stable, predictable market</em></span>.</span>»</span> (Emphasis
added.)
-</p></blockquote></div><a class="indexterm" name="idp
8465088"></a><a class="indexterm" name="idp8466336"></a><a class="indexterm" name="idp8467680"></a><a class="indexterm" name="idp8469072"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
63604896"></a><a class="indexterm" name="idp63606144"></a><a class="indexterm" name="idp63607488"></a><a class="indexterm" name="idp63608880"></a><p>
Translation: The aim is to use the law to eliminate competition, so
that this platform of potentially immense competition, which would
cause the diversity and range of content available to explode, would not
or the left, who should endorse this use of the law. And yet there is
practically no one, on either the right or the left, who is doing anything
effective to prevent it.
-</p><a class="indexterm" name="idp
8471312"></a><a class="indexterm" name="idp8472640"></a><a class="indexterm" name="idp8474032"></a><a class="indexterm" name="idp8475344"></a><a class="indexterm" name="idp8476592"></a><a class="indexterm" name="idp8477840"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="corruptingcitizens"></a>12.3. Corrupting Citizens</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
63611120"></a><a class="indexterm" name="idp63612448"></a><a class="indexterm" name="idp63613776"></a><a class="indexterm" name="idp63615152"></a><a class="indexterm" name="idp63616400"></a><a class="indexterm" name="idp63617648"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="corruptingcitizens"></a>12.3. Corrupting Citizens</h2></div></div></div><p>
Overregulation stifles creativity. It smothers innovation. It gives
dinosaurs
a veto over the future. It wastes the extraordinary opportunity
The war that is being waged today is a war of prohibition. As with
every war of prohibition, it is targeted against the behavior of a very
large number of citizens. According to <em class="citetitle">The New York Times</em>, 43 million
-Americans downloaded music in May 2002.<a href="#ftn.idp8482608" class="footnote" name="idp8482608"><sup class="footnote">[171]</sup></a>
+Americans downloaded music in May 2002.<a href="#ftn.idp63622416" class="footnote" name="idp63622416"><sup class="footnote">[171]</sup></a>
According to the RIAA,
the behavior of those 43 million Americans is a felony. We thus have a
set of rules that transform 20 percent of America into criminals. As the
RIAA's suits against individual users. In September 2003, the RIAA
sued 261 individuals—including a twelve-year-old girl living in public
housing and a seventy-year-old man who had no idea what file sharing
-was.<a href="#ftn.idp8418912" class="footnote" name="idp8418912"><sup class="footnote">[172]</sup></a>
+was.<a href="#ftn.idp63558416" class="footnote" name="idp63558416"><sup class="footnote">[172]</sup></a>
As these scapegoats discovered, it will always cost more to defend
against these suits than it would cost to simply settle. (The twelve
year old, for example, like Jesse Jordan, paid her life savings of $2,000
is an embarrassment to our tradition. And the consequence of our law
as it is, is that those with the power can use the law to quash any rights
they oppose.
-</p><a class="indexterm" name="idp
8489616"></a><p>
+</p><a class="indexterm" name="idp
63628992"></a><p>
Wars of prohibition are nothing new in America. This one is just
something more extreme than anything we've seen before. We
experimented with alcohol prohibition, at a time when the per capita
of its preprohibition levels, but by the end of prohibition,
consumption was up to 70 percent of the preprohibition
level. Americans were drinking just about as much, but now, a vast
-number were criminals.<a href="#ftn.idp8491248" class="footnote" name="idp8491248"><sup class="footnote">[173]</sup></a>
+number were criminals.<a href="#ftn.idp63630624" class="footnote" name="idp63630624"><sup class="footnote">[173]</sup></a>
We have
launched a war on drugs aimed at reducing the consumption of regulated
-narcotics that 7 percent (or 16 million) Americans now use.<a href="#ftn.idp8493536" class="footnote" name="idp8493536"><sup class="footnote">[174]</sup></a>
+narcotics that 7 percent (or 16 million) Americans now use.<a href="#ftn.idp63632912" class="footnote" name="idp63632912"><sup class="footnote">[174]</sup></a>
That is a drop from the high (so to speak) in 1979 of 14 percent of
the population. We regulate automobiles to the point where the vast
majority of Americans violate the law every day. We run such a complex
tax system that a majority of cash businesses regularly
-cheat.<a href="#ftn.idp8494864" class="footnote" name="idp8494864"><sup class="footnote">[175]</sup></a>
+cheat.<a href="#ftn.idp63634240" class="footnote" name="idp63634240"><sup class="footnote">[175]</sup></a>
We pride ourselves on our <span class="quote">«<span class="quote">free society,</span>»</span> but an endless array of
ordinary behavior is regulated within our society. And as a result, a
huge proportion of Americans regularly violate at least some law.
-</p><a class="indexterm" name="idp
8497424"></a><p>
+</p><a class="indexterm" name="idp
63636800"></a><p>
This state of affairs is not without consequence. It is a particularly
salient issue for teachers like me, whose job it is to teach law
students about the importance of <span class="quote">«<span class="quote">ethics.</span>»</span> As my colleague Charlie
Apple Corporation went so far as to suggest that <span class="quote">«<span class="quote">freedom</span>»</span> was a
right: In a series of commercials, Apple endorsed the <span class="quote">«<span class="quote">Rip, Mix, Burn</span>»</span>
capacities of digital technologies.
-</p><a class="indexterm" name="idp
8510848"></a><a class="indexterm" name="idxcdsmix"></a><p>
+</p><a class="indexterm" name="idp
63649872"></a><a class="indexterm" name="idxcdsmix"></a><p>
This <span class="quote">«<span class="quote">use</span>»</span> 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
them in one archive. Then, using Apple's iTunes, or a wonderful
the world where we either listened to music by manipulating pieces of
plastic or were part of a massively complex <span class="quote">«<span class="quote">digital rights
management</span>»</span> system.
-</p><a class="indexterm" name="idp
8517584"></a><p>
+</p><a class="indexterm" name="idp
63656656"></a><p>
If the only way to assure that artists get paid were the elimination
of the ability to freely move content, then these technologies to
interfere with the freedom to move content would be justifiable. But
Valenti is charming; but not so charming as to justify giving up a
tradition as deep and important as our tradition of free culture.
-</p><a class="indexterm" name="idp
8523264"></a><a class="indexterm" name="idxisps"></a><p>
+</p><a class="indexterm" name="idp
63662336"></a><a class="indexterm" name="idxisps"></a><p>
<span class="strong"><strong>There's one more</strong></span> aspect to this
corruption that is particularly important to civil liberties, and
follows directly from any war of prohibition. As Electronic Frontier
<span class="quote">«<span class="quote">collateral damage</span>»</span> that <span class="quote">«<span class="quote">arises whenever you turn
a very large percentage of the population into criminals.</span>»</span> This
is the collateral damage to civil liberties generally.
-</p><a class="indexterm" name="idp
8527904"></a><p>
+</p><a class="indexterm" name="idp
63666976"></a><p>
<span class="quote">«<span class="quote">If you can treat someone as a putative lawbreaker,</span>»</span> von Lohmann
explains,
</p><div class="blockquote"><blockquote class="blockquote"><p>
family's computer is used to download a single CD's worth of music,
the family could be liable for $2 million in damages. That didn't stop
the RIAA from suing a number of these families, just as they had sued
-Jesse Jordan.<a href="#ftn.idp8534368" class="footnote" name="idp8534368"><sup class="footnote">[176]</sup></a>
+Jesse Jordan.<a href="#ftn.idp61083152" class="footnote" name="idp61083152"><sup class="footnote">[176]</sup></a>
-</p><p>
+</p><a class="indexterm" name="idxnapsterrecordingindustrytrackingusersof"></a><p>
Even this understates the espionage that is being waged by the
RIAA. A report from CNN late last summer described a strategy the
-RIAA had adopted to track Napster users.<a href="#ftn.idp8540512" class="footnote" name="idp8540512"><sup class="footnote">[177]</sup></a>
+RIAA had adopted to track Napster users.<a href="#ftn.idp61091136" class="footnote" name="idp61091136"><sup class="footnote">[177]</sup></a>
Using a sophisticated hashing algorithm, the RIAA took what is in
effect a fingerprint of every song in the Napster catalog. Any copy of
one of those MP3s will have the same <span class="quote">«<span class="quote">fingerprint.</span>»</span>
properly protected her content from the network (do you know how to do
that yourself ?), then the RIAA will be able to identify your daughter
as a <span class="quote">«<span class="quote">criminal.</span>»</span> And under the rules that universities are beginning
-to deploy,<a href="#ftn.idp8545120" class="footnote" name="idp8545120"><sup class="footnote">[178]</sup></a>
+to deploy,<a href="#ftn.idp61095856" class="footnote" name="idp61095856"><sup class="footnote">[178]</sup></a>
your daughter can lose the right to use the university's computer
network. She can, in some cases, be expelled.
-</p><a class="indexterm" name="idp
8553456"></a><a class="indexterm" name="idp8554768"></a><p>
+</p><a class="indexterm" name="idp
63710816"></a><a class="indexterm" name="idp63712064"></a><p>
Now, of course, she'll have the right to defend herself. You can hire
a lawyer for her (at $300 per hour, if you're lucky), and she can
plead that she didn't know anything about the source of the songs or
have already learned, our presumptions about innocence disappear in
the middle of wars of prohibition. This war is no different.
Says von Lohmann,
-</p><div class="blockquote"><blockquote class="blockquote"><p>
+</p><
a class="indexterm" name="idp63714960"></a><div class="blockquote"><blockquote class="blockquote"><p>
So when we're talking about numbers like forty to sixty million
Americans that are essentially copyright infringers, you create a
situation where the civil liberties of those people are very much in
considered <span class="quote">«<span class="quote">criminals,</span>»</span> who is the villain? Americans or the law?
Which is American, a constant war on our own people or a concerted
effort through our democracy to change our law?
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8212832" class="footnote"><p><a href="#idp8212832" class="para"><sup class="para">[157] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp63365984" class="footnote"><p><a href="#idp63365984" class="para"><sup class="para">[157] </sup></a>
See Lynne W. Jeter, <em class="citetitle">Disconnected: Deceit and Betrayal at WorldCom</em>
(Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for details of
the settlement, see MCI press release, <span class="quote">«<span class="quote">MCI Wins U.S. District Court
Approval for SEC Settlement</span>»</span> (7 July 2003), available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #37</a>.
-<a class="indexterm" name="idp8215568"></a>
-</p></div><div id="ftn.idp8216720" class="footnote"><p><a href="#idp8216720" class="para"><sup class="para">[158] </sup></a>
- The bill, modeled after California's tort reform model, was passed in the
+<a class="indexterm" name="idp63368720"></a>
+</p></div><div id="ftn.idp63369872" class="footnote"><p><a href="#idp63369872" class="para"><sup class="para">[158] </sup></a>
+
+The bill, modeled after California's tort reform model, was passed in the
House of Representatives but defeated in a Senate vote in July 2003. For
an overview, see Tanya Albert, <span class="quote">«<span class="quote">Measure Stalls in Senate: `We'll Be Back,'
Say Tort Reformers,</span>»</span> amednews.com, 28 July 2003, available at
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #39</a>. President Bush has continued to urge tort reform in
recent months.
-<a class="indexterm" name="idp8220288"></a>
-</p></div><div id="ftn.idp8224720" class="footnote"><p><a href="#idp8224720" class="para"><sup class="para">[159] </sup></a>
+<a class="indexterm" name="idp63373440"></a>
+<a class="indexterm" name="idp63374256"></a>
+</p></div><div id="ftn.idp63378688" class="footnote"><p><a href="#idp63378688" class="para"><sup class="para">[159] </sup></a>
See Danit Lidor, <span class="quote">«<span class="quote">Artists Just Wanna Be Free,</span>»</span> <em class="citetitle">Wired</em>, 7 July
2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #40</a>. For an overview of the exhibition, see
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #41</a>.
-</p></div><div id="ftn.idp8308432" class="footnote"><p><a href="#idp8308432" class="para"><sup class="para">[160] </sup></a>
+</p></div><div id="ftn.idp63460784" class="footnote"><p><a href="#idp63460784" class="para"><sup class="para">[160] </sup></a>
See Joseph Menn, <span class="quote">«<span class="quote">Universal, EMI Sue Napster Investor,</span>»</span> <em class="citetitle">Los Angeles
Times</em>, 23 April 2003. For a parallel argument about the effects on
at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #42</a>.
See also Jon Healey, <span class="quote">«<span class="quote">Online Music Services Besieged,</span>»</span> <em class="citetitle">Los Angeles
Times</em>, 28 May 2001.
-</p></div><div id="ftn.idp8240512" class="footnote"><p><a href="#idp8240512" class="para"><sup class="para">[161] </sup></a>
+</p></div><div id="ftn.idp63394480" class="footnote"><p><a href="#idp63394480" class="para"><sup class="para">[161] </sup></a>
Rafe Needleman, <span class="quote">«<span class="quote">Driving in Cars with MP3s,</span>»</span> <em class="citetitle">Business 2.0</em>, 16 June
2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #43</a>. I am grateful
to Dr. Mohammad Al-Ubaydli for this example.
-<a class="indexterm" name="idp8317216"></a>
-</p></div><div id="ftn.idp8334000" class="footnote"><p><a href="#idp8334000" class="para"><sup class="para">[162] </sup></a>
+<a class="indexterm" name="idp63469568"></a>
+</p></div><div id="ftn.idp63486288" class="footnote"><p><a href="#idp63486288" class="para"><sup class="para">[162] </sup></a>
<span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster World,</span>»</span> GartnerG2 and
the Berkman Center for Internet and Society at Harvard Law School
(2003), 33–35, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.
-</p></div><div id="ftn.idp8336944" class="footnote"><p><a href="#idp8336944" class="para"><sup class="para">[163] </sup></a>
+</p></div><div id="ftn.idp63489232" class="footnote"><p><a href="#idp63489232" class="para"><sup class="para">[163] </sup></a>
GartnerG2, 26–27.
-</p></div><div id="ftn.idp8340256" class="footnote"><p><a href="#idp8340256" class="para"><sup class="para">[164] </sup></a>
+</p></div><div id="ftn.idp63492544" class="footnote"><p><a href="#idp63492544" class="para"><sup class="para">[164] </sup></a>
See David McGuire, <span class="quote">«<span class="quote">Tech Execs Square Off Over Piracy,</span>»</span> Newsbytes,
February 2002 (Entertainment).
-</p></div><div id="ftn.idp8349488" class="footnote"><p><a href="#idp8349488" class="para"><sup class="para">[165] </sup></a>
+</p></div><div id="ftn.idp63501776" class="footnote"><p><a href="#idp63501776" class="para"><sup class="para">[165] </sup></a>
Jessica Litman, <em class="citetitle">Digital Copyright</em> (Amherst,
N.Y.: Prometheus Books, 2001).
-<a class="indexterm" name="idp8350704"></a>
-<a class="indexterm" name="idp8351536"></a>
-</p></div><div id="ftn.idp8358352" class="footnote"><p><a href="#idp8358352" class="para"><sup class="para">[166] </sup></a>
+<a class="indexterm" name="idp63502992"></a>
+<a class="indexterm" name="idp63503824"></a>
+</p></div><div id="ftn.idp63510800" class="footnote"><p><a href="#idp63510800" class="para"><sup class="para">[166] </sup></a>
-<a class="indexterm" name="idp8359088"></a>
+<a class="indexterm" name="idp63511536"></a>
The only circuit court exception is found in <em class="citetitle">Recording Industry
Association of America (RIAA)</em> v. <em class="citetitle">Diamond Multimedia Systems</em>, 180 F. 3d
1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit
distributor and any given user's conduct too attenuated to make the
distributor liable for contributory or vicarious infringement
liability.
-</p></div><div id="ftn.idp5811296" class="footnote"><p><a href="#idp5811296" class="para"><sup class="para">[167] </sup></a>
+</p></div><div id="ftn.idp63515120" class="footnote"><p><a href="#idp63515120" class="para"><sup class="para">[167] </sup></a>
-<a class="indexterm" name="idp5812032"></a>
-<a class="indexterm" name="idp5812816"></a>
-<a class="indexterm" name="idp5813632"></a>
-<a class="indexterm" name="idp5814448"></a>
+<a class="indexterm" name="idp63515856"></a>
+<a class="indexterm" name="idp63516640"></a>
+<a class="indexterm" name="idp63517456"></a>
+<a class="indexterm" name="idp63518272"></a>
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,</span>»</span> 27 June 2003, 33–34,
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.
-</p></div><div id="ftn.idp8314672" class="footnote"><p><a href="#idp8314672" class="para"><sup class="para">[168] </sup></a>
+</p></div><div id="ftn.idp63467024" class="footnote"><p><a href="#idp63467024" class="para"><sup class="para">[168] </sup></a>
Lessing, 239.
-</p></div><div id="ftn.idp8400352" class="footnote"><p><a href="#idp8400352" class="para"><sup class="para">[169] </sup></a>
+</p></div><div id="ftn.idp63539728" class="footnote"><p><a href="#idp63539728" class="para"><sup class="para">[169] </sup></a>
Ibid., 229.
-</p></div><div id="ftn.idp8419808" class="footnote"><p><a href="#idp8419808" class="para"><sup class="para">[170] </sup></a>
+</p></div><div id="ftn.idp63559312" class="footnote"><p><a href="#idp63559312" class="para"><sup class="para">[170] </sup></a>
This example was derived from fees set by the original Copyright
Arbitration Royalty Panel (CARP) proceedings, and is drawn from an
radio and diversity. Yes, this is done in the name of getting
royalties to copyright holders, but, absent the play of powerful
interests, that could have been done in a media-neutral way.</span>»</span>
-<a class="indexterm" name="idp8423520"></a>
-<a class="indexterm" name="idp8424304"></a>
-</p></div><div id="ftn.idp8482608" class="footnote"><p><a href="#idp8482608" class="para"><sup class="para">[171] </sup></a>
+<a class="indexterm" name="idp63562976"></a>
+<a class="indexterm" name="idp63563824"></a>
+</p></div><div id="ftn.idp63622416" class="footnote"><p><a href="#idp63622416" class="para"><sup class="para">[171] </sup></a>
Mike Graziano and Lee Rainie, <span class="quote">«<span class="quote">The Music Downloading Deluge,</span>»</span> Pew
Internet and American Life Project (24 April 2001), available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #46</a>.
The Pew Internet and American Life Project reported that 37 million
Americans had downloaded music files from the Internet by early 2001.
-</p></div><div id="ftn.idp8418912" class="footnote"><p><a href="#idp8418912" class="para"><sup class="para">[172] </sup></a>
+</p></div><div id="ftn.idp63558416" class="footnote"><p><a href="#idp63558416" class="para"><sup class="para">[172] </sup></a>
Alex Pham, <span class="quote">«<span class="quote">The Labels Strike Back: N.Y. Girl Settles RIAA Case,</span>»</span> <em class="citetitle">Los
Angeles Times</em>, 10 September 2003, Business.
-</p></div><div id="ftn.idp8491248" class="footnote"><p><a href="#idp8491248" class="para"><sup class="para">[173] </sup></a>
+</p></div><div id="ftn.idp63630624" class="footnote"><p><a href="#idp63630624" class="para"><sup class="para">[173] </sup></a>
Jeffrey A. Miron and Jeffrey Zwiebel, <span class="quote">«<span class="quote">Alcohol Consumption During
Prohibition,</span>»</span> <em class="citetitle">American Economic Review</em> 81, no. 2 (1991): 242.
-</p></div><div id="ftn.idp8493536" class="footnote"><p><a href="#idp8493536" class="para"><sup class="para">[174] </sup></a>
+</p></div><div id="ftn.idp63632912" class="footnote"><p><a href="#idp63632912" class="para"><sup class="para">[174] </sup></a>
National Drug Control Policy: Hearing Before the House Government
Reform Committee, 108th Cong., 1st sess. (5 March 2003) (statement of
John P. Walters, director of National Drug Control Policy).
-</p></div><div id="ftn.idp8494864" class="footnote"><p><a href="#idp8494864" class="para"><sup class="para">[175] </sup></a>
+</p></div><div id="ftn.idp63634240" class="footnote"><p><a href="#idp63634240" class="para"><sup class="para">[175] </sup></a>
See James Andreoni, Brian Erard, and Jonathon Feinstein, <span class="quote">«<span class="quote">Tax
Compliance,</span>»</span> <em class="citetitle">Journal of Economic Literature</em> 36 (1998): 818 (survey of
compliance literature).
-</p></div><div id="ftn.idp8534368" class="footnote"><p><a href="#idp8534368" class="para"><sup class="para">[176] </sup></a>
+</p></div><div id="ftn.idp61083152" class="footnote"><p><a href="#idp61083152" class="para"><sup class="para">[176] </sup></a>
See Frank Ahrens, <span class="quote">«<span class="quote">RIAA's Lawsuits Meet Surprised Targets; Single
Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</span>»</span>
2003, 4D; John Schwartz, <span class="quote">«<span class="quote">She Says She's No Music Pirate. No Snoop
Fan, Either,</span>»</span> <em class="citetitle">New York Times</em>, 25 September 2003, C1; Margo Varadi, <span class="quote">«<span class="quote">Is
Brianna a Criminal?</span>»</span> <em class="citetitle">Toronto Star</em>, 18 September 2003, P7.
-</p></div><div id="ftn.idp8540512" class="footnote"><p><a href="#idp8540512" class="para"><sup class="para">[177] </sup></a>
+</p></div><div id="ftn.idp61091136" class="footnote"><p><a href="#idp61091136" class="para"><sup class="para">[177] </sup></a>
See <span class="quote">«<span class="quote">Revealed: How RIAA Tracks Downloaders: Music Industry Discloses
Some Methods Used,</span>»</span> CNN.com, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #47</a>.
-</p></div><div id="ftn.idp8545120" class="footnote"><p><a href="#idp8545120" class="para"><sup class="para">[178] </sup></a>
+</p></div><div id="ftn.idp61095856" class="footnote"><p><a href="#idp61095856" class="para"><sup class="para">[178] </sup></a>
See Jeff Adler, <span class="quote">«<span class="quote">Cambridge: On Campus, Pirates Are Not Penitent,</span>»</span>
<em class="citetitle">Boston Globe</em>, 18 May 2003, City Weekly, 1; Frank Ahrens, <span class="quote">«<span class="quote">Four
gave birth to a hobby, and his hobby begat a cause: Eldred would build
a library of public domain works by scanning these works and making
them available for free.
-</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="idp
8582336"></a><p>
+</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="idp
63741232"></a><p>
Eldred's library was not simply a copy of certain public domain
works, though even a copy would have been of great value to people
across the world who can't get access to printed versions of these
accessible to the twentieth century, Eldred transformed Hawthorne, and
many others, into a form more accessible—technically
accessible—today.
-</p><a class="indexterm" name="idp
8580432"></a><p>
+</p><a class="indexterm" name="idp
63739328"></a><p>
Eldred's freedom to do this with Hawthorne's work grew from the same
source as Disney's. Hawthorne's <em class="citetitle">Scarlet Letter</em> had passed into the
public domain in 1907. It was free for anyone to take without the
animated cartoons, sometimes successfully (<em class="citetitle">Cinderella</em>), sometimes not
(<em class="citetitle">The Hunchback of Notre Dame</em>, <em class="citetitle">Treasure Planet</em>). These are all
commercial publications of public domain works.
-</p><a class="indexterm" name="idp
8587792"></a><a class="indexterm" name="idp8589040"></a><p>
+</p><a class="indexterm" name="idp
63746688"></a><a class="indexterm" name="idp63747936"></a><p>
The Internet created the possibility of noncommercial publications of
public domain works. Eldred's is just one example. There are literally
thousands of others. Hundreds of thousands from across the world have
Internet was limited to people with large egos or with political or
social causes. But with the Internet, it includes a wide range of
individuals and groups dedicated to spreading culture
-generally.<a href="#ftn.idp8591664" class="footnote" name="idp8591664"><sup class="footnote">[179]</sup></a>
-</p><a class="indexterm" name="idxcongressuscopyrighttermsextendedby2"></a><a class="indexterm" name="idxcopyrightdurationof6"></a><a class="indexterm" name="idxcopyrightlawtermextensionsin2"></a><a class="indexterm" name="idp
8600080"></a><a class="indexterm" name="idp8600896"></a><a class="indexterm" name="idp8601712"></a><a class="indexterm" name="idxpatentsfuturepatentsvsfuturecopyrightsin"></a><p>
+generally.<a href="#ftn.idp63750560" class="footnote" name="idp63750560"><sup class="footnote">[179]</sup></a>
+</p><a class="indexterm" name="idxcongressuscopyrighttermsextendedby2"></a><a class="indexterm" name="idxcopyrightdurationof6"></a><a class="indexterm" name="idxcopyrightlawtermextensionsin2"></a><a class="indexterm" name="idp
63758848"></a><a class="indexterm" name="idp63759664"></a><a class="indexterm" name="idp63760480"></a><a class="indexterm" name="idxpatentsfuturepatentsvsfuturecopyrightsin"></a><p>
As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's
collection of poems <em class="citetitle">New Hampshire</em> was slated to
pass into the public domain. Eldred wanted to post that collection in
would pass into the public domain until that year (and not even then,
if Congress extends the term again). By contrast, in the same period,
more than 1 million patents will pass into the public domain.
-</p><a class="indexterm" name="idp
8607312"></a><a class="indexterm" name="idp8608496"></a><a class="indexterm" name="idp8609888"></a><a class="indexterm" name="idp8610704"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
+</p><a class="indexterm" name="idp
63766064"></a><a class="indexterm" name="idp63767248"></a><a class="indexterm" name="idp63768576"></a><a class="indexterm" name="idp63769392"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
This was the Sonny Bono Copyright Term Extension Act
(CTEA), enacted in memory of the congressman and former musician
Sonny Bono, who, his widow, Mary Bono, says, believed that
-<span class="quote">«<span class="quote">copyrights should be forever.</span>»</span><a href="#ftn.idp8616000" class="footnote" name="idp8616000"><sup class="footnote">[180]</sup></a>
-</p><a class="indexterm" name="idp
8619456"></a><a class="indexterm" name="idp8620832"></a><a class="indexterm" name="idp8621952"></a><a class="indexterm" name="idp8622784"></a><a class="indexterm" name="idp8623616"></a><p>
+<span class="quote">«<span class="quote">copyrights should be forever.</span>»</span><a href="#ftn.idp63774800" class="footnote" name="idp63774800"><sup class="footnote">[180]</sup></a>
+</p><a class="indexterm" name="idp
63779376"></a><a class="indexterm" name="idp63780816"></a><a class="indexterm" name="idp63781936"></a><a class="indexterm" name="idp63782768"></a><a class="indexterm" name="idp63783600"></a><p>
Eldred decided to fight this law. He first resolved to fight it through
civil disobedience. In a series of interviews, Eldred announced that he
would publish as planned, CTEA notwithstanding. But because of a
of publishing would make Eldred a felon—whether or not anyone
complained. This was a dangerous strategy for a disabled programmer
to undertake.
-</p><a class="indexterm" name="idp
8624992"></a><a class="indexterm" name="idxcongressusconstitutionalpowersof"></a><a class="indexterm" name="idxconstitutionusprogressclauseof2"></a><a class="indexterm" name="idxprogressclause2"></a><a class="indexterm" name="idxlessiglawrenceeldredcaseinvolvementof"></a><p>
+</p><a class="indexterm" name="idp
63784976"></a><a class="indexterm" name="idxcongressusconstitutionalpowersof"></a><a class="indexterm" name="idxconstitutionusprogressclauseof2"></a><a class="indexterm" name="idxprogressclause2"></a><a class="indexterm" name="idxlessiglawrenceeldredcaseinvolvementof"></a><p>
It was here that I became involved in Eldred's battle. I was a
constitutional
scholar whose first passion was constitutional
Congress has the power to promote the Progress of Science …
by securing for limited Times to Authors … exclusive Right to
their … Writings. …
-</p></blockquote></div><a class="indexterm" name="idp
8635856"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
63795696"></a><p>
As I've described, this clause is unique within the power-granting
clause of Article I, section 8 of our Constitution. Every other clause
granting power to Congress simply says Congress has the power to do
specific—to <span class="quote">«<span class="quote">promote … Progress</span>»</span>—through means that
are also specific— by <span class="quote">«<span class="quote">securing</span>»</span> <span class="quote">«<span class="quote">exclusive Rights</span>»</span> (i.e.,
copyrights) <span class="quote">«<span class="quote">for limited Times.</span>»</span>
-</p><a class="indexterm" name="idp
8640896"></a><a class="indexterm" name="idp8642176"></a><a class="indexterm" name="idp8643440"></a><a class="indexterm" name="idp8644880"></a><p>
+</p><a class="indexterm" name="idp
63800736"></a><a class="indexterm" name="idp63802016"></a><a class="indexterm" name="idp63803280"></a><a class="indexterm" name="idp63804656"></a><p>
In the past forty years, Congress has gotten into the practice of
extending existing terms of copyright protection. What puzzled me
about this was, if Congress has the power to extend existing terms,
Congress has the power to extend its term, then Congress can achieve
what the Constitution plainly forbids—perpetual terms <span class="quote">«<span class="quote">on the
installment plan,</span>»</span> as Professor Peter Jaszi so nicely put it.
-</p><a class="indexterm" name="idp
8647776"></a><a class="indexterm" name="idp8649136"></a><a class="indexterm" name="idp8650480"></a><p>
+</p><a class="indexterm" name="idp
63807552"></a><a class="indexterm" name="idp63808912"></a><a class="indexterm" name="idp63810256"></a><p>
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
consideration of the question. No one had ever challenged Congress's
real. Ten of the thirteen original sponsors of the act in the House
received the maximum contribution from Disney's political action
committee; in the Senate, eight of the twelve sponsors received
- contributions.<a href="#ftn.idp8670128" class="footnote" name="idp8670128"><sup class="footnote">[181]</sup></a>
+ contributions.<a href="#ftn.idp63829904" class="footnote" name="idp63829904"><sup class="footnote">[181]</sup></a>
The RIAA and the MPAA are estimated to have spent over
$1.5 million lobbying in the 1998 election cycle. They paid out more
-than $200,000 in campaign contributions.<a href="#ftn.idp8672128" class="footnote" name="idp8672128"><sup class="footnote">[182]</sup></a>
+than $200,000 in campaign contributions.<a href="#ftn.idp63831904" class="footnote" name="idp63831904"><sup class="footnote">[182]</sup></a>
Disney is estimated to have
contributed more than $800,000 to reelection campaigns in the
-cycle.<a href="#ftn.idp8674240" class="footnote" name="idp8674240"><sup class="footnote">[183]</sup></a>
+cycle.<a href="#ftn.idp63834016" class="footnote" name="idp63834016"><sup class="footnote">[183]</sup></a>
</p><p>
<span class="strong"><strong>Constitutional law</strong></span> is not oblivious
constitutional requirement that terms be <span class="quote">«<span class="quote">limited.</span>»</span> If
they could extend it once, they would extend it again and again and
again.
-</p><a class="indexterm" name="idp
8678928"></a><a class="indexterm" name="idp8680256"></a><a class="indexterm" name="idp8681456"></a><p>
+</p><a class="indexterm" name="idp
63838704"></a><a class="indexterm" name="idp63840096"></a><a class="indexterm" name="idp63841360"></a><p>
It was also my judgment that <span class="emphasis"><em>this</em></span> Supreme Court
would not allow Congress to extend existing terms. As anyone close to
the Supreme Court's work knows, this Court has increasingly restricted
decision in 1995 to strike down a law that banned the possession of
guns near schools.
-</p><p>
+</p><a class="indexterm" name="idxcommerceinterstate"></a><a class="indexterm" name="idxcongressusconstitutionalpowersof2"></a><a class="indexterm" name="idxinterstatecommerce"></a><p>
Since 1937, the Supreme Court had interpreted Congress's granted
powers very broadly; so, while the Constitution grants Congress the
power to regulate only <span class="quote">«<span class="quote">commerce among the several states</span>»</span> (aka
activity, when considered on a national scale, affects interstate
commerce. A Constitution designed to limit Congress's power was
instead interpreted to impose no limit.
-</p><a class="indexterm" name="idp
8686736"></a><p>
+</p><a class="indexterm" name="idp
63851536"></a><a class="indexterm" name="idxunitedstatesvlopez"></a><p>
The Supreme Court, under Chief Justice Rehnquist's command, changed
that in <em class="citetitle">United States</em> v. <em class="citetitle">Lopez</em>. The government had
argued that possessing guns near schools affected interstate
position to second-guess Congress.
</p><p>
<span class="quote">«<span class="quote">We pause to consider the implications of the government's arguments,</span>»</span>
-the Chief Justice wrote.<a href="#ftn.idp8690256" class="footnote" name="idp8690256"><sup class="footnote">[184]</sup></a>
+the Chief Justice wrote.<a href="#ftn.idp63856576" class="footnote" name="idp63856576"><sup class="footnote">[184]</sup></a>
If anything Congress says is interstate commerce must therefore be
considered interstate commerce, then there would be no limit to
Congress's power. The decision in <em class="citetitle">Lopez</em> was reaffirmed five years
-later in <em class="citetitle">United States</em> v. <em class="citetitle">Morrison</em>.<a href="#ftn.idp8693504" class="footnote" name="idp8693504"><sup class="footnote">[185]</sup></a>
-</p><p>
+later in <em class="citetitle">United States</em> v. <em class="citetitle">Morrison</em>.<a href="#ftn.idp63859824" class="footnote" name="idp63859824"><sup class="footnote">[185]</sup></a>
+</p><a class="indexterm" name="idp63862512"></a><a class="indexterm" name="idp63863824"></a><p>
If a principle were at work here, then it should apply to the Progress
-Clause as much as the Commerce Clause.<a href="#ftn.idp8695744" class="footnote" name="idp8695744"><sup class="footnote">[186]</sup></a>
+Clause as much as the Commerce Clause.<a href="#ftn.idp63865520" class="footnote" name="idp63865520"><sup class="footnote">[186]</sup></a>
And if it is applied to the Progress Clause, the principle should
yield the conclusion that Congress
limit. Thus, the same principle applied to the power to grant
copyrights should entail that Congress is not allowed to extend the
term of existing copyrights.
-</p><p>
+</p><a class="indexterm" name="idp63868688"></a><a class="indexterm" name="idxcongressussupremecourtrestrainton2"></a><a class="indexterm" name="idp63871840"></a><p>
<span class="emphasis"><em>If</em></span>, that is, the principle announced in <em class="citetitle">Lopez</em>
stood for a principle. Many believed the decision in <em class="citetitle">Lopez</em> stood for
politics—a conservative Supreme Court, which believed in states'
its politics struck me as extraordinarily boring. I was not going to
devote my life to teaching constitutional law if these nine Justices
were going to be petty politicians.
-</p><a class="indexterm" name="idp
8701696"></a><a class="indexterm" name="idp8702784"></a><a class="indexterm" name="idp8703904"></a><a class="indexterm" name="idp8705008"></a><p>
+</p><a class="indexterm" name="idp
63875488"></a><a class="indexterm" name="idp63876848"></a><a class="indexterm" name="idp63877920"></a><a class="indexterm" name="idp63879040"></a><a class="indexterm" name="idp63880144"></a><p>
<span class="strong"><strong>Now let's pause</strong></span> for a moment to
make sure we understand what the argument in
<em class="citetitle">Eldred</em> was not about. By insisting on the
get another twenty-year dollop of monopoly. That twenty-year dollop
would be taken from the public domain. Eric Eldred was fighting a
piracy that affects us all.
-</p><a class="indexterm" name="idp
8707264"></a><p>
+</p><a class="indexterm" name="idp
63882400"></a><p>
Some people view the public domain with contempt. In their brief
before the Supreme Court, the Nashville Songwriters Association
-wrote that the public domain is nothing more than <span class="quote">«<span class="quote">legal piracy.</span>»</span><a href="#ftn.idp8710160" class="footnote" name="idp8710160"><sup class="footnote">[187]</sup></a>
+wrote that the public domain is nothing more than <span class="quote">«<span class="quote">legal piracy.</span>»</span><a href="#ftn.idp63885296" class="footnote" name="idp63885296"><sup class="footnote">[187]</sup></a>
But it is not piracy when the law allows it; and in our constitutional
system, our law requires it. Some may not like the Constitution's
requirements, but that doesn't make the Constitution a pirate's
have created the perfect storm for the public domain. Copyrights have
not expired, and will not expire, so long as Congress is free to be
bought to extend them again.
-</p><p>
+</p><a class="indexterm" name="idp63889104"></a><p>
<span class="strong"><strong>It is valuable</strong></span> copyrights that are
responsible for terms being extended. Mickey Mouse and
<span class="quote">«<span class="quote">Rhapsody in Blue.</span>»</span> These works are too valuable for
2 percent of that work has any continuing commercial value. It was the
copyright holders for that 2 percent who pushed the CTEA through.
But the law and its effect were not limited to that 2 percent. The law
-extended the terms of copyright generally.<a href="#ftn.idp8717216" class="footnote" name="idp8717216"><sup class="footnote">[188]</sup></a>
+extended the terms of copyright generally.<a href="#ftn.idp63893168" class="footnote" name="idp63893168"><sup class="footnote">[188]</sup></a>
-</p><p>
+</p><a class="indexterm" name="idp63895872"></a><p>
Think practically about the consequence of this
extension—practically,
as a businessperson, and not as a lawyer eager for more legal
wanted to make available to the world in your iArchive project the
remaining
9,873. What would you have to do?
-</p><a class="indexterm" name="idp
8721184"></a><p>
+</p><a class="indexterm" name="idp
63897904"></a><p>
Well, first, you'd have to determine which of the 9,873 books were
still under copyright. That requires going to a library (these data are
not on-line) and paging through tomes of books, cross-checking the
digitized, and hence will simply rot away on shelves. But the
consequence
for other creative works is much more dire.
-</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="idp
8731712"></a><a class="indexterm" name="idp8732528"></a><a class="indexterm" name="idp8733344"></a><p>
+</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="idp
63908480"></a><a class="indexterm" name="idp63909296"></a><a class="indexterm" name="idp63910112"></a><p>
Consider the story of Michael Agee, chairman of Hal Roach Studios,
which owns the copyrights for the Laurel and Hardy films. Agee is a
direct beneficiary of the Bono Act. The Laurel and Hardy films were
exclusive rights for these popular films, he makes a great deal of
money. According to one estimate, <span class="quote">«<span class="quote">Roach has sold about 60,000
videocassettes and 50,000 DVDs of the duo's silent
-films.</span>»</span><a href="#ftn.idp8735712" class="footnote" name="idp8735712"><sup class="footnote">[189]</sup></a>
+films.</span>»</span><a href="#ftn.idp63912480" class="footnote" name="idp63912480"><sup class="footnote">[189]</sup></a>
</p><p>
Yet Agee opposed the CTEA. His reasons demonstrate a rare virtue in
this culture: selflessness. He argued in a brief before the Supreme
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
-8 mm film.<a href="#ftn.idp8741024" class="footnote" name="idp8741024"><sup class="footnote">[190]</sup></a>
+8 mm film.<a href="#ftn.idp63917792" class="footnote" name="idp63917792"><sup class="footnote">[190]</sup></a>
</p><p>
Restoration technology is not the only cost, nor the most
would outweigh the legal costs. Thus, for the vast majority of old
films, Agee argued, the film will not be restored and distributed until
the copyright expires.
-</p><a class="indexterm" name="idp
8749056"></a><p>
+</p><a class="indexterm" name="idp
63925824"></a><p>
But by the time the copyright for these films expires, the film will
have expired. These films were produced on nitrate-based stock, and
nitrate stock dissolves over time. They will be gone, and the metal
would not have interfered with anything.
</p><p>
But this situation has now changed.
-</p><a class="indexterm" name="idxarchivesdigital2"></a><p>
+</p><a class="indexterm" name="idx
kahlebrewster2"></a><a class="indexterm" name="idxarchivesdigital2"></a><p>
One crucially important consequence of the emergence of digital
technologies is to enable the archive that Brewster Kahle dreams of.
Digital technologies now make it possible to preserve and give access
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?</span>»</span>
-</p><p>
+</p><a class="indexterm" name="idp63943872"></a><p>
Maybe. Someday. But there is absolutely no evidence to suggest that
publishers would be as complete as libraries. If Barnes & Noble
offered to lend books from its stores for a low price, would that
role is to archive culture, whether there's a demand for any
particular bit of that culture or not—then we can't count on the
commercial market to do our library work for us.
-</p><a class="indexterm" name="idp
8767520"></a><p>
+</p><a class="indexterm" name="idp
63947104"></a><p>
I would be the first to agree that it should do as much as it can: We
should rely upon the market as much as possible to spread and enable
culture. My message is absolutely not antimarket. But where we see the
culture, 94 percent of the films, books, and music produced between
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.<a href="#ftn.idp8770000" class="footnote" name="idp8770000"><sup class="footnote">[191]</sup></a>
+to provide that value.<a href="#ftn.idp63949584" class="footnote" name="idp63949584"><sup class="footnote">[191]</sup></a>
</p><p>
<span class="strong"><strong>In January 1999</strong></span>, we filed a lawsuit
hear the case. Cases are ordinarily heard in panels of three, except for
important cases or cases that raise issues specific to the circuit as a
whole, where the court will sit <span class="quote">«<span class="quote">en banc</span>»</span> to hear the case.
-</p><a class="indexterm" name="idp
8778448"></a><p>
+</p><a class="indexterm" name="idp
63958032"></a><p>
The Court of Appeals rejected our request to hear the case en banc.
This time, Judge Sentelle was joined by the most liberal member of the
been won. It should have been won. And no matter how hard I try to
retell this story to myself, I can never escape believing that my own
mistake lost it.
-</p><a class="indexterm" name="idp
8783872"></a><p>
+</p><a class="indexterm" name="idp
63963456"></a><a class="indexterm" name="idxjonesdayreavisandpoguejonesday"></a><p>
<span class="strong"><strong>The mistake</strong></span> was made early, though
it became obvious only at the very end. Our case had been supported
from the very beginning by an extraordinary lawyer, Geoffrey Stewart,
from its copyright-protectionist clients for supporting us. They
ignored this pressure (something that few law firms today would ever
do), and throughout the case, they gave it everything they could.
-</p><a class="indexterm" name="idp
8786592"></a><a class="indexterm" name="idp8787376"></a><a class="indexterm" name="idp8788192"></a><p>
+</p><a class="indexterm" name="idp
63967856"></a><a class="indexterm" name="idp63968640"></a><a class="indexterm" name="idp63969456"></a><p>
There were three key lawyers on the case from Jones Day. Geoff
Stewart was the first, but then Dan Bromberg and Don Ayer became
quite involved. Bromberg and Ayer in particular had a common view
Court. It had to seem as if dramatic harm were being done to free
speech and free culture; otherwise, they would never vote against <span class="quote">«<span class="quote">the
most powerful media companies in the world.</span>»</span>
-</p><p>
+</p><a class="indexterm" name="idp63972000"></a><p>
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
think it is. But the idea that the Supreme Court decides the law based
the widest range of credible critics—credible not because they
were rich and famous, but because they, in the aggregate, demonstrated
that this law was unconstitutional regardless of one's politics.
-</p><a class="indexterm" name="idp
8797600"></a><a class="indexterm" name="idp8798384"></a><p>
+</p><a class="indexterm" name="idp
63979504"></a><a class="indexterm" name="idp63980288"></a><p>
The first step happened all by itself. Phyllis Schlafly's
organization, Eagle Forum, had been an opponent of the CTEA from the
very beginning. Mrs. Schlafly viewed the CTEA as a sellout by
existing copyrights, there is no limit to Congress's power to set
terms. That strong conservative argument persuaded a strong
conservative judge, Judge Sentelle.
-</p><a class="indexterm" name="idp
8801600"></a><a class="indexterm" name="idp8802432"></a><a class="indexterm" name="idp8803248"></a><a class="indexterm" name="idp8804064"></a><p>
+</p><a class="indexterm" name="idp
63983504"></a><a class="indexterm" name="idp63984336"></a><a class="indexterm" name="idp63985152"></a><a class="indexterm" name="idp63985968"></a><p>
In the Supreme Court, the briefs on our side were about as diverse as
it gets. They included an extraordinary historical brief by the Free
exhaustive and uncontroverted brief by the world's experts in the
history of the Progress Clause. And of course, there was a new brief
by Eagle Forum, repeating and strengthening its arguments.
-</p><a class="indexterm" name="idp
8806224"></a><a class="indexterm" name="idp8807024"></a><p>
+</p><a class="indexterm" name="idp
63988128"></a><a class="indexterm" name="idp63988928"></a><p>
Those briefs framed a legal argument. Then to support the legal
argument, there were a number of powerful briefs by libraries and
archives, including the Internet Archive, the American Association of
Law Libraries, and the National Writers Union.
-</p><a class="indexterm" name="idp
8808496"></a><p>
+</p><a class="indexterm" name="idp
63990400"></a><p>
But two briefs captured the policy argument best. One made the
argument I've already described: A brief by Hal Roach Studios argued
that unless the law was struck, a whole generation of American film
would disappear. The other made the economic argument absolutely
clear.
-</p><a class="indexterm" name="idp
8809984"></a><a class="indexterm" name="idp8810800"></a><a class="indexterm" name="idp8811616"></a><a class="indexterm" name="idp8812432"></a><a class="indexterm" name="idp8813216"></a><p>
+</p><a class="indexterm" name="idp
63991888"></a><a class="indexterm" name="idp63992704"></a><a class="indexterm" name="idp63993520"></a><a class="indexterm" name="idp63994336"></a><a class="indexterm" name="idp63995152"></a><p>
This economists' brief was signed by seventeen economists, including
five Nobel Prize winners, including Ronald Coase, James Buchanan,
Milton Friedman, Kenneth Arrow, and George Akerlof. The economists, as
anything to increase incentives to create. Such extensions were
nothing more than <span class="quote">«<span class="quote">rent-seeking</span>»</span>—the fancy term economists use
to describe special-interest legislation gone wild.
-</p><a class="indexterm" name="idp
8815392"></a><a class="indexterm" name="idp8816176"></a><a class="indexterm" name="idp8816992"></a><a class="indexterm" name="idp8817808"></a><p>
+</p><a class="indexterm" name="idp
63997296"></a><a class="indexterm" name="idp63998080"></a><a class="indexterm" name="idp63998896"></a><a class="indexterm" name="idp63999712"></a><a class="indexterm" name="idp64000528"></a><p>
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
us from the start. But when the case got to the Supreme Court, we
who had advised us early on about a First Amendment strategy; and
finally, former solicitor general Charles Fried.
-</p><a class="indexterm" name="idp
8820016"></a><a class="indexterm" name="idp8820800"></a><a class="indexterm" name="idp8821920"></a><p>
+</p><a class="indexterm" name="idp
64002768"></a><a class="indexterm" name="idp64003552"></a><a class="indexterm" name="idp64004672"></a><p>
Fried was a special victory for our side. Every other former solicitor
general was hired by the other side to defend Congress's power to give
media companies the special favor of extended copyright terms. Fried
that the copyright holders would defend the idea that they should
continue to have the right to control who did what with content they
wanted to control.
-</p><a class="indexterm" name="idp
8825440"></a><a class="indexterm" name="idp8826832"></a><a class="indexterm" name="idp8827648"></a><p>
+</p><a class="indexterm" name="idp
64008192"></a><a class="indexterm" name="idp64009584"></a><a class="indexterm" name="idp64010400"></a><p>
Dr. Seuss's representatives, for example, argued that it was
better for the Dr. Seuss estate to control what happened to
Dr. Seuss's work— better than allowing it to fall into the
public domain—because if this creativity were in the public
domain, then people could use it to <span class="quote">«<span class="quote">glorify drugs or to create
-pornography.</span>»</span><a href="#ftn.idp8829392" class="footnote" name="idp8829392"><sup class="footnote">[192]</sup></a>
+pornography.</span>»</span><a href="#ftn.idp64012144" class="footnote" name="idp64012144"><sup class="footnote">[192]</sup></a>
That was also the motive of the Gershwin estate, which defended its
<span class="quote">«<span class="quote">protection</span>»</span> of the work of George Gershwin. They refuse, for example,
to license <em class="citetitle">Porgy and Bess</em> to anyone who refuses to use African
-Americans in the cast.<a href="#ftn.idp8832208" class="footnote" name="idp8832208"><sup class="footnote">[193]</sup></a>
+Americans in the cast.<a href="#ftn.idp64014960" class="footnote" name="idp64014960"><sup class="footnote">[193]</sup></a>
That's
their view of how this part of American culture should be controlled,
<span class="strong"><strong>Between February</strong></span> and October, there
was little I did beyond preparing for this case. Early on, as I said,
I set the strategy.
-</p><a class="indexterm" name="idp
8838000"></a><a class="indexterm" name="idp8838816"></a><p>
+</p><a class="indexterm" name="idp
64020752"></a><a class="indexterm" name="idp64021568"></a><a class="indexterm" name="idp64022384"></a><a class="indexterm" name="idp64023200"></a><a class="indexterm" name="idp64024016"></a><a class="indexterm" name="idp64024832"></a><a class="indexterm" name="idp64025648"></a><a class="indexterm" name="idp64026480"></a><a class="indexterm" name="idp64027296"></a><a class="indexterm" name="idp64028416"></a><a class="indexterm" name="idxsupremecourtusfactionsof"></a><p>
The Supreme Court was divided into two important camps. One camp we
called <span class="quote">«<span class="quote">the Conservatives.</span>»</span> The other we called <span class="quote">«<span class="quote">the Rest.</span>»</span> The
Conservatives included Chief Justice Rehnquist, Justice O'Connor,
five who had supported the <em class="citetitle">Lopez/Morrison</em> line
of cases that said that an enumerated power had to be interpreted to
assure that Congress's powers had limits.
-</p><a class="indexterm" name="idp
8841776"></a><a class="indexterm" name="idxginsburg"></a><p>
+</p><a class="indexterm" name="idp
64033616"></a><a class="indexterm" name="idxginsburg"></a><p>
The Rest were the four Justices who had strongly opposed limits on
Congress's power. These four—Justice Stevens, Justice Souter,
Justice Ginsburg, and Justice Breyer—had repeatedly argued that
the writings of her daughter: that Congress had the power in this
context to do as it wished, even if what Congress wished made little
sense.
-</p><a class="indexterm" name="idp
8846400"></a><p>
+</p><a class="indexterm" name="idp
64038304"></a><p>
Close behind Justice Ginsburg were two justices whom we also viewed as
unlikely allies, though possible surprises. Justice Souter strongly
favored deference to Congress, as did Justice Breyer. But both were
also very sensitive to free speech concerns. And as we strongly
believed, there was a very important free speech argument against
these retrospective extensions.
-</p><a class="indexterm" name="idp
8847840"></a><p>
+</p><a class="indexterm" name="idp
64039744"></a><a class="indexterm" name="idp64041136"></a><p>
The only vote we could be confident about was that of Justice
Stevens. History will record Justice Stevens as one of the greatest
judges on this Court. His votes are consistently eclectic, which just
argument that Judge Sentelle had relied upon in the Court of Appeals,
that Congress's power must be interpreted so that its enumerated
powers have limits.
-</p><p>
+</p><a class="indexterm" name="idp64043856"></a><a class="indexterm" name="idp64045312"></a><a class="indexterm" name="idp64046096"></a><a class="indexterm" name="idp64046912"></a><a class="indexterm" name="idp64048032"></a><a class="indexterm" name="idxcongressuscopyrighttermsextendedby5"></a><a class="indexterm" name="idp64050752"></a><p>
This then was the core of our strategy—a strategy for which I am
responsible. We would get the Court to see that just as with the
<em class="citetitle">Lopez</em>
beginning, Congress has been extending the term of existing
copyrights. So, the government argued, the Court should not now say
that practice is unconstitutional.
-</p><p>
+</p><a class="indexterm" name="idp64056304"></a><p>
There was some truth to the government's claim, but not much. We
certainly agreed that Congress had extended existing terms in 1831
and in 1909. And of course, in 1962, Congress began extending
a clear line to follow: Don't extend existing terms. The moots
were an effective practice; I found ways to take every question back to
this central idea.
-</p><a class="indexterm" name="idp
8861120"></a><a class="indexterm" name="idp8861936"></a><a class="indexterm" name="idp8862752"></a><p>
+</p><a class="indexterm" name="idp
64063104"></a><a class="indexterm" name="idp64063920"></a><a class="indexterm" name="idp64064736"></a><a class="indexterm" name="idp64065552"></a><p>
One moot was before the lawyers at Jones Day. Don Ayer was the
skeptic. He had served in the Reagan Justice Department with Solicitor
General Charles Fried. He had argued many cases before the Supreme
consistent practice for two hundred years. You have to make them see
the harm—passionately get them to see the harm. For if they
don't see that, then we haven't any chance of winning.</span>»</span>
-</p><a class="indexterm" name="idp
8865472"></a><p>
+</p><a class="indexterm" name="idp
64068304"></a><p>
He may have argued many cases before this Court, I thought, but
he didn't understand its soul. As a clerk, I had seen the Justices do the
right thing—not because of politics but because it was right. As a law
where I intended to stay: on the question of the limits on Congress's
power. This was a case about enumerated powers, I said, and whether
those enumerated powers had any limit.
-</p><a class="indexterm" name="idp
8870704"></a><p>
+</p><a class="indexterm" name="idp
64073536"></a><p>
Justice O'Connor stopped me within one minute of my opening.
The history was bothering her.
</p><div class="blockquote"><blockquote class="blockquote"><p>
assertion about impeding progress. Our only argument is this is a
structural limit necessary to assure that what would be an effectively
perpetual term not be permitted under the copyright laws.
-</p></blockquote></div><a class="indexterm" name="idp
8878560"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
64081392"></a><p>
That was a correct answer, but it wasn't the right answer. The right
answer was instead that there was an obvious and profound harm. Any
number of briefs had been written about it. He wanted to hear it. And
here was the place Don Ayer's advice should have mattered. This was a
softball; my answer was a swing and a miss.
-</p><p>
+</p><a class="indexterm" name="idp64082896"></a><p>
The second came from the Chief, for whom the whole case had been
crafted. For the Chief Justice had crafted the <em class="citetitle">Lopez</em> ruling,
and we hoped that he would see this case as its second cousin.
but for a statute that cannot be justified under ordinary First
Amendment analysis or under a proper reading of the limits built
into the Copyright Clause.
-</p></blockquote></div><a class="indexterm" name="idp
8883536"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
64087184"></a><p>
Things went better for us when the government gave its argument;
for now the Court picked up on the core of our claim. As Justice Scalia
asked Solicitor General Olson,
money in the world against <span class="emphasis"><em>reasoning</em></span>. And here
was the last naïve law professor, scouring the pages, looking for
reasoning.
-</p><p>
+</p><a class="indexterm" name="idxunitedstatesvlopez2"></a><p>
I first scoured the opinion, looking for how the Court would
distinguish the principle in this case from the principle in
<em class="citetitle">Lopez</em>. The argument was nowhere to be found. The case was not even
cited. The argument that was the core argument of our case did not
even appear in the Court's opinion.
-</p><a class="indexterm" name="idp
8894544"></a><p>
+</p><a class="indexterm" name="idp
64099776"></a><p>
Justice Ginsburg simply ignored the enumerated powers argument.
talk about the two together. There was therefore no principle that
followed from the <em class="citetitle">Lopez</em> case: In that context, Congress's power would
be limited, but in this context it would not.
-</p><p>
+</p><a class="indexterm" name="idp64104400"></a><p>
Yet by what right did they get to choose which of the framers' values
they would respect? By what right did they—the silent
five—get to select the part of the Constitution they would
recognize that however much I might hate a system in which the Court
gets to pick the constitutional values that it will respect, that is
the system we have.
-</p><a class="indexterm" name="idp
8896608"></a><p>
+</p><a class="indexterm" name="idp
64101840"></a><p>
Justices Breyer and Stevens wrote very strong dissents. Stevens's
opinion was crafted internal to the law: He argued that the tradition
of intellectual property law should not support this unjustified
very same words in the Progress Clause could come to mean totally
different things depending upon whether the words were about patents
or copyrights. The Court let Justice Stevens's charge go unanswered.
-</p><a class="indexterm" name="idp
8901200"></a><p>
+</p><a class="indexterm" name="idp
64107744"></a><p>
Justice Breyer's opinion, perhaps the best opinion he has ever
written, was external to the Constitution. He argued that the term of
way, the point was clear: If the Constitution said a term had to be
<span class="quote">«<span class="quote">limited,</span>»</span> and the existing term was so long as to be effectively
unlimited, then it was unconstitutional.
-</p><p>
+</p><a class="indexterm" name="idxunitedstatesvlopez3"></a><p>
These two justices understood all the arguments we had made. But
because neither believed in the <em class="citetitle">Lopez</em> case, neither was willing to push
it as a reason to reject this extension. The case was decided without
it is a sign of health when depression gives way to anger. My anger
came quickly, but it didn't cure the depression. This anger was of two
sorts.
-</p><a class="indexterm" name="idp
8907344"></a><p>
+</p><a class="indexterm" name="idp
64115456"></a><p>
It was first anger with the five <span class="quote">«<span class="quote">Conservatives.</span>»</span> It would have been
one thing for them to have explained why the principle of <em class="citetitle">Lopez</em> didn't
apply in this case. That wouldn't have been a very convincing
light of the structure of the Constitution. That method had produced
<em class="citetitle">Lopez</em> and many other <span class="quote">«<span class="quote">originalist</span>»</span> rulings. Where was their
<span class="quote">«<span class="quote">originalism</span>»</span> now?
-</p><p>
+</p><a class="indexterm" name="idp64119904"></a><p>
Here, they had joined an opinion that never once tried to explain
what the framers had meant by crafting the Progress Clause as they
did; they joined an opinion that never once tried to explain how the
myself.
For I had let a view of the law that I liked interfere with a view of
the law as it is.
-</p><a class="indexterm" name="idp
8913792"></a><p>
+</p><a class="indexterm" name="idp
64123216"></a><p>
Most lawyers, and most law professors, have little patience for
idealism about courts in general and this Supreme Court in particular.
Most have a much more pragmatic view. When Don Ayer said that this
refused to stand before this audience and try to persuade with the
passion I had used elsewhere. It was not the basis on which a court
should decide the issue.
-</p><a class="indexterm" name="idp
8917312"></a><a class="indexterm" name="idp8918096"></a><p>
+</p><a class="indexterm" name="idp
64126736"></a><a class="indexterm" name="idp64127520"></a><p>
Would it have been different if I had argued it differently? Would it
have been different if Don Ayer had argued it? Or Charles Fried? Or
Kathleen Sullivan?
little reason to resist doing right. I can't help but think that if I had
stepped down from this pretty picture of dispassionate justice, I could
have persuaded.
-</p><a class="indexterm" name="idp
8920848"></a><p>
+</p><a class="indexterm" name="idp
64130272"></a><p>
And even if I couldn't, then that doesn't excuse what happened in
January. For at the start of this case, one of America's leading
intellectual property professors stated publicly that my bringing this
<a class="xref" href="#fig-18" title="Figure 13.1. ">13.1</a>. The <span class="quote">«<span class="quote">powerful
and wealthy</span>»</span> line is a bit unfair. But the punch in the face
felt exactly like that.
-<a class="indexterm" name="idp8929280"></a>
-</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-18"></a><p class="title"><b>Figure 13.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="100%"><tr><td align="center"><img src="images/tom-the-dancing-bug.png" align="middle" width="100%"></td></tr></table></div><a class="indexterm" name="idp
8932496"></a></div></div><br class="figure-break"></div><p>
+<a class="indexterm" name="idp64138704"></a>
+</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-18"></a><p class="title"><b>Figure 13.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="100%"><tr><td align="center"><img src="images/tom-the-dancing-bug.png" align="middle" width="100%"></td></tr></table></div><a class="indexterm" name="idp
64141920"></a></div></div><br class="figure-break"></div><p>
The image that will always stick in my head is that evoked by the
quote from <em class="citetitle">The New York Times</em>. That <span class="quote">«<span class="quote">grand experiment</span>»</span> we call the
<span class="quote">«<span class="quote">public domain</span>»</span> is over? When I can make light of it, I think, <span class="quote">«<span class="quote">Honey,
in our Constitution a commitment to free culture. In the case that I
fathered, the Supreme Court effectively renounced that commitment. A
better lawyer would have made them see differently.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8591664" class="footnote"><p><a href="#idp8591664" class="para"><sup class="para">[179] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp63750560" class="footnote"><p><a href="#idp63750560" class="para"><sup class="para">[179] </sup></a>
-<a class="indexterm" name="idp8592400"></a>
+<a class="indexterm" name="idp63751296"></a>
There's a parallel here with pornography that is a bit hard to
describe, but it's a strong one. One phenomenon that the Internet
created was a world of noncommercial pornographers—people who
publishers after the advent of the Internet. The Eric Eldreds of the
world before the Internet were extremely few. Yet one would think it
at least as important to protect the Eldreds of the world as to
-protect noncommercial pornographers.</p></div><div id="ftn.idp8616000" class="footnote"><p><a href="#idp8616000" class="para"><sup class="para">[180] </sup></a>
+protect noncommercial pornographers.</p></div><div id="ftn.idp63774800" class="footnote"><p><a href="#idp63774800" class="para"><sup class="para">[180] </sup></a>
-<a class="indexterm" name="idp8616704"></a>
-<a class="indexterm" name="idp8617488"></a>
+<a class="indexterm" name="idp63775504"></a>
+<a class="indexterm" name="idp63776288"></a>
+<a class="indexterm" name="idp63777104"></a>
The full text is: <span class="quote">«<span class="quote">Sonny [Bono] wanted the term of copyright
protection to last forever. I am informed by staff that such a change
would violate the Constitution. I invite all of you to work with me to
you know, there is also Jack Valenti's proposal for a term to last
forever less one day. Perhaps the Committee may look at that next
Congress,</span>»</span> 144 Cong. Rec. H9946, 9951-2 (October 7, 1998).
-</p></div><div id="ftn.idp8670128" class="footnote"><p><a href="#idp8670128" class="para"><sup class="para">[181] </sup></a>
+</p></div><div id="ftn.idp63829904" class="footnote"><p><a href="#idp63829904" class="para"><sup class="para">[181] </sup></a>
Associated Press, <span class="quote">«<span class="quote">Disney Lobbying for Copyright Extension No Mickey
Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</span>»</span>
<em class="citetitle">Chicago Tribune</em>, 17 October 1998, 22.
-</p></div><div id="ftn.idp8672128" class="footnote"><p><a href="#idp8672128" class="para"><sup class="para">[182] </sup></a>
+</p></div><div id="ftn.idp63831904" class="footnote"><p><a href="#idp63831904" class="para"><sup class="para">[182] </sup></a>
See Nick Brown, <span class="quote">«<span class="quote">Fair Use No More?: Copyright in the Information
Age,</span>»</span> available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #49</a>.
-</p></div><div id="ftn.idp8674240" class="footnote"><p><a href="#idp8674240" class="para"><sup class="para">[183] </sup></a>
+</p></div><div id="ftn.idp63834016" class="footnote"><p><a href="#idp63834016" class="para"><sup class="para">[183] </sup></a>
Alan K. Ota, <span class="quote">«<span class="quote">Disney in Washington: The Mouse That Roars,</span>»</span>
<em class="citetitle">Congressional Quarterly This Week</em>, 8 August 1990, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #50</a>.
-</p></div><div id="ftn.idp8690256" class="footnote"><p><a href="#idp8690256" class="para"><sup class="para">[184] </sup></a>
+</p></div><div id="ftn.idp63856576" class="footnote"><p><a href="#idp63856576" class="para"><sup class="para">[184] </sup></a>
<em class="citetitle">United States</em> v. <em class="citetitle">Lopez</em>, 514 U.S. 549, 564 (1995).
-</p></div><div id="ftn.idp8693504" class="footnote"><p><a href="#idp8693504" class="para"><sup class="para">[185] </sup></a>
+</p></div><div id="ftn.idp63859824" class="footnote"><p><a href="#idp63859824" class="para"><sup class="para">[185] </sup></a>
<em class="citetitle">United States</em> v. <em class="citetitle">Morrison</em>, 529 U.S. 598 (2000).
-</p></div><div id="ftn.idp8695744" class="footnote"><p><a href="#idp8695744" class="para"><sup class="para">[186] </sup></a>
+<a class="indexterm" name="idp63861424"></a>
+</p></div><div id="ftn.idp63865520" class="footnote"><p><a href="#idp63865520" class="para"><sup class="para">[186] </sup></a>
If it is a principle about enumerated powers, then the principle
carries from one enumerated power to another. The animating point in
Copyright Clause. Here, too, the government's interpretation would
allow the government unending power to regulate copyrights—the
limitation to <span class="quote">«<span class="quote">limited times</span>»</span> notwithstanding.
-</p></div><div id="ftn.idp8710160" class="footnote"><p><a href="#idp8710160" class="para"><sup class="para">[187] </sup></a>
+</p></div><div id="ftn.idp63885296" class="footnote"><p><a href="#idp63885296" class="para"><sup class="para">[187] </sup></a>
Brief of the Nashville Songwriters Association, <em class="citetitle">Eldred</em>
v. <em class="citetitle">Ashcroft</em>, 537 U.S. 186 (2003) (No. 01-618), n.10, available
at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #51</a>.
-</p></div><div id="ftn.idp8717216" class="footnote"><p><a href="#idp8717216" class="para"><sup class="para">[188] </sup></a>
+</p></div><div id="ftn.idp63893168" class="footnote"><p><a href="#idp63893168" class="para"><sup class="para">[188] </sup></a>
The figure of 2 percent is an extrapolation from the study by the
Congressional
Research Service, in light of the estimated renewal ranges. See Brief
of Petitioners, <em class="citetitle">Eldred</em> v. <em class="citetitle">Ashcroft</em>, 7, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #52</a>.
-</p></div><div id="ftn.idp8735712" class="footnote"><p><a href="#idp8735712" class="para"><sup class="para">[189] </sup></a>
+</p></div><div id="ftn.idp63912480" class="footnote"><p><a href="#idp63912480" class="para"><sup class="para">[189] </sup></a>
See David G. Savage, <span class="quote">«<span class="quote">High Court Scene of Showdown on Copyright Law,</span>»</span>
<em class="citetitle">Los Angeles Times</em>, 6 October 2002; David Streitfeld, <span class="quote">«<span class="quote">Classic Movies,
Songs, Books at Stake; Supreme Court Hears Arguments Today on Striking
Down Copyright Extension,</span>»</span> <em class="citetitle">Orlando Sentinel Tribune</em>, 9 October 2002.
-</p></div><div id="ftn.idp8741024" class="footnote"><p><a href="#idp8741024" class="para"><sup class="para">[190] </sup></a>
+</p></div><div id="ftn.idp63917792" class="footnote"><p><a href="#idp63917792" class="para"><sup class="para">[190] </sup></a>
Brief of Hal Roach Studios and Michael Agee as Amicus Curiae
Supporting the Petitoners, <em class="citetitle">Eldred</em> v. <em class="citetitle">Ashcroft</em>, 537
filed on behalf of Petitioners by the Internet Archive, <em class="citetitle">Eldred</em>
v. <em class="citetitle">Ashcroft</em>, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #53</a>.
-</p></div><div id="ftn.idp8770000" class="footnote"><p><a href="#idp8770000" class="para"><sup class="para">[191] </sup></a>
+</p></div><div id="ftn.idp63949584" class="footnote"><p><a href="#idp63949584" class="para"><sup class="para">[191] </sup></a>
Jason Schultz, <span class="quote">«<span class="quote">The Myth of the 1976 Copyright `Chaos' Theory,</span>»</span> 20
December 2002, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #54</a>.
-</p></div><div id="ftn.idp8829392" class="footnote"><p><a href="#idp8829392" class="para"><sup class="para">[192] </sup></a>
+</p></div><div id="ftn.idp64012144" class="footnote"><p><a href="#idp64012144" class="para"><sup class="para">[192] </sup></a>
Brief of Amici Dr. Seuss Enterprise et al., <em class="citetitle">Eldred</em> v. <em class="citetitle">Ashcroft</em>, 537
U.S. (2003) (No. 01-618), 19.
-</p></div><div id="ftn.idp8832208" class="footnote"><p><a href="#idp8832208" class="para"><sup class="para">[193] </sup></a>
+</p></div><div id="ftn.idp64014960" class="footnote"><p><a href="#idp64014960" class="para"><sup class="para">[193] </sup></a>
Dinitia Smith, <span class="quote">«<span class="quote">Immortal Words, Immortal Royalties? Even Mickey
Mouse Joins the Fray,</span>»</span> <em class="citetitle">New York Times</em>, 28 March 1998, B7.
long flight to my least favorite city. The drive into the city from
Dulles was delayed because of traffic, so I opened up my computer and
wrote an op-ed piece.
-</p><a class="indexterm" name="idp
8940320"></a><p>
+</p><a class="indexterm" name="idp
64149744"></a><p>
It was an act of contrition. During the whole of the flight from San
Francisco to Washington, I had heard over and over again in my head
the same advice from Don Ayer: You need to make them see why it is
blocking access and the spread of knowledge. Leave it for as long as
Congress allows for those works where its worth is at least $1. But for
everything else, let the content go.
-</p><a class="indexterm" name="idp
8946128"></a><p>
+</p><a class="indexterm" name="idp
64155552"></a><a class="indexterm" name="idp64156368"></a><a class="indexterm" name="idp64157184"></a><p>
The reaction to this idea was amazingly strong. Steve Forbes endorsed
it in an editorial. I received an avalanche of e-mail and letters
expressing support. When you focus the issue on lost creativity,
copyright owners to ask permission to use or license their work. This
system would lower these costs, by establishing at least one registry
where copyright owners could be identified.
-</p><a class="indexterm" name="idp
8949616"></a><a class="indexterm" name="idp8950432"></a><p>
+</p><a class="indexterm" name="idp
64160032"></a><a class="indexterm" name="idp64160848"></a><p>
As I described in chapter <a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>, formalities in copyright law were
removed in 1976, when Congress followed the Europeans by abandoning
-any formal requirement before a copyright is granted.<a href="#ftn.idp8952992" class="footnote" name="idp8952992"><sup class="footnote">[194]</sup></a>
+any formal requirement before a copyright is granted.<a href="#ftn.idp64163408" class="footnote" name="idp64163408"><sup class="footnote">[194]</sup></a>
The Europeans are said to view copyright as a <span class="quote">«<span class="quote">natural right.</span>»</span> Natural
rights don't need forms to exist. Traditions, like the Anglo-American
tradition that required copyright owners to follow form if their
a world without formalities harms the creator. The ability to spread
<span class="quote">«<span class="quote">Walt Disney creativity</span>»</span> is destroyed when there is no simple way to
know what's protected and what's not.
-</p><a class="indexterm" name="idp
8959120"></a><p>
+</p><a class="indexterm" name="idp
64169872"></a><p>
The fight against formalities achieved its first real victory in
Berlin in 1908. International copyright lawyers amended the Berne
Convention in 1908, to require copyright terms of life plus fifty
a world without formalities. Complex, expensive,
<span class="emphasis"><em>lawyer</em></span> transactions take their place.
-<a class="indexterm" name="idp8968688"></a>
+<a class="indexterm" name="idp64179792"></a>
</p><p>
This was the understanding of the problem with the Sonny Bono
Act that we tried to demonstrate to the Court. This was the part it
upon historical data, that system would move up to 98 percent of
commercial work, commercial work that no longer had a commercial life,
into the public domain within fifty years. What do you think?
-</p><a class="indexterm" name="idp
8976736"></a><p>
+</p><a class="indexterm" name="idp
64187840"></a><p>
<span class="strong"><strong>When Steve Forbes</strong></span> endorsed the
idea, some in Washington began to pay attention. Many people contacted
me pointing to representatives who might be willing to introduce the
Eldred Act. And I had a few who directly suggested that they might be
willing to take the first step.
-</p><a class="indexterm" name="idp
8978896"></a><p>
+</p><a class="indexterm" name="idp
64190000"></a><p>
One representative, Zoe Lofgren of California, went so far as to get
the bill drafted. The draft solved any problem with international
law. It imposed the simplest requirement upon copyright owners
introduced. On May 16, I posted on the Eldred Act blog, <span class="quote">«<span class="quote">we are
close.</span>»</span> There was a general reaction in the blog community that
something good might happen here.
-</p><p>
+</p><a class="indexterm" name="idp64192064"></a><p>
But at this stage, the lobbyists began to intervene. Jack Valenti and
the MPAA general counsel came to the congresswoman's office to give
the view of the MPAA. Aided by his lawyer, as Valenti told me, Valenti
possible still to understand why the law favors Hollywood: Most people
don't recognize the reasons for limiting copyright terms; it is thus
still possible to see good faith within the resistance.
-</p><a class="indexterm" name="idp
8989360"></a><p>
+</p><a class="indexterm" name="idp
64201568"></a><p>
But when the copyright owners oppose a proposal such as the Eldred
Act, then, finally, there is an example that lays bare the naked
selfinterest driving this war. This act would free an extraordinary
feared the competition of FM, they fear the competition of a public
domain connected to a public that now has the means to create with it
and to share its own creation.
-</p><a class="indexterm" name="idp
8996352"></a><a class="indexterm" name="idp8997136"></a><p>
+</p><a class="indexterm" name="idp
64208560"></a><a class="indexterm" name="idp64209344"></a><p>
What is hard to understand is why the public takes this view. It is
as if the law made airplanes trespassers. The MPAA stands with the
Causbys and demands that their remote and useless property rights be
society.</span>»</span> The past can be cultivated only if you can identify the
owner and gain permission to build upon his work. The future will be
controlled by this dead (and often unfindable) hand of the past.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8952992" class="footnote"><p><a href="#idp8952992" class="para"><sup class="para">[194] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp64163408" class="footnote"><p><a href="#idp64163408" class="para"><sup class="para">[194] </sup></a>
-<a class="indexterm" name="idp8953696"></a>
+<a class="indexterm" name="idp64164112"></a>
Until the 1908 Berlin Act of the Berne Convention, national copyright
legislation sometimes made protection depend upon compliance with
formalities such as registration, deposit, and affixation of notice of
African nation can afford the drugs for the vast majority of its
population:
$15,000 is thirty times the per capita gross national product of
-Zimbabwe. At these prices, the drugs are totally unavailable.<a href="#ftn.idp9014896" class="footnote" name="idp9014896"><sup class="footnote">[195]</sup></a>
+Zimbabwe. At these prices, the drugs are totally unavailable.<a href="#ftn.idp64226960" class="footnote" name="idp64226960"><sup class="footnote">[195]</sup></a>
</p><a class="indexterm" name="idxpatentsonpharmaceuticals"></a><a class="indexterm" name="idxpharmaceuticalpatents"></a><p>
These prices are not high because the ingredients of the drugs are
example, if the drug was sold in India, it could be imported into
Africa from India. This is called <span class="quote">«<span class="quote">parallel importation,</span>»</span> and it is
generally permitted under international trade law and is specifically
-permitted within the European Union.<a href="#ftn.idp9029360" class="footnote" name="idp9029360"><sup class="footnote">[196]</sup></a>
-</p><a class="indexterm" name="idp
9032640"></a><p>
+permitted within the European Union.<a href="#ftn.idp64241488" class="footnote" name="idp64241488"><sup class="footnote">[196]</sup></a>
+</p><a class="indexterm" name="idp
64244768"></a><p>
However, the United States government opposed the bill. Indeed, more
than opposed. As the International Intellectual Property Association
characterized it, <span class="quote">«<span class="quote">The U.S. government pressured South Africa …
not to permit compulsory licensing or parallel
-imports.</span>»</span><a href="#ftn.idp8639248" class="footnote" name="idp8639248"><sup class="footnote">[197]</sup></a>
+imports.</span>»</span><a href="#ftn.idp63799088" class="footnote" name="idp63799088"><sup class="footnote">[197]</sup></a>
Through the Office of the United States Trade Representative, the
government asked South Africa to change the law—and to add
pressure to that request, in 1998, the USTR listed South Africa for
patent— pharmaceutical patents. The demand of these governments,
with the United States in the lead, was that South Africa respect
these patents as it respects any other patent, regardless of any
-effect on the treatment of AIDS within South Africa.<a href="#ftn.idp9036496" class="footnote" name="idp9036496"><sup class="footnote">[198]</sup></a>
-</p><a class="indexterm" name="idp
9039616"></a><p>
+effect on the treatment of AIDS within South Africa.<a href="#ftn.idp64248624" class="footnote" name="idp64248624"><sup class="footnote">[198]</sup></a>
+</p><a class="indexterm" name="idp
64251744"></a><p>
We should place the intervention by the United States in context. No
doubt patents are not the most important reason that Africans don't
have access to drugs. Poverty and the total absence of an effective
information, which was needed to save the lives of millions, was an
argument
-about the sanctity of property.<a href="#ftn.idp9044256" class="footnote" name="idp9044256"><sup class="footnote">[199]</sup></a>
+about the sanctity of property.<a href="#ftn.idp64256384" class="footnote" name="idp64256384"><sup class="footnote">[199]</sup></a>
It was because <span class="quote">«<span class="quote">intellectual property</span>»</span> would be violated that these
drugs should not flow into Africa. It was a principle about the
importance of <span class="quote">«<span class="quote">intellectual property</span>»</span> that led these government actors
to intervene against the South African response to AIDS.
-</p><a class="indexterm" name="idp
9051568"></a><p>
+</p><a class="indexterm" name="idp
64263648"></a><p>
Now just step back for a moment. There will be a time thirty years
from now when our children look back at us and ask, how could we have
let this happen? How could we allow a policy to be pursued whose
unintended consequence that perhaps millions die. And that rational
strategy thus becomes framed in terms of this ideal—the sanctity of an
idea called <span class="quote">«<span class="quote">intellectual property.</span>»</span>
-</p><a class="indexterm" name="idp
9062544"></a><a class="indexterm" name="idp9063792"></a><a class="indexterm" name="idp9064992"></a><a class="indexterm" name="idp9066240"></a><a class="indexterm" name="idp9067680"></a><a class="indexterm" name="idp9068928"></a><a class="indexterm" name="idp9070176"></a><p>
+</p><a class="indexterm" name="idp
64274624"></a><a class="indexterm" name="idp64275872"></a><a class="indexterm" name="idp64277072"></a><a class="indexterm" name="idp64278384"></a><a class="indexterm" name="idp64279824"></a><a class="indexterm" name="idp64281072"></a><a class="indexterm" name="idp64282384"></a><p>
So when the common sense of your child confronts you, what will
you say? When the common sense of a generation finally revolts
against what we have done, how will we justify what we have done?
in any case. A sensible policy, in other words, could be a balanced
policy. For most of our history, both copyright and patent policies
were balanced in just this sense.
-</p><a class="indexterm" name="idp
9073904"></a><a class="indexterm" name="idp9075248"></a><a class="indexterm" name="idp9076592"></a><p>
+</p><a class="indexterm" name="idp
64285456"></a><a class="indexterm" name="idp64286736"></a><a class="indexterm" name="idp64288080"></a><p>
But we as a culture have lost this sense of balance. We have lost the
critical eye that helps us see the difference between truth and
extremism. A certain property fundamentalism, having no connection to
our tradition, now reigns in this culture—bizarrely, and with
consequences more grave to the spread of ideas and culture than almost
any other single policy decision that we as a democracy will make.
-</p><a class="indexterm" name="idp
9078112"></a><p>
+</p><a class="indexterm" name="idp
64289536"></a><p>
<span class="strong"><strong>A simple idea</strong></span> blinds us, and under
the cover of darkness, much happens that most of us would reject if
any of us looked. So uncritically do we accept the idea of property in
hypocrisy reeks. Yet in a city like Washington, hypocrisy is not even
noticed. Powerful lobbies, complex issues, and MTV attention spans
produce the <span class="quote">«<span class="quote">perfect storm</span>»</span> for free culture.
-</p><a class="indexterm" name="idp
9084544"></a><a class="indexterm" name="idp9085360"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp9088240"></a><a class="indexterm" name="idp9089344"></a><a class="indexterm" name="idp9090176"></a><a class="indexterm" name="idp9091008"></a><a class="indexterm" name="idp9091840"></a><a class="indexterm" name="idp9092944"></a><a class="indexterm" name="idp9093776"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp9096256"></a><a class="indexterm" name="idp9097072"></a><a class="indexterm" name="idp9097904"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
+</p><a class="indexterm" name="idp
64296032"></a><a class="indexterm" name="idp64296848"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp64299664"></a><a class="indexterm" name="idp64300768"></a><a class="indexterm" name="idp64301552"></a><a class="indexterm" name="idp64302384"></a><a class="indexterm" name="idp64303216"></a><a class="indexterm" name="idp64304320"></a><a class="indexterm" name="idp64305152"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp64307632"></a><a class="indexterm" name="idp64308448"></a><a class="indexterm" name="idp64309280"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
<span class="strong"><strong>In August 2003</strong></span>, a fight broke out
in the United States about a decision by the World Intellectual
-Property Organization to cancel a meeting.<a href="#ftn.idp9101376" class="footnote" name="idp9101376"><sup class="footnote">[200]</sup></a>
+Property Organization to cancel a meeting.<a href="#ftn.idp64312752" class="footnote" name="idp64312752"><sup class="footnote">[200]</sup></a>
At the request of a wide range of interests, WIPO had decided to hold
a meeting to discuss <span class="quote">«<span class="quote">open and collaborative projects to create public
goods.</span>»</span> These are projects that have been successful in producing
Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, and Searle.) It
included the Global Positioning System, which Ronald Reagan set free
in the early 1980s. And it included <span class="quote">«<span class="quote">open source and free software.</span>»</span>
-</p><a class="indexterm" name="idp
9110576"></a><p>
+</p><a class="indexterm" name="idp
64321952"></a><p>
The aim of the meeting was to consider this wide range of projects
from one common perspective: that none of these projects relied upon
intellectual property extremism. Instead, in all of them, intellectual
property was balanced by agreements to keep access open or to impose
limitations on the way in which proprietary claims might be used.
</p><a class="indexterm" name="idxlessiglawrenceininternationaldebateonintellectualproperty"></a><p>
-From the perspective of this book, then, the conference was ideal.<a href="#ftn.idp9114912" class="footnote" name="idp9114912"><sup class="footnote">[201]</sup></a>
+From the perspective of this book, then, the conference was ideal.<a href="#ftn.idp64326240" class="footnote" name="idp64326240"><sup class="footnote">[201]</sup></a>
The projects within its scope included both commercial and
noncommercial work. They primarily involved science, but from many
perspectives. And WIPO was an ideal venue for this discussion, since
had thought it was taken for granted that WIPO could and should. And
thus the meeting about <span class="quote">«<span class="quote">open and collaborative projects to create
public goods</span>»</span> seemed perfectly appropriate within the WIPO agenda.
-</p><a class="indexterm" name="idp
9122400"></a><a class="indexterm" name="idp9123856"></a><a class="indexterm" name="idp9125296"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp9128224"></a><a class="indexterm" name="idxmicrosoftonfreesoftware"></a><p>
+</p><a class="indexterm" name="idp
64332800"></a><a class="indexterm" name="idp64334256"></a><a class="indexterm" name="idp64335696"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp64338688"></a><a class="indexterm" name="idxmicrosoftonfreesoftware"></a><p>
But there is one project within that list that is highly
controversial, at least among lobbyists. That project is <span class="quote">«<span class="quote">open source
and free software.</span>»</span> Microsoft in particular is wary of discussion of
Microsoft's software. And internationally, many governments have begun
to explore requirements that they use open source or free software,
rather than <span class="quote">«<span class="quote">proprietary software,</span>»</span> for their own internal uses.
-</p><a class="indexterm" name="idp
9132656"></a><a class="indexterm" name="idp9133760"></a><a class="indexterm" name="idp9134592"></a><a class="indexterm" name="idp9135408"></a><p>
+</p><a class="indexterm" name="idp
64343168"></a><a class="indexterm" name="idp64344272"></a><a class="indexterm" name="idp64345104"></a><a class="indexterm" name="idp64345920"></a><p>
I don't mean to enter that debate here. It is important only to
make clear that the distinction is not between commercial and
noncommercial software. There are many important companies that depend
is emphatically a commercial entity. Thus, to support <span class="quote">«<span class="quote">open source and
free software</span>»</span> is not to oppose commercial entities. It is, instead,
to support a mode of software development that is different from
-Microsoft's.<a href="#ftn.idp9137856" class="footnote" name="idp9137856"><sup class="footnote">[202]</sup></a>
-</p><a class="indexterm" name="idp
9143584"></a><a class="indexterm" name="idp9145008"></a><a class="indexterm" name="idp9145840"></a><p>
+Microsoft's.<a href="#ftn.idp64348368" class="footnote" name="idp64348368"><sup class="footnote">[202]</sup></a>
+</p><a class="indexterm" name="idp
64354096"></a><a class="indexterm" name="idp64355584"></a><a class="indexterm" name="idp64356416"></a><p>
More important for our purposes, to support <span class="quote">«<span class="quote">open source and free
software</span>»</span> is not to oppose copyright. <span class="quote">«<span class="quote">Open source and free software</span>»</span>
is not software in the public domain. Instead, like Microsoft's
software. If copyright did not govern software, then free software
could not impose the same kind of requirements on its adopters. It
thus depends upon copyright law just as Microsoft does.
-</p><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof2"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo2"></a><a class="indexterm" name="idxkrimjonathan"></a><a class="indexterm" name="idp
9154304"></a><p>
+</p><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof2"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo2"></a><a class="indexterm" name="idxkrimjonathan"></a><a class="indexterm" name="idp
64365376"></a><p>
It is therefore understandable that as a proprietary software
developer, Microsoft would oppose this WIPO meeting, and
understandable that it would use its lobbyists to get the United
States government to oppose it, as well. And indeed, that is just what
was reported to have happened. According to Jonathan Krim of the
<em class="citetitle">Washington Post</em>, Microsoft's lobbyists succeeded in getting the United
-States government to veto the meeting.<a href="#ftn.idp9156528" class="footnote" name="idp9156528"><sup class="footnote">[203]</sup></a>
+States government to veto the meeting.<a href="#ftn.idp64367600" class="footnote" name="idp64367600"><sup class="footnote">[203]</sup></a>
And without U.S. backing, the meeting was canceled.
</p><p>
I don't blame Microsoft for doing what it can to advance its own
its lobbying here, and nothing terribly surprising about the most
powerful software producer in the United States having succeeded in
its lobbying efforts.
-</p><a class="indexterm" name="idp
9159504"></a><a class="indexterm" name="idp9160896"></a><p>
+</p><a class="indexterm" name="idp
64370576"></a><a class="indexterm" name="idp64371904"></a><a class="indexterm" name="idxpatentandtrademarkofficeus"></a><p>
What was surprising was the United States government's reason for
opposing the meeting. Again, as reported by Krim, Lois Boland, acting
director of international relations for the U.S. Patent and Trademark
She is quoted as saying, <span class="quote">«<span class="quote">To hold a meeting which has as its purpose
to disclaim or waive such rights seems to us to be contrary to the
goals of WIPO.</span>»</span>
-</p><a class="indexterm" name="idp
9163376"></a><p>
+</p><a class="indexterm" name="idp
64375952"></a><p>
These statements are astonishing on a number of levels.
-</p><a class="indexterm" name="idp
9165072"></a><p>
+</p><a class="indexterm" name="idp
64377648"></a><p>
First, they are just flat wrong. As I described, most open source and
free software relies fundamentally upon the intellectual property
right called <span class="quote">«<span class="quote">copyright</span>»</span>. Without it, restrictions imposed by those
in understanding—the sort of mistake that is excusable in a
first-year law student, but an embarrassment from a high government
official dealing with intellectual property issues.
-</p><a class="indexterm" name="idp
9168688"></a><a class="indexterm" name="idp9169392"></a><a class="indexterm" name="idp9170496"></a><a class="indexterm" name="idp9171312"></a><p>
+</p><a class="indexterm" name="idp
64381232"></a><a class="indexterm" name="idp64381936"></a><a class="indexterm" name="idp64383040"></a><a class="indexterm" name="idp64383856"></a><p>
Second, who ever said that WIPO's exclusive aim was to <span class="quote">«<span class="quote">promote</span>»</span>
intellectual property maximally? As I had been scolded at the
preparatory conference of WSIS, WIPO is to consider not only how best
based on drugs whose patent has expired) contrary to the WIPO mission?
Does the public domain weaken intellectual property? Would it have
been better if the protocols of the Internet had been patented?
-</p><a class="indexterm" name="idp
9173968"></a><p>
+</p><a class="indexterm" name="idp
64386512"></a><p>
Third, even if one believed that the purpose of WIPO was to maximize
intellectual property rights, in our tradition, intellectual property
rights are held by individuals and corporations. They get to decide
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 <span class="emphasis"><em>their</em></span> property.
-</p><a class="indexterm" name="idxboland"></a><p>
+</p><a class="indexterm" name="idxboland
lois"></a><p>
When Ms. Boland says that there is something wrong with a meeting
<span class="quote">«<span class="quote">which has as its purpose to disclaim or waive such rights,</span>»</span> she's
saying that WIPO has an interest in interfering with the choices of
control to the free market. Feudalism depended upon maximum control
and concentration. It fought any freedom that might interfere with
that control.
-</p><a class="indexterm" name="idp
9187040"></a><a class="indexterm" name="idp9187856"></a><p>
+</p><a class="indexterm" name="idp
64399088"></a><a class="indexterm" name="idp64399904"></a><p>
As Peter Drahos and John Braithwaite relate, this is precisely the
-choice we are now making about intellectual property.<a href="#ftn.idp9189072" class="footnote" name="idp9189072"><sup class="footnote">[204]</sup></a>
+choice we are now making about intellectual property.<a href="#ftn.idp64401120" class="footnote" name="idp64401120"><sup class="footnote">[204]</sup></a>
We will have an information society. That much is certain. Our only
choice now is whether that information society will be
<span class="emphasis"><em>free</em></span> or <span class="emphasis"><em>feudal</em></span>. The trend is
toward the feudal.
-</p><a class="indexterm" name="idp
9192352"></a><a class="indexterm" name="idp9193664"></a><p>
+</p><a class="indexterm" name="idp
64404400"></a><a class="indexterm" name="idp64405712"></a><p>
When this battle broke, I blogged it. A spirited debate within the
comment section ensued. Ms. Boland had a number of supporters who
tried to show why her comments made sense. But there was one comment
that was particularly depressing for me. An anonymous poster wrote,
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
9195920"></a><a class="indexterm" name="idp9197296"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
64408032"></a><a class="indexterm" name="idp64409472"></a><p>
George, you misunderstand Lessig: He's only talking about the world as
it should be (<span class="quote">«<span class="quote">the goal of WIPO, and the goal of any government,
should be to promote the right balance of intellectual property rights,
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.)
-</p><a class="indexterm" name="idp
9201392"></a><p>
+</p><a class="indexterm" name="idp
64413632"></a><p>
Obviously, however, the poster was not supporting that idea. Instead,
the poster was ridiculing the very idea that in the real world, the
<span class="quote">«<span class="quote">goal</span>»</span> of a government should be <span class="quote">«<span class="quote">to promote the right balance</span>»</span> of
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.
-</p><p>
+</p><a class="indexterm" name="idp64420064"></a><p>
If this is crazy, then let there be more crazies. Soon.
-</p><a class="indexterm" name="idp
9208544"></a><a class="indexterm" name="idp9209216"></a><a class="indexterm" name="idp9209920"></a><p>
+</p><a class="indexterm" name="idp
64421776"></a><a class="indexterm" name="idp64422592"></a><a class="indexterm" name="idp64423408"></a><p>
<span class="strong"><strong>There are moments</strong></span> of hope in this
struggle. And moments that surprise. When the FCC was considering
relaxing ownership rules, which would thereby further increase the
</p><p>
If we were Achilles, this would be our heel. This would be the place
of our tragedy.
-</p><a class="indexterm" name="idp
9218928"></a><p>
+</p><a class="indexterm" name="idp
64432592"></a><p>
<span class="strong"><strong>As I write</strong></span> these final words, the
news is filled with stories about the RIAA lawsuits against almost
-three hundred individuals.<a href="#ftn.idp9220832" class="footnote" name="idp9220832"><sup class="footnote">[205]</sup></a>
+three hundred individuals.<a href="#ftn.idp64434368" class="footnote" name="idp64434368"><sup class="footnote">[205]</sup></a>
Eminem has just been sued for <span class="quote">«<span class="quote">sampling</span>»</span> someone else's
-music.<a href="#ftn.idp9228144" class="footnote" name="idp9228144"><sup class="footnote">[206]</sup></a>
+music.<a href="#ftn.idp64441648" class="footnote" name="idp64441648"><sup class="footnote">[206]</sup></a>
The story about Bob Dylan <span class="quote">«<span class="quote">stealing</span>»</span> from a Japanese author has just
-finished making the rounds.<a href="#ftn.idp9230768" class="footnote" name="idp9230768"><sup class="footnote">[207]</sup></a>
+finished making the rounds.<a href="#ftn.idp64444192" class="footnote" name="idp64444192"><sup class="footnote">[207]</sup></a>
An insider from Hollywood—who insists he must remain
anonymous—reports <span class="quote">«<span class="quote">an amazing conversation with these studio
guys. They've got extraordinary [old] content that they'd love to use
talking about deputizing computer viruses to bring down computers
thought to violate the law. Universities are threatening expulsion for
kids who use a computer to share content.
-</p><a class="indexterm" name="idp
9234384"></a><a class="indexterm" name="idp9235168"></a><a class="indexterm" name="idp9235984"></a><a class="indexterm" name="idp9236768"></a><a class="indexterm" name="idp9237584"></a><a class="indexterm" name="idp9238400"></a><a class="indexterm" name="idp9239216"></a><p>
+</p><a class="indexterm" name="idp
64447808"></a><a class="indexterm" name="idp64448592"></a><a class="indexterm" name="idp64449408"></a><a class="indexterm" name="idp64450192"></a><a class="indexterm" name="idp64451008"></a><a class="indexterm" name="idp64451824"></a><a class="indexterm" name="idp64452640"></a><p>
Yet on the other side of the Atlantic, the BBC has just announced
that it will build a <span class="quote">«<span class="quote">Creative Archive,</span>»</span> from which British citizens can
-download BBC content, and rip, mix, and burn it.<a href="#ftn.idp9241072" class="footnote" name="idp9241072"><sup class="footnote">[208]</sup></a>
+download BBC content, and rip, mix, and burn it.<a href="#ftn.idp64454544" class="footnote" name="idp64454544"><sup class="footnote">[208]</sup></a>
And in Brazil, the culture minister, Gilberto Gil, himself a folk hero
of Brazilian music, has joined with Creative Commons to release
content and free licenses in that Latin American
-country.<a href="#ftn.idp9243328" class="footnote" name="idp9243328"><sup class="footnote">[209]</sup></a>
+country.<a href="#ftn.idp64456800" class="footnote" name="idp64456800"><sup class="footnote">[209]</sup></a>
I've told a dark story. The truth is more mixed. A technology has
given us a new freedom. Slowly, some begin to understand that this
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp9014896" class="footnote"><p><a href="#idp9014896" class="para"><sup class="para">[195] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp64226960" class="footnote"><p><a href="#idp64226960" class="para"><sup class="para">[195] </sup></a>
Commission on Intellectual Property Rights, <span class="quote">«<span class="quote">Final Report: Integrating
Intellectual Property Rights and Development Policy</span>»</span> (London, 2002),
available at
release
issued 9 July 2002, only 230,000 of the 6 million who need drugs in
the developing world receive them—and half of them are in Brazil.
-</p></div><div id="ftn.idp9029360" class="footnote"><p><a href="#idp9029360" class="para"><sup class="para">[196] </sup></a>
+</p></div><div id="ftn.idp64241488" class="footnote"><p><a href="#idp64241488" class="para"><sup class="para">[196] </sup></a>
See Peter Drahos with John Braithwaite, <em class="citetitle">Information Feudalism: Who
Owns the Knowledge Economy?</em> (New York: The New Press, 2003), 37.
-<a class="indexterm" name="idp9030784"></a>
-<a class="indexterm" name="idp9031568"></a>
-</p></div><div id="ftn.idp8639248" class="footnote"><p><a href="#idp8639248" class="para"><sup class="para">[197] </sup></a>
+<a class="indexterm" name="idp64242912"></a>
+<a class="indexterm" name="idp64243696"></a>
+</p></div><div id="ftn.idp63799088" class="footnote"><p><a href="#idp63799088" class="para"><sup class="para">[197] </sup></a>
International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan
Resources, House Committee on Government Reform, H. Rep., 1st sess.,
Ser. No. 106-126 (22 July 1999), 150–57 (statement of James
Love).
-</p></div><div id="ftn.idp9036496" class="footnote"><p><a href="#idp9036496" class="para"><sup class="para">[198] </sup></a>
+</p></div><div id="ftn.idp64248624" class="footnote"><p><a href="#idp64248624" class="para"><sup class="para">[198] </sup></a>
International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan
Africa, a Report Prepared for the World Intellectual Property
-Organization</em> (Washington, D.C., 2000), 15. </p></div><div id="ftn.idp9044256" class="footnote"><p><a href="#idp9044256" class="para"><sup class="para">[199] </sup></a>
+Organization</em> (Washington, D.C., 2000), 15. </p></div><div id="ftn.idp64256384" class="footnote"><p><a href="#idp64256384" class="para"><sup class="para">[199] </sup></a>
See Sabin Russell, <span class="quote">«<span class="quote">New Crusade to Lower AIDS Drug Costs: Africa's
Needs at Odds with Firms' Profit Motive,</span>»</span> <em class="citetitle">San Francisco Chronicle</em>, 24
Intellectual Property Rights and Compassion, a Synopsis,</span>»</span> <em class="citetitle">Widener Law
Symposium Journal</em> (Spring 2001): 175.
-</p></div><div id="ftn.idp9101376" class="footnote"><p><a href="#idp9101376" class="para"><sup class="para">[200] </sup></a>
+</p></div><div id="ftn.idp64312752" class="footnote"><p><a href="#idp64312752" class="para"><sup class="para">[200] </sup></a>
Jonathan Krim, <span class="quote">«<span class="quote">The Quiet War over Open-Source,</span>»</span> <em class="citetitle">Washington Post</em>,
August 2003, E1, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #59</a>; William New, <span class="quote">«<span class="quote">Global Group's
Opposes `Open Source' Talks at WIPO,</span>»</span> <em class="citetitle">National Journal's Technology
Daily</em>, 19 August 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #61</a>.
-</p></div><div id="ftn.idp9114912" class="footnote"><p><a href="#idp9114912" class="para"><sup class="para">[201] </sup></a>
+</p></div><div id="ftn.idp64326240" class="footnote"><p><a href="#idp64326240" class="para"><sup class="para">[201] </sup></a>
I should disclose that I was one of the people who asked WIPO for the
meeting.
-</p></div><div id="ftn.idp9137856" class="footnote"><p><a href="#idp9137856" class="para"><sup class="para">[202] </sup></a>
+</p></div><div id="ftn.idp64348368" class="footnote"><p><a href="#idp64348368" class="para"><sup class="para">[202] </sup></a>
Microsoft's position about free and open source software is more
sophisticated. As it has repeatedly asserted, it has no problem with
Model</em>, discussion at New York University Stern School of Business (3
May 2001), available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #63</a>.
-</p></div><div id="ftn.idp9156528" class="footnote"><p><a href="#idp9156528" class="para"><sup class="para">[203] </sup></a>
+</p></div><div id="ftn.idp64367600" class="footnote"><p><a href="#idp64367600" class="para"><sup class="para">[203] </sup></a>
Krim, <span class="quote">«<span class="quote">The Quiet War over Open-Source,</span>»</span> available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #64</a>.
-</p></div><div id="ftn.idp9189072" class="footnote"><p><a href="#idp9189072" class="para"><sup class="para">[204] </sup></a>
+</p></div><div id="ftn.idp64401120" class="footnote"><p><a href="#idp64401120" class="para"><sup class="para">[204] </sup></a>
See Drahos with Braithwaite, <em class="citetitle">Information Feudalism</em>, 210–20.
-<a class="indexterm" name="idp9036624"></a>
-</p></div><div id="ftn.idp9220832" class="footnote"><p><a href="#idp9220832" class="para"><sup class="para">[205] </sup></a>
+<a class="indexterm" name="idp64248752"></a>
+</p></div><div id="ftn.idp64434368" class="footnote"><p><a href="#idp64434368" class="para"><sup class="para">[205] </sup></a>
John Borland, <span class="quote">«<span class="quote">RIAA Sues 261 File Swappers,</span>»</span> CNET News.com, September
2003, available at
<span class="quote">«<span class="quote">Schoolgirl Settles with RIAA,</span>»</span> <em class="citetitle">Wired News</em>, 10 September 2003,
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #67</a>.
-</p></div><div id="ftn.idp9228144" class="footnote"><p><a href="#idp9228144" class="para"><sup class="para">[206] </sup></a>
+</p></div><div id="ftn.idp64441648" class="footnote"><p><a href="#idp64441648" class="para"><sup class="para">[206] </sup></a>
Jon Wiederhorn, <span class="quote">«<span class="quote">Eminem Gets Sued … by a Little Old Lady,</span>»</span>
mtv.com, 17 September 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #68</a>.
-</p></div><div id="ftn.idp9230768" class="footnote"><p><a href="#idp9230768" class="para"><sup class="para">[207] </sup></a>
+</p></div><div id="ftn.idp64444192" class="footnote"><p><a href="#idp64444192" class="para"><sup class="para">[207] </sup></a>
Kenji Hall, Associated Press, <span class="quote">«<span class="quote">Japanese Book May Be Inspiration for
Dylan Songs,</span>»</span> Kansascity.com, 9 July 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #69</a>.
-</p></div><div id="ftn.idp9241072" class="footnote"><p><a href="#idp9241072" class="para"><sup class="para">[208] </sup></a>
+</p></div><div id="ftn.idp64454544" class="footnote"><p><a href="#idp64454544" class="para"><sup class="para">[208] </sup></a>
<span class="quote">«<span class="quote">BBC Plans to Open Up Its Archive to the Public,</span>»</span> BBC press release,
24 August 2003, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #70</a>.
-</p></div><div id="ftn.idp9243328" class="footnote"><p><a href="#idp9243328" class="para"><sup class="para">[209] </sup></a>
+</p></div><div id="ftn.idp64456800" class="footnote"><p><a href="#idp64456800" class="para"><sup class="para">[209] </sup></a>
<span class="quote">«<span class="quote">Creative Commons and Brazil,</span>»</span> Creative Commons Weblog, 6 August 2003,
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #71</a>.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-afterword"></a>Chapter . Afterword</h1></div></div></div><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-afterword"></a>Chapter . Afterword</h1></div></div></div><a class="indexterm" name="idxcopyrightvoluntaryreformeffortson"></a><p>
<span class="strong"><strong>At least some</strong></span> who have read this
authors, musicians, filmmakers, scientists—all to tell this
story in their own words, and to tell their neighbors why this battle
is so important.
-</p><p>
+</p><a class="indexterm" name="idp64466288"></a><a class="indexterm" name="idp64467568"></a><p>
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
think matters. Not as much as it should, at least when an RCA stands
opposed, but still, it matters. And thus, in the second part below, I
sketch changes that Congress could make to better secure a free culture.
-</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="usnow"></a>1. Us, now</h2></div></div></div><p>
+</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="usnow"></a>1. Us, now</h2></div></div></div><a class="indexterm" name="idxcopyrightvoluntaryreformeffortson2"></a><p>
<span class="strong"><strong>Common sense</strong></span> is with the copyright
warriors because the debate so far has been framed at the
extremes—as a grand either/or: either property or anarchy,
content requires permission. The <span class="quote">«<span class="quote">cut and paste</span>»</span> world that defines
the Internet today will become a <span class="quote">«<span class="quote">get permission to cut and paste</span>»</span>
world that is a creator's nightmare.
-</p><a class="indexterm" name="idp
9266864"></a><a class="indexterm" name="idp9268256"></a><p>
+</p><a class="indexterm" name="idp
64486128"></a><a class="indexterm" name="idp64487456"></a><p>
What's needed is a way to say something in the middle—neither
<span class="quote">«<span class="quote">all rights reserved</span>»</span> nor <span class="quote">«<span class="quote">no rights reserved</span>»</span> but <span class="quote">«<span class="quote">some rights
reserved</span>»</span>— and thus a way to respect copyrights but enable
(there is no law protecting <span class="quote">«<span class="quote">privacy</span>»</span> in public places), and in many
places, not by norms (snooping and gossip are just fun), but instead,
by the costs that friction imposes on anyone who would want to spy.
-</p><a class="indexterm" name="idxamazon"></a><a class="indexterm" name="idp
9283904"></a><a class="indexterm" name="idxinternetprivacyprotectionon"></a><p>
+</p><a class="indexterm" name="idxamazon"></a><a class="indexterm" name="idp
64503024"></a><a class="indexterm" name="idxinternetprivacyprotectionon"></a><p>
Enter the Internet, where the cost of tracking browsing in particular
has become quite tiny. If you're a customer at Amazon, then as you
browse the pages, Amazon collects the data about what you've looked
and the function of cookies on the Net, it is easier to collect the
data than not. The friction has disappeared, and hence any <span class="quote">«<span class="quote">privacy</span>»</span>
protected by the friction disappears, too.
-</p><a class="indexterm" name="idp
9288368"></a><p>
+</p><a class="indexterm" name="idp
64507488"></a><p>
Amazon, of course, is not the problem. But we might begin to worry
about libraries. If you're one of those crazy lefties who thinks that
people should have the <span class="quote">«<span class="quote">right</span>»</span> to browse in a library without the
you. If it becomes simple to gather and sort who does what in
electronic spaces, then the friction-induced privacy of yesterday
disappears.
-</p><a class="indexterm" name="idp
9290752"></a><a class="indexterm" name="idp9292064"></a><p>
+</p><a class="indexterm" name="idp
64509872"></a><a class="indexterm" name="idp64511184"></a><p>
It is this reality that explains the push of many to define <span class="quote">«<span class="quote">privacy</span>»</span>
on the Internet. It is the recognition that technology can remove what
friction before gave us that leads many to push for laws to do what
-friction did.<a href="#ftn.idp9294304" class="footnote" name="idp9294304"><sup class="footnote">[210]</sup></a>
+friction did.<a href="#ftn.idp64513424" class="footnote" name="idp64513424"><sup class="footnote">[210]</sup></a>
And whether you're in favor of those laws or not, it is the pattern
that is important here. We must take affirmative steps to secure a
kind of freedom that was passively provided before. A change in
technology now forces those who believe in privacy to affirmatively
act where, before, privacy was given by default.
-</p><a class="indexterm" name="idp
9298320"></a><a class="indexterm" name="idp9299600"></a><a class="indexterm" name="idp9300992"></a><a class="indexterm" name="idp9301808"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss2"></a><p>
+</p><a class="indexterm" name="idp
64517440"></a><a class="indexterm" name="idp64518656"></a><a class="indexterm" name="idp64519984"></a><a class="indexterm" name="idp64520800"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss2"></a><p>
A similar story could be told about the birth of the free software
movement. When computers with software were first made available
commercially, the software—both the source code and the
economics of computing. And as he believed, if he did nothing about
it, then the freedom to change and share software would be
fundamentally weakened.
-</p><a class="indexterm" name="idp
9311744"></a><a class="indexterm" name="idp9312912"></a><p>
+</p><a class="indexterm" name="idp
64530800"></a><a class="indexterm" name="idp64531968"></a><p>
Therefore, in 1984, Stallman began a project to build a free operating
system, so that at least a strain of free software would survive. That
was the birth of the GNU project, into which Linus Torvalds's <span class="quote">«<span class="quote">Linux</span>»</span>
kernel was added to produce the GNU/Linux operating system.
-<a class="indexterm" name="idp9314704"></a>
-<a class="indexterm" name="idp9315536"></a>
+<a class="indexterm" name="idp64533760"></a>
+<a class="indexterm" name="idp64534592"></a>
</p><p>
Stallman's technique was to use copyright law to build a world of
software that must be kept free. Software licensed under the Free
that bind copyrighted code, Stallman was affirmatively reclaiming a
space where free software would survive. He was actively protecting
what before had been passively guaranteed.
-</p><a class="indexterm" name="idp
9318208"></a><a class="indexterm" name="idp9319600"></a><a class="indexterm" name="idxacademicjournals"></a><a class="indexterm" name="idxscientificjournals"></a><p>
+</p><a class="indexterm" name="idp
64537824"></a><a class="indexterm" name="idp64539216"></a><a class="indexterm" name="idxacademicjournals"></a><a class="indexterm" name="idxscientificjournals"></a><p>
Finally, consider a very recent example that more directly resonates
with the story of this book. This is the shift in the way academic and
scientific journals are produced.
-</p><a class="indexterm" name="idxlexisandwestlaw"></a><a class="indexterm" name="idxlawdatabasesofcasereportsin"></a><a class="indexterm" name="idp
9327904"></a><a class="indexterm" name="idp9329008"></a><p>
+</p><a class="indexterm" name="idxlexisandwestlaw"></a><a class="indexterm" name="idxlawdatabasesofcasereportsin"></a><a class="indexterm" name="idp
64547632"></a><a class="indexterm" name="idp64548736"></a><p>
As digital technologies develop, it is becoming obvious to many that
printing thousands of copies of journals every month and sending them
to libraries is perhaps not the most efficient way to distribute
to charge users for the privilege of gaining access to that Supreme
Court opinion through their respective services.
-</p><a class="indexterm" name="idp
9331664"></a><a class="indexterm" name="idxpublicdomainlicensesystemforrebuildingof"></a><p>
+</p><a class="indexterm" name="idp
64551392"></a><a class="indexterm" name="idxpublicdomainlicensesystemforrebuildingof"></a><p>
There's nothing wrong in general with this, and indeed, the ability to
charge for access to even public domain materials is a good incentive
for people to develop new and innovative ways to spread knowledge.
to flourish. And if there's nothing wrong with selling the public
domain, then there could be nothing wrong, in principle, with selling
access to material that is not in the public domain.
-</p><a class="indexterm" name="idp
9335616"></a><a class="indexterm" name="idp9336864"></a><p>
+</p><a class="indexterm" name="idp
64555344"></a><a class="indexterm" name="idp64556592"></a><p>
But what if the only way to get access to social and scientific data
was through proprietary services? What if no one had the ability to
browse this data except by paying for a subscription?
public libraries begin to disappear. Thus, as with privacy and with
software, a changing technology and market shrink a freedom taken for
granted before.
-</p><a class="indexterm" name="idp
9342384"></a><a class="indexterm" name="idp9343184"></a><p>
+</p><a class="indexterm" name="idp
64561648"></a><a class="indexterm" name="idp64562992"></a><p>
This shrinking freedom has led many to take affirmative steps to
restore the freedom that has been lost. The Public Library of Science
(PLoS), for example, is a nonprofit corporation dedicated to making
available for free. PLoS also sells a print version of its work, but
the copyright for the print journal does not inhibit the right of
anyone to redistribute the work for free.
-</p><a class="indexterm" name="idp
9345408"></a><p>
+</p><a class="indexterm" name="idp
64565216"></a><p>
This is one of many such efforts to restore a freedom taken for
granted before, but now threatened by changing technology and markets.
There's no doubt that this alternative competes with the traditional
distribution of content. But competition in our tradition is
presumptively a good—especially when it helps spread knowledge
and science.
-</p><a class="indexterm" name="idp
9346944"></a><a class="indexterm" name="idp9348928"></a><a class="indexterm" name="idp9350176"></a></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>1.2. Rebuilding Free Culture: One Idea</h3></div></div></div><a class="indexterm" name="idxcreativecommons"></a><p>
+</p><a class="indexterm" name="idp
64566752"></a><a class="indexterm" name="idp64568736"></a><a class="indexterm" name="idp64569984"></a></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>1.2. Rebuilding Free Culture: One Idea</h3></div></div></div><a class="indexterm" name="idxcreativecommons"></a><p>
The same strategy could be applied to culture, as a response to the
increasing control effected through law and technology.
-</p><a class="indexterm" name="idp
9354880"></a><p>
+</p><a class="indexterm" name="idp
64574640"></a><p>
Enter the Creative Commons. The Creative Commons is a nonprofit
corporation established in Massachusetts, but with its home at
Stanford University. Its aim is to build a layer of
upon. Voluntary choice of individuals and creators will make this
content available. And that content will in turn enable us to rebuild
a public domain.
-</p><a class="indexterm" name="idp
9362352"></a><p>
+</p><a class="indexterm" name="idp
64582112"></a><p>
This is just one project among many within the Creative Commons. And
of course, Creative Commons is not the only organization pursuing such
freedoms. But the point that distinguishes the Creative Commons from
of content (<span class="quote">«<span class="quote">content conducers,</span>»</span> as attorney Mia Garlick calls them)
who help build the public domain and, by their work, demonstrate the
importance of the public domain to other creativity.
-</p><a class="indexterm" name="idp
9364816"></a><p>
+</p><a class="indexterm" name="idp
64584640"></a><p>
The aim is not to fight the <span class="quote">«<span class="quote">All Rights Reserved</span>»</span> sorts. The aim is to
complement them. The problems that the law creates for us as a culture
are produced by insane and unintended consequences of laws written
conclusion. The book's first printing was exhausted months before the
publisher had expected. This first novel of a science fiction author
was a total success.
-</p><a class="indexterm" name="idp
9372128"></a><a class="indexterm" name="idp9372944"></a><p>
+</p><a class="indexterm" name="idp
64591952"></a><a class="indexterm" name="idp64592768"></a><p>
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.
-</p><a class="indexterm" name="idp
9375392"></a><a class="indexterm" name="idp9376704"></a><a class="indexterm" name="idp9377520"></a><a class="indexterm" name="idp9378336"></a><p>
+</p><a class="indexterm" name="idp
64595216"></a><a class="indexterm" name="idp64596528"></a><a class="indexterm" name="idp64597344"></a><a class="indexterm" name="idp64598160"></a><a class="indexterm" name="idp64599552"></a><p>
These are examples of using the Commons to better spread proprietary
content. I believe that is a wonderful and common use of the
Commons. There are others who use Creative Commons licenses for other
Leaphart, manager of the rap group Public Enemy, which was born
sampling the music of others, has stated that he does not <span class="quote">«<span class="quote">allow</span>»</span>
Public Enemy to sample anymore, because the legal costs are so
-high<a href="#ftn.idp9381552" class="footnote" name="idp9381552"><sup class="footnote">[211]</sup></a>),
+high<a href="#ftn.idp64602768" class="footnote" name="idp64602768"><sup class="footnote">[211]</sup></a>),
these artists release into the creative environment content
that others can build upon, so that their form of creativity might grow.
</p><p>
make it easier for authors and creators to exercise their rights more
flexibly and cheaply. That difference, we believe, will enable
creativity to spread more easily.
-</p><a class="indexterm" name="idp
9388528"></a><a class="indexterm" name="idp9389936"></a></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>2. Them, soon</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
64610064"></a><a class="indexterm" name="idp64611472"></a></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>2. Them, soon</h2></div></div></div><p>
<span class="strong"><strong>We will</strong></span> not reclaim a free culture
by individual action alone. It will also take important reforms of
laws. We have a long way to go before the politicians will listen to
past. And thus, the <span class="emphasis"><em>lack</em></span> of formalities forces
many into silence where they otherwise could speak.
</p><p>
-The law should therefore change this requirement<a href="#ftn.idp9402512" class="footnote" name="idp9402512"><sup class="footnote">[212]</sup></a>—but it
+The law should therefore change this requirement<a href="#ftn.idp64624048" class="footnote" name="idp64624048"><sup class="footnote">[212]</sup></a>—but it
should not change it by going back to the old, broken system. We
should require formalities, but we should establish a system that will
create the incentives to minimize the burden of these formalities.
doesn't follow that the government must actually administer the
role. Instead, we should be creating incentives for private parties to
serve the public, subject to standards that the government sets.
-</p><p>
+</p><a class="indexterm" name="idp64628400"></a><a class="indexterm" name="idp64630512"></a><a class="indexterm" name="idp64631632"></a><p>
In the context of registration, one obvious model is the Internet.
There are at least 32 million Web sites registered around the world.
Domain name owners for these Web sites have to pay a fee to keep their
failure need not be that the copyright is lost. The consequence could
instead be that anyone has the right to use this work, until the
copyright owner complains and demonstrates that it is his work and he
-doesn't give permission.<a href="#ftn.idp9413776" class="footnote" name="idp9413776"><sup class="footnote">[213]</sup></a>
+doesn't give permission.<a href="#ftn.idp64638064" class="footnote" name="idp64638064"><sup class="footnote">[213]</sup></a>
The meaning of an unmarked work would therefore be <span class="quote">«<span class="quote">use unless someone
complains.</span>»</span> If someone does complain, then the obligation would be to
stop using the work in any new
evolve. The best way to ensure that the system evolves is to limit the
Copyright Office's role to that of approving standards for marking
content that have been crafted elsewhere.
-</p><a class="indexterm" name="idp
9417760"></a><p>
+</p><a class="indexterm" name="idp
64642000"></a><p>
For example, if a recording industry association devises a method for
marking CDs, it would propose that to the Copyright Office. The
Copyright Office would hold a hearing, at which other proposals could
five years. That seemed radical enough at the time. But after we lost
<em class="citetitle">Eldred</em> v. <em class="citetitle">Ashcroft</em>, the proposals became even more
radical. <em class="citetitle">The Economist</em> endorsed a proposal for a fourteen-year
-copyright term.<a href="#ftn.idp9426976" class="footnote" name="idp9426976"><sup class="footnote">[214]</sup></a>
+copyright term.<a href="#ftn.idp64651152" class="footnote" name="idp64651152"><sup class="footnote">[214]</sup></a>
Others have proposed tying the term to the term for patents.
</p><p>
I agree with those who believe that we need a radical change in
<span class="quote">«<span class="quote">lawyer-free zone</span>»</span> makes the complexities of <span class="quote">«<span class="quote">fair use</span>»</span> and
<span class="quote">«<span class="quote">idea/expression</span>»</span> less necessary to navigate.
-</p></li><li class="listitem"><a class="indexterm" name="idp
9437856"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idp
64662032"></a><p>
<span class="emphasis"><em>Keep it alive:</em></span> Copyright should have to be
renewed. Especially if the maximum term is long, the copyright owner
continued. This need not be an onerous burden, but there is no reason
this monopoly protection has to be granted for free. On average, it
takes ninety minutes for a veteran to apply for a
-pension.<a href="#ftn.idp9440016" class="footnote" name="idp9440016"><sup class="footnote">[215]</sup></a>
+pension.<a href="#ftn.idp64664192" class="footnote" name="idp64664192"><sup class="footnote">[215]</sup></a>
If we make veterans suffer that burden, I don't see why we couldn't
require authors to spend ten minutes every fifty years to file a
single form.
call them <span class="quote">«<span class="quote">extremists.</span>»</span>) But again, the term I recommended was longer
than the term under Richard Nixon. How <span class="quote">«<span class="quote">radical</span>»</span> can it be to ask for
a more generous copyright law than Richard Nixon presided over?
-</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>2.3. 3. Free Use Vs. Fair Use</h3></div></div></div><a class="indexterm" name="idp
9448816"></a><a class="indexterm" name="idp9449616"></a><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>2.3. 3. Free Use Vs. Fair Use</h3></div></div></div><a class="indexterm" name="idp
64672928"></a><a class="indexterm" name="idp64673728"></a><p>
As I observed at the beginning of this book, property law originally
granted property owners the right to control their property from the
ground to the heavens. The airplane came along. The scope of property
work. Thus, if I write a book, and you base a movie on that book, I
have the power to deny you the right to release that movie, even
though that movie is not <span class="quote">«<span class="quote">my writing.</span>»</span>
-</p><a class="indexterm" name="idp
9454000"></a><p>
+</p><a class="indexterm" name="idp
64678112"></a><p>
Congress granted the beginnings of this right in 1870, when it
expanded the exclusive right of copyright to include a right to
-control translations and dramatizations of a work.<a href="#ftn.idp9455264" class="footnote" name="idp9455264"><sup class="footnote">[216]</sup></a>
+control translations and dramatizations of a work.<a href="#ftn.idp64679376" class="footnote" name="idp64679376"><sup class="footnote">[216]</sup></a>
The courts have expanded it slowly through judicial interpretation
ever since. This expansion has been commented upon by one of the law's
greatest judges, Judge Benjamin Kaplan.
So inured have we become to the extension of the monopoly to a
large range of so-called derivative works, that we no longer sense
the oddity of accepting such an enlargement of copyright while
-yet intoning the abracadabra of idea and expression.<a href="#ftn.idp9457712" class="footnote" name="idp9457712"><sup class="footnote">[217]</sup></a>
+yet intoning the abracadabra of idea and expression.<a href="#ftn.idp64681824" class="footnote" name="idp64681824"><sup class="footnote">[217]</sup></a>
</p></blockquote></div><p>
I think it's time to recognize that there are airplanes in this field and
the expansiveness of these rights of derivative use no longer make
to run for the same term as the underlying copyright. The derivative
right could be important in inducing creativity; it is not important long
after the creative work is done.
-<a class="indexterm" name="idp9461024"></a>
+<a class="indexterm" name="idp64685136"></a>
</p><p>
<span class="emphasis"><em>Scope:</em></span> Likewise should the scope of derivative
rights be narrowed. Again, there are some cases in which derivative
technologies enable; now imagine pouring molasses into the
machines. That's what this general requirement of permission does to
the creative process. Smothers it.
-</p><a class="indexterm" name="idp
9463856"></a><p>
+</p><a class="indexterm" name="idp
64687968"></a><p>
This was the point that Alben made when describing the making of the
Clint Eastwood CD. While it makes sense to require negotiation for
foreseeable derivative rights—turning a book into a movie, or a
In each of these cases, the law should mark the uses that are
protected, and the presumption should be that other uses are not
protected. This is the reverse of the recommendation of my colleague
-Paul Goldstein.<a href="#ftn.idp9465984" class="footnote" name="idp9465984"><sup class="footnote">[218]</sup></a>
+Paul Goldstein.<a href="#ftn.idp64690096" class="footnote" name="idp64690096"><sup class="footnote">[218]</sup></a>
His view is that the law should be written so that
expanded protections follow expanded uses.
</p><p>
There are many who are using file-sharing networks to get access to
content that is not copyrighted or to get access that the copyright
owner plainly endorses.
-</p></li></ol></div><a class="indexterm" name="idp
9480992"></a><a class="indexterm" name="idp9482064"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp
64705168"></a><a class="indexterm" name="idp64706240"></a><p>
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
eagerness with which the law aims to eliminate type A, moreover,
Rockies—you can instantaneously be connected to the
Internet. Imagine the Internet as ubiquitous as the best cell-phone
service, where with the flip of a device, you are connected.
-</p><a class="indexterm" name="idp
9487632"></a><p>
+</p><a class="indexterm" name="idp
64711808"></a><p>
In that world, it will be extremely easy to connect to services that
give you access to content on the fly—such as Internet radio,
content that is streamed to the user when the user demands. Here,
cell-phone services in Japan offer music (for a fee) streamed over
cell phones (enhanced with plugs for headphones). The Japanese are
paying for this content even though <span class="quote">«<span class="quote">free</span>»</span> content is available in the
-form of MP3s across the Web.<a href="#ftn.idp9492624" class="footnote" name="idp9492624"><sup class="footnote">[219]</sup></a>
+form of MP3s across the Web.<a href="#ftn.idp64716320" class="footnote" name="idp64716320"><sup class="footnote">[219]</sup></a>
</p><p>
This point about the future is meant to suggest a perspective on the
unavailable because the work is forgotten. Either way, the aim of the
law should be to facilitate the access to this content, ideally in a
way that returns something to the artist.
-</p><a class="indexterm" name="idp
9500240"></a><a class="indexterm" name="idp9501344"></a><p>
+</p><a class="indexterm" name="idp
64723936"></a><a class="indexterm" name="idp64725040"></a><p>
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
stores. But libraries and used book stores don't pay the copyright
way to compensate those who are harmed.
</p><a class="indexterm" name="idxpromisestokeepfisher"></a><p>
The idea would be a modification of a proposal that has been
-floated by Harvard law professor William Fisher.<a href="#ftn.idp9512464" class="footnote" name="idp9512464"><sup class="footnote">[220]</sup></a>
+floated by Harvard law professor William Fisher.<a href="#ftn.idp64736688" class="footnote" name="idp64736688"><sup class="footnote">[220]</sup></a>
Fisher suggests a very clever way around the current impasse of the
Internet. Under his plan, all content capable of digital transmission
would (1) be marked with a digital watermark (don't worry about how
system, then it can be continued. If this form of protection is no
longer necessary, then the system could lapse into the old system of
controlling access.
-</p><a class="indexterm" name="idp
9533584"></a><a class="indexterm" name="idp9534832"></a><p>
+</p><a class="indexterm" name="idp
64757760"></a><a class="indexterm" name="idp64759072"></a><a class="indexterm" name="idp64760192"></a><a class="indexterm" name="idp64761008"></a><p>
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
the system supports the widest range of <span class="quote">«<span class="quote">semiotic democracy</span>»</span>
uses. A system that simply charges for access would not greatly burden
semiotic democracy if there were few limitations on what one was
allowed to do with the content itself.
-</p><a class="indexterm" name="idp
9537632"></a><a class="indexterm" name="idp9538416"></a><a class="indexterm" name="idp9539232"></a><a class="indexterm" name="idp9540048"></a><p>
+</p><a class="indexterm" name="idp
64763792"></a><a class="indexterm" name="idp64764576"></a><a class="indexterm" name="idp64765392"></a><a class="indexterm" name="idp64766208"></a><p>
No doubt it would be difficult to calculate the proper measure of
<span class="quote">«<span class="quote">harm</span>»</span> to an industry. But the difficulty of making that calculation
would be outweighed by the benefit of facilitating innovation. This
Real Networks, offering music at just 79 cents a song. And no doubt
there will be a great deal of competition to offer and sell music
on-line.
-</p><a class="indexterm" name="idp
9543200"></a><a class="indexterm" name="idp9544016"></a><a class="indexterm" name="idp9545120"></a><a class="indexterm" name="idp9545952"></a><a class="indexterm" name="idp9547056"></a><p>
+</p><a class="indexterm" name="idp
64769792"></a><a class="indexterm" name="idp64770608"></a><a class="indexterm" name="idp64771712"></a><a class="indexterm" name="idp64772544"></a><a class="indexterm" name="idp64773648"></a><p>
This competition has already occurred against the background of <span class="quote">«<span class="quote">free</span>»</span>
music from p2p systems. As the sellers of cable television have known
for thirty years, and the sellers of bottled water for much more than
client. And in a world where the rich clients have one strong view,
the unwillingness of the profession to question or counter that one
strong view queers the law.
-</p><a class="indexterm" name="idp
9564768"></a><a class="indexterm" name="idp9565584"></a><p>
+</p><a class="indexterm" name="idp
64791424"></a><a class="indexterm" name="idp64792240"></a><p>
The evidence of this bending is compelling. I'm attacked as a
<span class="quote">«<span class="quote">radical</span>»</span> by many within the profession, yet the positions that I am
advocating are precisely the positions of some of the most moderate
law. Many, for example, thought crazy the challenge that we brought to
the Copyright Term Extension Act. Yet just thirty years ago, the
dominant scholar and practitioner in the field of copyright, Melville
-Nimmer, thought it obvious.<a href="#ftn.idp9567920" class="footnote" name="idp9567920"><sup class="footnote">[221]</sup></a>
+Nimmer, thought it obvious.<a href="#ftn.idp64794576" class="footnote" name="idp64794576"><sup class="footnote">[221]</sup></a>
</p><p>
However, my criticism of the role that lawyers have played in this
Economists are supposed to be good at reckoning costs and benefits.
But more often than not, economists, with no clue about how the legal
system actually functions, simply assume that the transaction costs of
-the legal system are slight.<a href="#ftn.idp9571040" class="footnote" name="idp9571040"><sup class="footnote">[222]</sup></a>
+the legal system are slight.<a href="#ftn.idp64797696" class="footnote" name="idp64797696"><sup class="footnote">[222]</sup></a>
They see a system that has been around for hundreds of years, and they
assume it works the way their elementary school civics class taught
them it works.
away from areas that we know it will only harm. And that is precisely
what the law will too often do if too much of our culture is left to
its review.
-</p><a class="indexterm" name="idp
9579744"></a><p>
+</p><a class="indexterm" name="idp
64806048"></a><p>
Think about the amazing things your kid could do or make with digital
technology—the film, the music, the Web page, the blog. Or think
about the amazing things your community could facilitate with digital
We should ask, <span class="quote">«<span class="quote">Why?</span>»</span> Show me why your regulation of culture is
needed. Show me how it does good. And until you can show me both,
keep your lawyers away.
-</p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp9294304" class="footnote"><p><a href="#idp9294304" class="para"><sup class="para">[210] </sup></a>
+</p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp64513424" class="footnote"><p><a href="#idp64513424" class="para"><sup class="para">[210] </sup></a>
See, for example, Marc Rotenberg, <span class="quote">«<span class="quote">Fair Information Practices and the
(describing examples in which technology defines privacy policy). See
also Jeffrey Rosen, <em class="citetitle">The Naked Crowd: Reclaiming Security and Freedom
in an Anxious Age</em> (New York: Random House, 2004) (mapping tradeoffs
-between technology and privacy).</p></div><div id="ftn.idp9381552" class="footnote"><p><a href="#idp9381552" class="para"><sup class="para">[211] </sup></a>
+between technology and privacy).</p></div><div id="ftn.idp64602768" class="footnote"><p><a href="#idp64602768" class="para"><sup class="para">[211] </sup></a>
<em class="citetitle">Willful Infringement: A Report from the Front Lines of the Real
Culture Wars</em> (2003), produced by Jed Horovitz, directed by Greg
Hittelman, a Fiat Lucre production, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #72</a>.
-</p></div><div id="ftn.idp9402512" class="footnote"><p><a href="#idp9402512" class="para"><sup class="para">[212] </sup></a>
+</p></div><div id="ftn.idp64624048" class="footnote"><p><a href="#idp64624048" class="para"><sup class="para">[212] </sup></a>
The proposal I am advancing here would apply to American works only.
Obviously, I believe it would be beneficial for the same idea to be
-adopted by other countries as well.</p></div><div id="ftn.idp9413776" class="footnote"><p><a href="#idp9413776" class="para"><sup class="para">[213] </sup></a>
+adopted by other countries as well.</p></div><div id="ftn.idp64638064" class="footnote"><p><a href="#idp64638064" class="para"><sup class="para">[213] </sup></a>
There would be a complication with derivative works that I have not
solved here. In my view, the law of derivatives creates a more complicated
system than is justified by the marginal incentive it creates.
-</p></div><div id="ftn.idp9426976" class="footnote"><p><a href="#idp9426976" class="para"><sup class="para">[214] </sup></a>
+</p></div><div id="ftn.idp64651152" class="footnote"><p><a href="#idp64651152" class="para"><sup class="para">[214] </sup></a>
<span class="quote">«<span class="quote">A Radical Rethink,</span>»</span> <em class="citetitle">Economist</em>, 366:8308 (25 January 2003): 15,
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #74</a>.
-</p></div><div id="ftn.idp9440016" class="footnote"><p><a href="#idp9440016" class="para"><sup class="para">[215] </sup></a>
+</p></div><div id="ftn.idp64664192" class="footnote"><p><a href="#idp64664192" class="para"><sup class="para">[215] </sup></a>
Department of Veterans Affairs, Veteran's Application for Compensation
and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001),
available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #75</a>.
-</p></div><div id="ftn.idp9455264" class="footnote"><p><a href="#idp9455264" class="para"><sup class="para">[216] </sup></a>
+</p></div><div id="ftn.idp64679376" class="footnote"><p><a href="#idp64679376" class="para"><sup class="para">[216] </sup></a>
Benjamin Kaplan, <em class="citetitle">An Unhurried View of Copyright</em> (New York: Columbia
University Press, 1967), 32.
-</p></div><div id="ftn.idp9457712" class="footnote"><p><a href="#idp9457712" class="para"><sup class="para">[217] </sup></a>
+</p></div><div id="ftn.idp64681824" class="footnote"><p><a href="#idp64681824" class="para"><sup class="para">[217] </sup></a>
Ibid., 56.
-</p></div><div id="ftn.idp9465984" class="footnote"><p><a href="#idp9465984" class="para"><sup class="para">[218] </sup></a>
+</p></div><div id="ftn.idp64690096" class="footnote"><p><a href="#idp64690096" class="para"><sup class="para">[218] </sup></a>
Paul Goldstein, <em class="citetitle">Copyright's Highway: From Gutenberg to the Celestial
Jukebox</em> (Stanford: Stanford University Press, 2003), 187–216.
-<a class="indexterm" name="idp9296000"></a>
-</p></div><div id="ftn.idp9492624" class="footnote"><p><a href="#idp9492624" class="para"><sup class="para">[219] </sup></a>
+<a class="indexterm" name="idp64515120"></a>
+</p></div><div id="ftn.idp64716320" class="footnote"><p><a href="#idp64716320" class="para"><sup class="para">[219] </sup></a>
See, for example, <span class="quote">«<span class="quote">Music Media Watch,</span>»</span> The J@pan Inc. Newsletter, 3
April 2002, available at
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #76</a>.
-</p></div><div id="ftn.idp9512464" class="footnote"><p><a href="#idp9512464" class="para"><sup class="para">[220] </sup></a>
+</p></div><div id="ftn.idp64736688" class="footnote"><p><a href="#idp64736688" class="para"><sup class="para">[220] </sup></a>
<a class="indexterm" name="idxartistspayments3"></a>
William Fisher, <em class="citetitle">Digital Music: Problems and Possibilities</em> (last
popular. As is typical with Stallman, his proposal predates the current
debate by about a decade. See
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #85</a>.
-<a class="indexterm" name="idp9527344"></a>
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-</p></div><div id="ftn.idp9567920" class="footnote"><p><a href="#idp9567920" class="para"><sup class="para">[221] </sup></a>
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+</p></div><div id="ftn.idp64794576" class="footnote"><p><a href="#idp64794576" class="para"><sup class="para">[221] </sup></a>
Lawrence Lessig, <span class="quote">«<span class="quote">Copyright's First Amendment</span>»</span> (Melville B. Nimmer
Memorial Lecture), <em class="citetitle">UCLA Law Review</em> 48 (2001): 1057, 1069–70.
-</p></div><div id="ftn.idp9571040" class="footnote"><p><a href="#idp9571040" class="para"><sup class="para">[222] </sup></a>
+</p></div><div id="ftn.idp64797696" class="footnote"><p><a href="#idp64797696" class="para"><sup class="para">[222] </sup></a>
A good example is the work of Professor Stan Liebowitz. Liebowitz is
to be commended for his careful review of data about infringement,
effect of file-sharing technology. In my view, however, he
underestimates the costs of the legal system. See, for example,
<em class="citetitle">Rethinking</em>, 174–76.
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</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-notes"></a>Chapter . Notes</h1></div></div></div><p>
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
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.
-</p><div class="index"><div class="titlepage"><div><div><h2 class="title"><a name="idp
9588176"></a>Index</h2></div></div></div><div class="index"><div class="indexdiv"><h3>Symbols</h3><dl><dt>60 Minutes, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>academic journals, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>advertising, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Africa, medications for HIV patients in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>agricultural patents, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Aibo robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>AIDS medications, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>air traffic, land ownership vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>alcohol prohibition, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Alice's Adventures in Wonderland (Carroll), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Allen, Paul, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>American Association of Law Libraries, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Americans with Disabilities Act (1990), <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>animated cartoons, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>antiretroviral drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>architecture, constraint effected through, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dd><dl><dt>(see also Internet Archive)</dt></dl></dd><dt>archives, digital, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#together">Together</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Aristotle, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>art, underground, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>artists</dt><dd><dl><dt>publicity rights on images of, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>recording industry payments to, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>retrospective compilations on, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>Asia, commercial piracy in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Ayer, Don, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Berlin Act (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Berne Convention (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>biomedical research, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>blogs (Web-logs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>books</dt><dd><dl><dt>English copyright law developed for, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>free on-line releases of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>on Internet, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>out of print, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>resales of, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>three types of uses of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>booksellers, English, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>bots, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Brazil, free culture in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>British Parliament, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>broadcast flag, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>browsing, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>cable television, <a class="indexterm" href="#cabletv">Cable TV</a>-<a class="indexterm" href="#cabletv">Cable TV</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>camera technology, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Camp Chaos, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CARP (Copyright Arbitration Royalty Panel), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>cars, MP3 sound systems in, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>cartoon films, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>cassette recording, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>VCRs, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt></dl></dd><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>CD-ROMs, film clips used in, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CDs</dt><dd><dl><dt>copyright marking of, <a class="indexterm" href="#marking">Marking</a></dt><dt>foreign piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a>-<a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>mix technology and, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>preference data on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>prices of, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>sales levels of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>cell phones, music streamed over, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>chimeras, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>CodePink Women in Peace, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>comics, Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Commerce, U.S. Department of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>commercials, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>common law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>composer's rights vs. producers' rights in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>composers, copyright protections of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>compulsory license, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>computer games, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Congress, U.S.</dt><dd><dl><dt>constitutional powers of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright terms extended by, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in constitutional Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>on copyright laws, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on radio, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on recording industry, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on VCR technology, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Constitution, U.S.</dt><dd><dl><dt>Commerce Clause of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright purpose established in, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>First Amendment to, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>on creative property, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Progress Clause of, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>structural checks and balances of, <a class="indexterm" href="#beginnings">Beginnings</a></dt></dl></dd><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>cookies, Internet, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>copyleft licenses, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>copyright</dt><dd><dl><dt>as narrow monopoly right, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>constitutional purpose of, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>duration of, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>four regulatory modalities on, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>in perpetuity, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>marking of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>of natural authors vs. corporations, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>renewability of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>scope of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>usage restrictions attached to, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Copyright Act (1790), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>copyright infringement lawsuits</dt><dd><dl><dt>against student file sharing, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>commercial creativity as primary purpose of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>distribution technology targeted in, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>exaggerated claims of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>in recording industry, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>individual defendants intimidated by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory damages of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>willful infringement findings in, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>copyright law</dt><dd><dl><dt>as ex post regulation modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>as protection of creators, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>copies as core issue of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>creativity impeded by, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>development of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>English, <a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>European, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>fair use and, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>felony punishment for infringement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>history of American, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>innovation hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>innovative freedom balanced with fair compensation in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>on music recordings, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on republishing vs. transformation of original work, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>registration requirement of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>scope of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>statutory licenses in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>technology as automatic enforcer of, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>term extensions in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></dd><dt>corporations</dt><dd><dl><dt>copyright terms for, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>in pharmaceutical industry, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Court of Appeals</dt><dd><dl><dt>Ninth Circuit, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>cover songs, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>creative property</dt><dd><dl><dt>common law protections of, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>constitutional tradition on, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>if value, then right theory of, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>other property rights vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>creativity</dt><dd><dl><dt>by transforming previous works, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>legal restrictions on, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a></dt></dl></dd><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>culture</dt><dd><dl><dt>commercial vs. noncommercial, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Data General, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>democracy</dt><dd><dl><dt>in technologies of expression, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>public discourse in, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>derivative works</dt><dd><dl><dt>fair use vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>historical shift in copyright coverage of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>piracy vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>technological developments and, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>developing countries, foreign patent costs in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>digital cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>doctors malpractice claims against, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Donaldson v. Beckett, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>doujinshi comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>driving speed, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>drugs</dt><dd><dl><dt>pharmaceutical, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Dryden, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-books, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>e-mail, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Eagle Forum, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>education</dt><dd><dl><dt>in media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>tinkering as means of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>elections, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>electoral college, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Electronic Frontier Foundation, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>England, copyright laws developed in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Enlightenment, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>environmentalism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>ephemeral films, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Errors and Omissions insurance, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>expression, technologies of</dt><dd><dl><dt>democratic, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>media literacy and, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>fair use, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dd><dl><dt>in documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Internet burdens on, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>legal intimidation tactics against, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>farming, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>FCC</dt><dd><dl><dt>on FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>feudal system, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>film industry</dt><dd><dl><dt>luxury theatres vs. video piracy in, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>trailer advertisements of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>films</dt><dd><dl><dt>animated, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>archive of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>fair use of copyrighted material in, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>multiple copyrights associated with, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt></dl></dd><dt>First Amendment, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>first-sale doctrine, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>formalities, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Fox (film company), <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>free culture</dt><dd><dl><dt>derivative works based on, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>four modalities of constraint on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt> permission culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>restoration efforts on previous aspects of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>free market, technological changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>free software/open-source software (FS/OSS), <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>generic drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>German copyright law, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Girl Scouts, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>Global Positioning System, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>GNU/Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grimm fairy tales, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hacks, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>handguns, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Henry VIII, King of England, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>HIV/AIDS therapies, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>House of Lords, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>if value, then right theory, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a></dt><dt>images, ownership of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>innovation, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>industry establishment opposed to, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>insecticide, environmental consequences of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>intellectual property rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dd><dl><dt>international organization on issues of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>of drug patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>international law, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Internet</dt><dd><dl><dt>blogs on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>books on, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>copyright applicability altered by technology of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>copyright regulatory balance lost with, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>development of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt> efficient content distribution on, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>initial free character of, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt>news events on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>peer-generated rankings on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>privacy protection on, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>public discourse conducted on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>radio on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>search engines used on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Internet Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Internet Explorer, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Iraq war, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>ISPs (Internet service providers), user identities revealed by, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanese comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp6780384">«Property»</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>journalism, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>jury system, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>knowledge, freedom of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Kodak cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>land ownership, air traffic and, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Laurel and Hardy Films, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>law</dt><dd><dl><dt>as constraint modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>common vs. positive, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>databases of case reports in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>federal vs. state, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt></dl></dd><dt>law schools, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>legal realist movement, <a class="indexterm" href="#together">Together</a></dt><dt>legal system, attorney costs in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dd><dl><dt>Eldred case involvement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in international debate on intellectual property, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>libraries</dt><dd><dl><dt>archival function of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>journals in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>of public-domain literature, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>privacy rights in use of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Library of Congress, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>manga, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Marijuana Policy Project, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>market competition, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>market constraints, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Marx Brothers, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>media</dt><dd><dl><dt>blog pressure on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>commercial imperatives of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>ownership concentration in, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Mickey Mouse, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>competitive strategies of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>government case against, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>international software piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>network file system of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>on free software, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Windows operating system of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>WIPO meeting opposed by, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Millar v. Taylor, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>monopoly, copyright as, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>MP3 players, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3s, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music publishing, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>number of registrations on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>replacement of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>venture capital for, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Nashville Songwriters Association, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>NET (No Electronic Theft) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>news coverage, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>newspapers</dt><dd><dl><dt>archives of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>Nick and Norm anti-drug campaign, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Ninth Circuit Court of Appeals, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>No Electronic Theft (NET) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>norms, regulatory influence of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>originalism, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallel importation, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>patents</dt><dd><dl><dt>future patents vs. future copyrights in, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in public domain, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>on pharmaceuticals, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>peer-to-peer (p2p) file sharing</dt><dd><dl><dt>efficiency of, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>felony punishments for, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>regulatory balance lost in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>permission culture</dt><dd><dl><dt> free culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>permissions</dt><dd><dl><dt>photography exempted from, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>pharmaceutical patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>photography, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>piracy</dt><dd><dl><dt>derivative work vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>in Asia, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>in development of content industry, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a>-<a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></dd><dt>player pianos, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>PLoS (Public Library of Science), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a></dt><dt>political discourse, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Politics, (Aristotle), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>pornography, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>positive law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>power, concentration of, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>privacy rights, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>property rights</dt><dd><dl><dt>air traffic vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>feudal system of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>intangibility of, <a class="indexterm" href="#idp6780384">«Property»</a></dt></dl></dd><dt>proprietary code, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>protection of artists vs. business interests, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>public domain</dt><dd><dl><dt>access fees for material in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>balance of U.S. content in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>defined, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>e-book restrictions on, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>future patents vs. future copyrights in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>library of works derived from, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>license system for rebuilding of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>public projects in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>traditional term for conversion to, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></dd><dt>Public Enemy, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Public Library of Science (PLoS), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM spectrum of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music recordings played on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on Internet, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>railroad industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>rap music, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>recording industry</dt><dd><dl><dt>artist remuneration in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright infringement lawsuits of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright protections in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Internet radio hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>radio broadcast and, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>statutory license system in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></dd><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>copyright infringement lawsuits filed by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>intimidation tactics of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>lobbying power of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on Internet radio fees, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>regulation</dt><dd><dl><dt>as establishment protectionism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>four modalities of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>outsize penalties of, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>remote channel changers, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dd><dl><dt>computer network search engine of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Romeo and Juliet (Shakespeare), <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#c-acknowledgments">Acknowledgments</a></dt><dt>RPI (see Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>scientific journals, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Scottish publishers, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>search engines, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Senate, U.S., <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>September 11, 2001, terrorist attacks of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>sheet music, <a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>single nucleotied polymorphisms (SNPs), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Sonny Bono Copyright Term Extension Act (CTEA) (1998), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dd><dl><dt>Supreme Court challenge of, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robotic dog produced by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>South Africa, Republic of, pharmaceutical imports by, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>speech, freedom of</dt><dd><dl><dt>constitutional guarantee of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>speeding, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>statutory damages, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory licenses, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>steel industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Preface</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Superman comics, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Supreme Court, U.S.</dt><dd><dl><dt>access to opinions of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>House of Lords vs., <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>on airspace vs. land rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>on balance of interests in copyright law, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on television advertising bans, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>technology</dt><dd><dl><dt>copyright enforcement controlled by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>copyright intent altered by, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>established industries threatened by changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>television</dt><dd><dl><dt>advertising on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>cable vs. broadcast, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>controversy avoided by, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Television Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>United Kingdom</dt><dd><dl><dt>history of copyright law in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>public creative archive in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>United States Trade Representative (USTR), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>university computer networks, p2p sharing on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#together">Together</a></dt><dt>Valenti, Jack</dt><dd><dl><dt> on creative property rights, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>VCRs, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>venture capitalists, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>veterans' pensions, <a class="indexterm" href="#shortterms">2. Shorter Terms</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Web-logs (blogs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>willful infringement, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>World Intellectual Property Organization (WIPO), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Summit on the Information Society (WSIS), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Wright brothers, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt></dl></div></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-acknowledgments"></a>Chapter . Acknowledgments</h1></div></div></div><p>
+</p><div class="index"><div class="titlepage"><div><div><h2 class="title"><a name="idp
64814432"></a>Index</h2></div></div></div><div class="index"><div class="indexdiv"><h3>Symbols</h3><dl><dt>60 Minutes, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>academic journals, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>advertising, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Africa, medications for HIV patients in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>agricultural patents, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Aibo robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>AIDS medications, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>air traffic, land ownership vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>alcohol prohibition, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Alice's Adventures in Wonderland (Carroll), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Allen, Paul, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>American Association of Law Libraries, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Americans with Disabilities Act (1990), <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>animated cartoons, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>antiretroviral drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>architecture, constraint effected through, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dd><dl><dt>(see also Internet Archive)</dt></dl></dd><dt>archives, digital, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#together">Together</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Aristotle, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>art, underground, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>artists</dt><dd><dl><dt>publicity rights on images of, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>recording industry payments to, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>retrospective compilations on, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>Asia, commercial piracy in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Ayer, Don, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Berlin Act (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Berne Convention (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>biomedical research, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>blogs (Web-logs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>books</dt><dd><dl><dt>English copyright law developed for, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>free on-line releases of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>on Internet, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>out of print, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>resales of, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>three types of uses of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>booksellers, English, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>bots, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Brazil, free culture in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>British Parliament, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>broadcast flag, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>browsing, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>cable television, <a class="indexterm" href="#cabletv">Cable TV</a>-<a class="indexterm" href="#cabletv">Cable TV</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>camera technology, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Camp Chaos, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CARP (Copyright Arbitration Royalty Panel), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>cars, MP3 sound systems in, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>cartoon films, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>cassette recording, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>VCRs, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt></dl></dd><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>CD-ROMs, film clips used in, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CDs</dt><dd><dl><dt>copyright marking of, <a class="indexterm" href="#marking">Marking</a></dt><dt>foreign piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a>-<a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>mix technology and, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>preference data on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>prices of, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>sales levels of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>cell phones, music streamed over, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>chimeras, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Code (Lessig), <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>CodePink Women in Peace, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>comics, Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>commerce, interstate, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Commerce, U.S. Department of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>commercials, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>common law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>composer's rights vs. producers' rights in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>composers, copyright protections of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>compulsory license, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>computer games, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Congress, U.S.</dt><dd><dl><dt>constitutional powers of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright terms extended by, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in constitutional Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>on copyright laws, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on radio, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on recording industry, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on VCR technology, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Supreme Court restraint on, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></dd><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Constitution, U.S.</dt><dd><dl><dt>Commerce Clause of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright purpose established in, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>First Amendment to, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>on creative property, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Progress Clause of, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>structural checks and balances of, <a class="indexterm" href="#beginnings">Beginnings</a></dt></dl></dd><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>cookies, Internet, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>copyleft licenses, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>copyright, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dd><dl><dt>(see also copyright law)</dt><dt>as narrow monopoly right, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>constitutional purpose of, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>duration of, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>four regulatory modalities on, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>in perpetuity, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>marking of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>of natural authors vs. corporations, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>renewability of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>scope of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>usage restrictions attached to, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>voluntary reform efforts on, <a class="indexterm" href="#c-afterword">Afterword</a>-<a class="indexterm" href="#c-afterword">Afterword</a>, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt></dl></dd><dt>Copyright Act (1790), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>copyright infringement lawsuits</dt><dd><dl><dt>against student file sharing, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>commercial creativity as primary purpose of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>distribution technology targeted in, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>exaggerated claims of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>in recording industry, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>individual defendants intimidated by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory damages of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>willful infringement findings in, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>zero tolerance in, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>copyright law</dt><dd><dl><dt>as ex post regulation modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>as protection of creators, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>copies as core issue of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>creativity impeded by, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>development of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>English, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>European, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>fair use and, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>felony punishment for infringement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>history of American, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>innovation hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>innovative freedom balanced with fair compensation in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>on music recordings, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on republishing vs. transformation of original work, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>registration requirement of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>scope of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>statutory licenses in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>technology as automatic enforcer of, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>term extensions in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>two central goals of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>corporations</dt><dd><dl><dt>copyright terms for, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>in pharmaceutical industry, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Court of Appeals</dt><dd><dl><dt>Ninth Circuit, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>cover songs, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>creative property, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dd><dl><dt>(see also intellectual property rights)</dt><dt>common law protections of, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>constitutional tradition on, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>if value, then right theory of, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>other property rights vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>creativity, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dd><dl><dt>(see also innovation)</dt><dt>by transforming previous works, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>legal restrictions on, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a></dt></dl></dd><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>criminal justice system, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>CTEA, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dd><dl><dt>(see also Sonny Bono Copyright Term Extension Act (CTEA) (1998))</dt></dl></dd><dt>culture, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dd><dl><dt>(see also free culture)</dt><dt>commercial vs. noncommercial, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>Cyber Rights (Godwin), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>DAT (digital audio tape), <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Data General, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>democracy</dt><dd><dl><dt>digital sharing within, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>in technologies of expression, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>media concentration and, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>public discourse in, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>semiotic, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt></dl></dd><dt>Democratic Party, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>derivative works</dt><dd><dl><dt>fair use vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>historical shift in copyright coverage of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>piracy vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>technological developments and, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>developing countries, foreign patent costs in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>digital cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>doctors malpractice claims against, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>domain names, <a class="indexterm" href="#registration">Registration and renewal</a></dt><dt>Donaldson v. Beckett, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>doujinshi comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>driving speed, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>drugs</dt><dd><dl><dt>pharmaceutical, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Dryden, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-books, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>e-mail, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Eagle Forum, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>education</dt><dd><dl><dt>in media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>tinkering as means of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>elections, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>electoral college, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Electronic Frontier Foundation, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>England, copyright laws developed in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Enlightenment, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>environmentalism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>ephemeral films, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Errors and Omissions insurance, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>expression, technologies of</dt><dd><dl><dt>democratic, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>media literacy and, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>fair use, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dd><dl><dt>in documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Internet burdens on, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>legal intimidation tactics against, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>farming, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>FCC</dt><dd><dl><dt>on FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>feudal system, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>film industry</dt><dd><dl><dt>luxury theatres vs. video piracy in, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>trailer advertisements of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>films</dt><dd><dl><dt>animated, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>archive of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>fair use of copyrighted material in, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>multiple copyrights associated with, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>First Amendment, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>first-sale doctrine, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>formalities, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Fox (film company), <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>free culture</dt><dd><dl><dt>derivative works based on, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>four modalities of constraint on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt> permission culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>restoration efforts on previous aspects of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>free market, technological changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>free software/open-source software (FS/OSS), <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>generic drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>German copyright law, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Girl Scouts, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>Global Positioning System, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>GNU/Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Godwin, Mike, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grimm fairy tales, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hacks, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>handguns, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Henry VIII, King of England, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>HIV/AIDS therapies, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hollywood film industry, <a class="indexterm" href="#film">Film</a></dt><dd><dl><dt>(see also film industry)</dt></dl></dd><dt>House of Lords, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>if value, then right theory, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a></dt><dt>images, ownership of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>innovation, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>(see also creativity)</dt><dt>industry establishment opposed to, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>insecticide, environmental consequences of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>intellectual property rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dd><dl><dt>international organization on issues of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>of drug patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>international law, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Internet</dt><dd><dl><dt>blogs on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>books on, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>copyright applicability altered by technology of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>copyright regulatory balance lost with, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>development of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt>domain name registration on, <a class="indexterm" href="#registration">Registration and renewal</a></dt><dt> efficient content distribution on, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>initial free character of, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt>news events on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>peer-generated rankings on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>privacy protection on, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>public discourse conducted on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>radio on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>search engines used on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Internet Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Internet Explorer, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>interstate commerce, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Iraq war, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>ISPs (Internet service providers), user identities revealed by, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanese comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp61899840">«Property»</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jones, Day, Reavis and Pogue (Jones Day), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>journalism, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>jury system, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>Kahle, Brewster, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Kennedy, Anthony, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>knowledge, freedom of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Kodak cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>land ownership, air traffic and, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Laurel and Hardy Films, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>law</dt><dd><dl><dt>as constraint modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>common vs. positive, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>databases of case reports in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>federal vs. state, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt></dl></dd><dt>law schools, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>legal realist movement, <a class="indexterm" href="#together">Together</a></dt><dt>legal system, attorney costs in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dd><dl><dt>Eldred case involvement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in international debate on intellectual property, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>libraries</dt><dd><dl><dt>archival function of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>journals in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>of public-domain literature, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>privacy rights in use of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Library of Congress, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>manga, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Marijuana Policy Project, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>market competition, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>market constraints, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Marx Brothers, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>media</dt><dd><dl><dt>blog pressure on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>commercial imperatives of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>ownership concentration in, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Mickey Mouse, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>competitive strategies of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>government case against, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>international software piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>network file system of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>on free software, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Windows operating system of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>WIPO meeting opposed by, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Millar v. Taylor, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>monopoly, copyright as, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Monroe, Marilyn, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>MP3 players, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3s, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music publishing, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>music recordings (see peer-to-peer (p2p) file sharing) (see recording industry)</dt><dd><dl><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>infringing material blocked by, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>number of registrations on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>range of content on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>recording industry tracking users of, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>replacement of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>venture capital for, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Nashville Songwriters Association, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>NET (No Electronic Theft) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>news coverage, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>newspapers</dt><dd><dl><dt>archives of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>ownership consolidation of, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Nick and Norm anti-drug campaign, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Ninth Circuit Court of Appeals, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>No Electronic Theft (NET) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>norms, regulatory influence of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>open-source software (see free software/open-source software (FS/OSS))</dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>originalism, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallel importation, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Patent and Trademark Office, U.S., <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>patents</dt><dd><dl><dt>future patents vs. future copyrights in, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in public domain, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>on film technology, <a class="indexterm" href="#film">Film</a>-<a class="indexterm" href="#film">Film</a></dt><dt>on pharmaceuticals, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>peer-to-peer (p2p) file sharing</dt><dd><dl><dt>efficiency of, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>felony punishments for, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>four types of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>infringement protections in, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>regulatory balance lost in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>permission culture</dt><dd><dl><dt> free culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>permissions</dt><dd><dl><dt>photography exempted from, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>pharmaceutical patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>photography, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>piracy</dt><dd><dl><dt>derivative work vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>in Asia, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>in development of content industry, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a>-<a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></dd><dt>player pianos, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>PLoS (Public Library of Science), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a></dt><dt>political discourse, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Politics, (Aristotle), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>pornography, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>positive law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>power, concentration of, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>privacy rights, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>property rights</dt><dd><dl><dt>air traffic vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>feudal system of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>intangibility of, <a class="indexterm" href="#idp61899840">«Property»</a></dt></dl></dd><dt>proprietary code, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>protection of artists vs. business interests, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>public domain</dt><dd><dl><dt>access fees for material in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>balance of U.S. content in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>defined, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>e-book restrictions on, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>future patents vs. future copyrights in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>library of works derived from, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>license system for rebuilding of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>public projects in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>traditional term for conversion to, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></dd><dt>Public Enemy, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Public Library of Science (PLoS), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM spectrum of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music recordings played on, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on Internet, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>ownership consolidation in, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>railroad industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>rap music, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#c-afterword">Afterword</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>recording industry</dt><dd><dl><dt>artist remuneration in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright infringement lawsuits of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright protections in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Internet radio hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>radio broadcast and, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>statutory license system in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></dd><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>copyright infringement lawsuits filed by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>intimidation tactics of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>lobbying power of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on Internet radio fees, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>regulation</dt><dd><dl><dt>as establishment protectionism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>four modalities of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>outsize penalties of, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>remote channel changers, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dd><dl><dt>computer network search engine of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Republican Party, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Romeo and Juliet (Shakespeare), <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#c-acknowledgments">Acknowledgments</a></dt><dt>RPI (see Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Scalia, Antonin, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>scientific journals, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Scottish publishers, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>search engines, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>semiotic democracy, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Senate, U.S., <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>September 11, 2001, terrorist attacks of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>sheet music, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>single nucleotied polymorphisms (SNPs), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Sonny Bono Copyright Term Extension Act (CTEA) (1998), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dd><dl><dt>Supreme Court challenge of, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robotic dog produced by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Betamax technology developed by, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>South Africa, Republic of, pharmaceutical imports by, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>speech, freedom of</dt><dd><dl><dt>constitutional guarantee of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>speeding, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>statutory damages, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory licenses, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>steel industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Preface</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Superman comics, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Supreme Court, U.S.</dt><dd><dl><dt>access to opinions of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>congressional actions restrained by, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>factions of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>House of Lords vs., <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>on airspace vs. land rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>on balance of interests in copyright law, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on television advertising bans, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>technology</dt><dd><dl><dt>copyright enforcement controlled by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>copyright intent altered by, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>established industries threatened by changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>television</dt><dd><dl><dt>advertising on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>cable vs. broadcast, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>controversy avoided by, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Television Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Thomas, Clarence, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>tort reform, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>United Kingdom</dt><dd><dl><dt>history of copyright law in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>public creative archive in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>United States Trade Representative (USTR), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>United States v. Lopez, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>United States v. Morrison, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>university computer networks, p2p sharing on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>used record sales, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#together">Together</a></dt><dt>Valenti, Jack</dt><dd><dl><dt>background of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Eldred Act opposed by, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt> on creative property rights, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>on VCR technology, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>perpetual copyright term proposed by, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></dd><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>VCRs, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>venture capitalists, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>veterans' pensions, <a class="indexterm" href="#shortterms">2. Shorter Terms</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Web sites, domain name registration of, <a class="indexterm" href="#registration">Registration and renewal</a></dt><dt>Web-logs (blogs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>willful infringement, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>World Intellectual Property Organization (WIPO), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Summit on the Information Society (WSIS), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Wright brothers, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt></dl></div></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-acknowledgments"></a>Chapter . Acknowledgments</h1></div></div></div><p>
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
work helped launch a movement, the free culture movement, and it is
to him that this book is dedicated.
-</p><a class="indexterm" name="idp
9591088"></a><p>
+</p><a class="indexterm" name="idp
64817408"></a><p>
I received guidance in various places from friends and academics,
including Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner,
Mark Rose, and Kathleen Sullivan. And I received correction and
added to create both English and Bokmål versions. Finally, a call for
volunteers went out to help me with the translation.
</p><p>
-Several people joined, and Anders Hagen Jarmund, Kirill Miazine and
-Odd Kleiva 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 and Johannes Larsen
-did very valuable proofreading. Håkon Wium Lie helped me track down a
+Several people joined, and Anders Hagen Jarmund, Kirill Miazine, Odd
+Kleiva, Kjetil Kilhavn og Kjetil T. Homme assisted with the initial
+translation. Ralph Amissah and his SiSu version provided index
+entries. Morten Sickel and Alexander Alemayhu helped with the
+figures, redrawing some of the bitmaps as vector images. Wivi
+Reinholdtsen, Ingrid Yrvin, Johannes Larsen and Gisle Hannemyr did
+very valuable proofreading. Håkon Wium Lie helped me track down a
good replacement font without usage restrictions instead of the one in
the original PDF. The PDF typesetting is done using dblatex, which we
selected over the alternatives thanks to the invaluable and quick help
from Benoît Guillon and Andreas Hoenen. Thomas Gramstad donated ISBN
-numbers needed for distribution to book stores. 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.
+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.
+ </p><p>
+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.
</p><p>
-I am also very grateful for my family for their patience with me in
-this project.
+In addition to these great contributors, I am very grateful to Mari
+and my family for their patience with me in this project.
</p><p>
-— Petter Reinholdtsen, Oslo 2015-08-27
- </p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp
9606640"></a>Index</h1></div></div></div><div class="index"><div class="indexdiv"><h3>Symbols</h3><dl><dt>60 Minutes, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>academic journals, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>advertising, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Africa, medications for HIV patients in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>agricultural patents, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Aibo robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>AIDS medications, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>air traffic, land ownership vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>alcohol prohibition, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Alice's Adventures in Wonderland (Carroll), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Allen, Paul, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>American Association of Law Libraries, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Americans with Disabilities Act (1990), <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>animated cartoons, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>antiretroviral drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>architecture, constraint effected through, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dd><dl><dt>(see also Internet Archive)</dt></dl></dd><dt>archives, digital, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#together">Together</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Aristotle, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>art, underground, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>artists</dt><dd><dl><dt>publicity rights on images of, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>recording industry payments to, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>retrospective compilations on, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>Asia, commercial piracy in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Ayer, Don, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Berlin Act (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Berne Convention (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>biomedical research, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>blogs (Web-logs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>books</dt><dd><dl><dt>English copyright law developed for, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>free on-line releases of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>on Internet, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>out of print, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>resales of, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>three types of uses of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>booksellers, English, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>bots, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Brazil, free culture in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>British Parliament, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>broadcast flag, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>browsing, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>cable television, <a class="indexterm" href="#cabletv">Cable TV</a>-<a class="indexterm" href="#cabletv">Cable TV</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>camera technology, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Camp Chaos, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CARP (Copyright Arbitration Royalty Panel), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>cars, MP3 sound systems in, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>cartoon films, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>cassette recording, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>VCRs, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt></dl></dd><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>CD-ROMs, film clips used in, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CDs</dt><dd><dl><dt>copyright marking of, <a class="indexterm" href="#marking">Marking</a></dt><dt>foreign piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a>-<a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>mix technology and, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>preference data on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>prices of, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>sales levels of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>cell phones, music streamed over, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>chimeras, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>CodePink Women in Peace, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>comics, Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Commerce, U.S. Department of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>commercials, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>common law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>composer's rights vs. producers' rights in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>composers, copyright protections of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>compulsory license, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>computer games, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Congress, U.S.</dt><dd><dl><dt>constitutional powers of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright terms extended by, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in constitutional Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>on copyright laws, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on radio, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on recording industry, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on VCR technology, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Constitution, U.S.</dt><dd><dl><dt>Commerce Clause of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright purpose established in, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>First Amendment to, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>on creative property, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Progress Clause of, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>structural checks and balances of, <a class="indexterm" href="#beginnings">Beginnings</a></dt></dl></dd><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>cookies, Internet, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>copyleft licenses, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>copyright</dt><dd><dl><dt>as narrow monopoly right, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>constitutional purpose of, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>duration of, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>four regulatory modalities on, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>in perpetuity, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>marking of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>of natural authors vs. corporations, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>renewability of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>scope of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>usage restrictions attached to, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Copyright Act (1790), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>copyright infringement lawsuits</dt><dd><dl><dt>against student file sharing, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>commercial creativity as primary purpose of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>distribution technology targeted in, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>exaggerated claims of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>in recording industry, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>individual defendants intimidated by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory damages of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>willful infringement findings in, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>copyright law</dt><dd><dl><dt>as ex post regulation modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>as protection of creators, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>copies as core issue of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>creativity impeded by, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>development of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>English, <a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>European, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>fair use and, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>felony punishment for infringement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>history of American, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>innovation hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>innovative freedom balanced with fair compensation in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>on music recordings, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on republishing vs. transformation of original work, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>registration requirement of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>scope of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>statutory licenses in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>technology as automatic enforcer of, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>term extensions in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></dd><dt>corporations</dt><dd><dl><dt>copyright terms for, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>in pharmaceutical industry, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Court of Appeals</dt><dd><dl><dt>Ninth Circuit, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>cover songs, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>creative property</dt><dd><dl><dt>common law protections of, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>constitutional tradition on, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>if value, then right theory of, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>other property rights vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>creativity</dt><dd><dl><dt>by transforming previous works, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>legal restrictions on, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a></dt></dl></dd><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>culture</dt><dd><dl><dt>commercial vs. noncommercial, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Data General, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>democracy</dt><dd><dl><dt>in technologies of expression, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>public discourse in, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>derivative works</dt><dd><dl><dt>fair use vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>historical shift in copyright coverage of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>piracy vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>technological developments and, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>developing countries, foreign patent costs in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>digital cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>doctors malpractice claims against, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Donaldson v. Beckett, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>doujinshi comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>driving speed, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>drugs</dt><dd><dl><dt>pharmaceutical, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Dryden, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-books, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>e-mail, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Eagle Forum, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>education</dt><dd><dl><dt>in media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>tinkering as means of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>elections, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>electoral college, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Electronic Frontier Foundation, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>England, copyright laws developed in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Enlightenment, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>environmentalism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>ephemeral films, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Errors and Omissions insurance, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>expression, technologies of</dt><dd><dl><dt>democratic, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>media literacy and, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>fair use, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dd><dl><dt>in documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Internet burdens on, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>legal intimidation tactics against, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>farming, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>FCC</dt><dd><dl><dt>on FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>feudal system, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>film industry</dt><dd><dl><dt>luxury theatres vs. video piracy in, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>trailer advertisements of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>films</dt><dd><dl><dt>animated, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>archive of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>fair use of copyrighted material in, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>multiple copyrights associated with, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt></dl></dd><dt>First Amendment, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>first-sale doctrine, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>formalities, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Fox (film company), <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>free culture</dt><dd><dl><dt>derivative works based on, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>four modalities of constraint on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt> permission culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>restoration efforts on previous aspects of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>free market, technological changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>free software/open-source software (FS/OSS), <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>generic drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>German copyright law, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Girl Scouts, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>Global Positioning System, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>GNU/Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grimm fairy tales, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hacks, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>handguns, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Henry VIII, King of England, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>HIV/AIDS therapies, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>House of Lords, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>if value, then right theory, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a></dt><dt>images, ownership of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>innovation, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>industry establishment opposed to, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>insecticide, environmental consequences of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>intellectual property rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dd><dl><dt>international organization on issues of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>of drug patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>international law, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Internet</dt><dd><dl><dt>blogs on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>books on, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>copyright applicability altered by technology of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>copyright regulatory balance lost with, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>development of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt> efficient content distribution on, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>initial free character of, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt>news events on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>peer-generated rankings on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>privacy protection on, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>public discourse conducted on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>radio on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>search engines used on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Internet Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Internet Explorer, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Iraq war, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>ISPs (Internet service providers), user identities revealed by, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanese comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp6780384">«Property»</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>journalism, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>jury system, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>knowledge, freedom of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Kodak cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>land ownership, air traffic and, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Laurel and Hardy Films, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>law</dt><dd><dl><dt>as constraint modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>common vs. positive, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>databases of case reports in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>federal vs. state, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt></dl></dd><dt>law schools, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>legal realist movement, <a class="indexterm" href="#together">Together</a></dt><dt>legal system, attorney costs in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dd><dl><dt>Eldred case involvement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in international debate on intellectual property, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>libraries</dt><dd><dl><dt>archival function of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>journals in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>of public-domain literature, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>privacy rights in use of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Library of Congress, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>manga, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Marijuana Policy Project, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>market competition, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>market constraints, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Marx Brothers, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>media</dt><dd><dl><dt>blog pressure on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>commercial imperatives of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>ownership concentration in, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Mickey Mouse, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>competitive strategies of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>government case against, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>international software piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>network file system of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>on free software, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Windows operating system of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>WIPO meeting opposed by, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Millar v. Taylor, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>monopoly, copyright as, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>MP3 players, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3s, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music publishing, <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>number of registrations on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>replacement of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>venture capital for, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Nashville Songwriters Association, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>NET (No Electronic Theft) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>news coverage, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>newspapers</dt><dd><dl><dt>archives of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>Nick and Norm anti-drug campaign, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Ninth Circuit Court of Appeals, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>No Electronic Theft (NET) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>norms, regulatory influence of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>originalism, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallel importation, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>patents</dt><dd><dl><dt>future patents vs. future copyrights in, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in public domain, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>on pharmaceuticals, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>peer-to-peer (p2p) file sharing</dt><dd><dl><dt>efficiency of, <a class="indexterm" href="#idp5833472">«Piracy»</a>-<a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>felony punishments for, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>regulatory balance lost in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>permission culture</dt><dd><dl><dt> free culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>permissions</dt><dd><dl><dt>photography exempted from, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>pharmaceutical patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>photography, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>piracy</dt><dd><dl><dt>derivative work vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>in Asia, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>in development of content industry, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a>-<a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></dd><dt>player pianos, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>PLoS (Public Library of Science), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a></dt><dt>political discourse, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Politics, (Aristotle), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>pornography, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>positive law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>power, concentration of, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>privacy rights, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>property rights</dt><dd><dl><dt>air traffic vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>feudal system of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>intangibility of, <a class="indexterm" href="#idp6780384">«Property»</a></dt></dl></dd><dt>proprietary code, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>protection of artists vs. business interests, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>public domain</dt><dd><dl><dt>access fees for material in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>balance of U.S. content in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>defined, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>e-book restrictions on, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>future patents vs. future copyrights in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>library of works derived from, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>license system for rebuilding of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>public projects in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>traditional term for conversion to, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></dd><dt>Public Enemy, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Public Library of Science (PLoS), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM spectrum of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music recordings played on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on Internet, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>railroad industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>rap music, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>recording industry</dt><dd><dl><dt>artist remuneration in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright infringement lawsuits of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright protections in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Internet radio hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>radio broadcast and, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>statutory license system in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></dd><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>copyright infringement lawsuits filed by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>intimidation tactics of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>lobbying power of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on Internet radio fees, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>regulation</dt><dd><dl><dt>as establishment protectionism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>four modalities of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>outsize penalties of, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>remote channel changers, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dd><dl><dt>computer network search engine of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp5833472">«Piracy»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Romeo and Juliet (Shakespeare), <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#c-acknowledgments">Acknowledgments</a></dt><dt>RPI (see Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>scientific journals, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Scottish publishers, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>search engines, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Senate, U.S., <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>September 11, 2001, terrorist attacks of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>sheet music, <a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>single nucleotied polymorphisms (SNPs), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Sonny Bono Copyright Term Extension Act (CTEA) (1998), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dd><dl><dt>Supreme Court challenge of, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robotic dog produced by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>South Africa, Republic of, pharmaceutical imports by, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>speech, freedom of</dt><dd><dl><dt>constitutional guarantee of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>speeding, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>statutory damages, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory licenses, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>steel industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Preface</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Superman comics, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Supreme Court, U.S.</dt><dd><dl><dt>access to opinions of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>House of Lords vs., <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>on airspace vs. land rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>on balance of interests in copyright law, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on television advertising bans, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>technology</dt><dd><dl><dt>copyright enforcement controlled by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>copyright intent altered by, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>established industries threatened by changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>television</dt><dd><dl><dt>advertising on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>cable vs. broadcast, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>controversy avoided by, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Television Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>United Kingdom</dt><dd><dl><dt>history of copyright law in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>public creative archive in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>United States Trade Representative (USTR), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>university computer networks, p2p sharing on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#together">Together</a></dt><dt>Valenti, Jack</dt><dd><dl><dt> on creative property rights, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>VCRs, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>venture capitalists, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>veterans' pensions, <a class="indexterm" href="#shortterms">2. Shorter Terms</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Web-logs (blogs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>willful infringement, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>World Intellectual Property Organization (WIPO), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Summit on the Information Society (WSIS), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Wright brothers, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp5833472">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp9606896"></a></h1><p>
+— Petter Reinholdtsen, Oslo 2015-09-07
+ </p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp
64833856"></a>Index</h1></div></div></div><div class="index"><div class="indexdiv"><h3>Symbols</h3><dl><dt>60 Minutes, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>academic journals, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>advertising, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Africa, medications for HIV patients in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>agricultural patents, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Aibo robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>AIDS medications, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>air traffic, land ownership vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>alcohol prohibition, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Alice's Adventures in Wonderland (Carroll), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Allen, Paul, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>American Association of Law Libraries, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Americans with Disabilities Act (1990), <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>animated cartoons, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>antiretroviral drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>architecture, constraint effected through, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dd><dl><dt>(see also Internet Archive)</dt></dl></dd><dt>archives, digital, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#together">Together</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Aristotle, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>art, underground, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>artists</dt><dd><dl><dt>publicity rights on images of, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>recording industry payments to, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>retrospective compilations on, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>Asia, commercial piracy in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Ayer, Don, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Berlin Act (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Berne Convention (1908), <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>biomedical research, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>blogs (Web-logs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>books</dt><dd><dl><dt>English copyright law developed for, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>free on-line releases of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>on Internet, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>out of print, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>resales of, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>three types of uses of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>booksellers, English, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>bots, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Brazil, free culture in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>British Parliament, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>broadcast flag, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>browsing, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>cable television, <a class="indexterm" href="#cabletv">Cable TV</a>-<a class="indexterm" href="#cabletv">Cable TV</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>camera technology, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Camp Chaos, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CARP (Copyright Arbitration Royalty Panel), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>cars, MP3 sound systems in, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>cartoon films, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>cassette recording, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>VCRs, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt></dl></dd><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#harms">Chapter Twelve: Harms</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>CD-ROMs, film clips used in, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a>-<a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>CDs</dt><dd><dl><dt>copyright marking of, <a class="indexterm" href="#marking">Marking</a></dt><dt>foreign piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a>-<a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>mix technology and, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>preference data on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>prices of, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>sales levels of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>cell phones, music streamed over, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>chimeras, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Code (Lessig), <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>CodePink Women in Peace, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>comics, Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>commerce, interstate, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Commerce, U.S. Department of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>commercials, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>common law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>composer's rights vs. producers' rights in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>composers, copyright protections of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>compulsory license, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>computer games, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Congress, U.S.</dt><dd><dl><dt>constitutional powers of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright terms extended by, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in constitutional Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>on copyright laws, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on radio, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on recording industry, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on VCR technology, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Supreme Court restraint on, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></dd><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Constitution, U.S.</dt><dd><dl><dt>Commerce Clause of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>copyright purpose established in, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>First Amendment to, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>on creative property, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Progress Clause of, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>structural checks and balances of, <a class="indexterm" href="#beginnings">Beginnings</a></dt></dl></dd><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>cookies, Internet, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>copyleft licenses, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>copyright, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dd><dl><dt>(see also copyright law)</dt><dt>as narrow monopoly right, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>constitutional purpose of, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>duration of, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>four regulatory modalities on, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>in perpetuity, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>marking of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>of natural authors vs. corporations, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>renewability of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>scope of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>usage restrictions attached to, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>voluntary reform efforts on, <a class="indexterm" href="#c-afterword">Afterword</a>-<a class="indexterm" href="#c-afterword">Afterword</a>, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt></dl></dd><dt>Copyright Act (1790), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>copyright infringement lawsuits</dt><dd><dl><dt>against student file sharing, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>commercial creativity as primary purpose of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>distribution technology targeted in, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>exaggerated claims of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>in recording industry, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>individual defendants intimidated by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory damages of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>willful infringement findings in, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>zero tolerance in, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>copyright law</dt><dd><dl><dt>as ex post regulation modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>as protection of creators, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>copies as core issue of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>creativity impeded by, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>development of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>English, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>European, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>fair use and, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>felony punishment for infringement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>history of American, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>innovation hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>innovative freedom balanced with fair compensation in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Japanese, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>on music recordings, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on republishing vs. transformation of original work, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>registration requirement of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>scope of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>statutory licenses in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>technology as automatic enforcer of, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>term extensions in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>two central goals of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>corporations</dt><dd><dl><dt>copyright terms for, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>in pharmaceutical industry, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>Court of Appeals</dt><dd><dl><dt>Ninth Circuit, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></dd><dt>cover songs, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>creative property, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dd><dl><dt>(see also intellectual property rights)</dt><dt>common law protections of, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>constitutional tradition on, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>if value, then right theory of, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>other property rights vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>creativity, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dd><dl><dt>(see also innovation)</dt><dt>by transforming previous works, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>legal restrictions on, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a></dt></dl></dd><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>criminal justice system, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>CTEA, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dd><dl><dt>(see also Sonny Bono Copyright Term Extension Act (CTEA) (1998))</dt></dl></dd><dt>culture, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dd><dl><dt>(see also free culture)</dt><dt>commercial vs. noncommercial, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>Cyber Rights (Godwin), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>DAT (digital audio tape), <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Data General, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>democracy</dt><dd><dl><dt>digital sharing within, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>in technologies of expression, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>media concentration and, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>public discourse in, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>semiotic, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt></dl></dd><dt>Democratic Party, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>derivative works</dt><dd><dl><dt>fair use vs., <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>historical shift in copyright coverage of, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>piracy vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>technological developments and, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>developing countries, foreign patent costs in, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>digital cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>doctors malpractice claims against, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>domain names, <a class="indexterm" href="#registration">Registration and renewal</a></dt><dt>Donaldson v. Beckett, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>doujinshi comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>driving speed, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>drugs</dt><dd><dl><dt>pharmaceutical, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Dryden, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-books, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>e-mail, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Eagle Forum, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>education</dt><dd><dl><dt>in media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>tinkering as means of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>elections, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>electoral college, <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>Electronic Frontier Foundation, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>England, copyright laws developed in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Enlightenment, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>environmentalism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>ephemeral films, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Errors and Omissions insurance, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>expression, technologies of</dt><dd><dl><dt>democratic, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>media literacy and, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>fair use, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dd><dl><dt>in documentary film, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Internet burdens on, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>legal intimidation tactics against, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>farming, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>FCC</dt><dd><dl><dt>on FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>feudal system, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>film industry</dt><dd><dl><dt>luxury theatres vs. video piracy in, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>trailer advertisements of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt></dl></dd><dt>films</dt><dd><dl><dt>animated, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>archive of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>fair use of copyrighted material in, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>multiple copyrights associated with, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>First Amendment, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>first-sale doctrine, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>FM radio, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>formalities, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Fox (film company), <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>free culture</dt><dd><dl><dt>derivative works based on, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>four modalities of constraint on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt> permission culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>restoration efforts on previous aspects of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>free market, technological changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>free software/open-source software (FS/OSS), <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>generic drugs, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>German copyright law, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Girl Scouts, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>Global Positioning System, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>GNU/Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Godwin, Mike, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grimm fairy tales, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hacks, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>handguns, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Henry VIII, King of England, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>HIV/AIDS therapies, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hollywood film industry, <a class="indexterm" href="#film">Film</a></dt><dd><dl><dt>(see also film industry)</dt></dl></dd><dt>House of Lords, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>if value, then right theory, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a></dt><dt>images, ownership of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>innovation, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dd><dl><dt>(see also creativity)</dt><dt>industry establishment opposed to, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>insecticide, environmental consequences of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>intellectual property rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dd><dl><dt>international organization on issues of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>of drug patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>international law, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Internet</dt><dd><dl><dt>blogs on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>books on, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>copyright applicability altered by technology of, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>copyright regulatory balance lost with, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>development of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt>domain name registration on, <a class="indexterm" href="#registration">Registration and renewal</a></dt><dt> efficient content distribution on, <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>initial free character of, <a class="indexterm" href="#usnow">Us, now</a>-<a class="indexterm" href="#usnow">Us, now</a></dt><dt>news events on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>peer-generated rankings on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>privacy protection on, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>public discourse conducted on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>radio on, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>search engines used on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Internet Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Internet Explorer, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>interstate commerce, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Iraq war, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>ISPs (Internet service providers), user identities revealed by, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanese comics, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp61899840">«Property»</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jones, Day, Reavis and Pogue (Jones Day), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>journalism, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>jury system, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>Kahle, Brewster, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Kennedy, Anthony, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>knowledge, freedom of, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Kodak cameras, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>land ownership, air traffic and, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>Laurel and Hardy Films, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>law</dt><dd><dl><dt>as constraint modality, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>common vs. positive, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>databases of case reports in, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>federal vs. state, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt></dl></dd><dt>law schools, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>legal realist movement, <a class="indexterm" href="#together">Together</a></dt><dt>legal system, attorney costs in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dd><dl><dt>Eldred case involvement of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in international debate on intellectual property, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>libraries</dt><dd><dl><dt>archival function of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>journals in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>of public-domain literature, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>privacy rights in use of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></dd><dt>Library of Congress, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Linux operating system, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>manga, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Marijuana Policy Project, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>market competition, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>market constraints, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Marx Brothers, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>media</dt><dd><dl><dt>blog pressure on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>commercial imperatives of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>ownership concentration in, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>media literacy, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Mickey Mouse, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>competitive strategies of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>government case against, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>international software piracy of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>network file system of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>on free software, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Windows operating system of, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>WIPO meeting opposed by, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Millar v. Taylor, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>monopoly, copyright as, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Monroe, Marilyn, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>MP3 players, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>MP3s, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music publishing, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>music recordings (see peer-to-peer (p2p) file sharing) (see recording industry)</dt><dd><dl><dt>total number of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></dd><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dd><dl><dt>infringing material blocked by, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>number of registrations on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>range of content on, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>recording industry tracking users of, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>-<a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>replacement of, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>venture capital for, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Nashville Songwriters Association, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>NET (No Electronic Theft) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>news coverage, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>newspapers</dt><dd><dl><dt>archives of, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>ownership consolidation of, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Nick and Norm anti-drug campaign, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt><dt>Ninth Circuit Court of Appeals, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt><dt>No Electronic Theft (NET) Act (1998), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>norms, regulatory influence of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>open-source software (see free software/open-source software (FS/OSS))</dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>originalism, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a>-<a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallel importation, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Patent and Trademark Office, U.S., <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>patents</dt><dd><dl><dt>future patents vs. future copyrights in, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>in public domain, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>on film technology, <a class="indexterm" href="#film">Film</a>-<a class="indexterm" href="#film">Film</a></dt><dt>on pharmaceuticals, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>peer-to-peer (p2p) file sharing</dt><dd><dl><dt>efficiency of, <a class="indexterm" href="#idp60903200">«Piracy»</a>-<a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>felony punishments for, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>four types of, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>infringement protections in, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>regulatory balance lost in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>permission culture</dt><dd><dl><dt> free culture vs., <a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></dd><dt>permissions</dt><dd><dl><dt>photography exempted from, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></dd><dt>pharmaceutical patents, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>photography, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>piracy</dt><dd><dl><dt>derivative work vs., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>-<a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>in Asia, <a class="indexterm" href="#piracy-i">Piracy I</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>in development of content industry, <a class="indexterm" href="#pirates">Chapter Four: «Pirates»</a>-<a class="indexterm" href="#cabletv">Cable TV</a></dt></dl></dd><dt>player pianos, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>PLoS (Public Library of Science), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a></dt><dt>political discourse, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Politics, (Aristotle), <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>pornography, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>positive law, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>power, concentration of, <a class="indexterm" href="#preface">Preface</a>-<a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>privacy rights, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Progress Clause, <a class="indexterm" href="#beginnings">Beginnings</a>-<a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a>-<a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>property rights</dt><dd><dl><dt>air traffic vs., <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#freefairuse">3. Free Use Vs. Fair Use</a></dt><dt>feudal system of, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>intangibility of, <a class="indexterm" href="#idp61899840">«Property»</a></dt></dl></dd><dt>proprietary code, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>protection of artists vs. business interests, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>public domain</dt><dd><dl><dt>access fees for material in, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>balance of U.S. content in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>defined, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>e-book restrictions on, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>future patents vs. future copyrights in, <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>library of works derived from, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>license system for rebuilding of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>public projects in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>traditional term for conversion to, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt></dl></dd><dt>Public Enemy, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Public Library of Science (PLoS), <a class="indexterm" href="#c-conclusion">Conclusion</a>, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM spectrum of, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>music recordings played on, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on Internet, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>ownership consolidation in, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>railroad industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>rap music, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#c-afterword">Afterword</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>recording industry</dt><dd><dl><dt>artist remuneration in, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright infringement lawsuits of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>copyright protections in, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>Internet radio hampered by, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>radio broadcast and, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>statutory license system in, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></dd><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>copyright infringement lawsuits filed by, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>intimidation tactics of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>lobbying power of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>on Internet radio fees, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>regulation</dt><dd><dl><dt>as establishment protectionism, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>four modalities of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>outsize penalties of, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>remote channel changers, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dd><dl><dt>computer network search engine of, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt></dl></dd><dt>Republican Party, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp60903200">«Piracy»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>robotic dog, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Romeo and Juliet (Shakespeare), <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#c-acknowledgments">Acknowledgments</a></dt><dt>RPI (see Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Preface</a>, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Scalia, Antonin, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>scientific journals, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Scottish publishers, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>search engines, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>semiotic democracy, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>Senate, U.S., <a class="indexterm" href="#beginnings">Beginnings</a></dt><dt>September 11, 2001, terrorist attacks of, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>sheet music, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>single nucleotied polymorphisms (SNPs), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Sonny Bono Copyright Term Extension Act (CTEA) (1998), <a class="indexterm" href="#lawduration">Law: Duration</a>-<a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dd><dl><dt>Supreme Court challenge of, <a class="indexterm" href="#firelawyers">5. Fire Lots of Lawyers</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robotic dog produced by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Betamax technology developed by, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Recorded Music</a></dt><dt>South Africa, Republic of, pharmaceutical imports by, <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>speech, freedom of</dt><dd><dl><dt>constitutional guarantee of, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>speeding, constraints on, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a>-<a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>statutory damages, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>statutory licenses, <a class="indexterm" href="#recordedmusic">Recorded Music</a>-<a class="indexterm" href="#recordedmusic">Recorded Music</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>steel industry, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Preface</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Superman comics, <a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>Supreme Court, U.S.</dt><dd><dl><dt>access to opinions of, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>congressional actions restrained by, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>factions of, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>House of Lords vs., <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>on airspace vs. land rights, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>on balance of interests in copyright law, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>on television advertising bans, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Chapter Eight: Transformers</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>technology</dt><dd><dl><dt>copyright enforcement controlled by, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>copyright intent altered by, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>established industries threatened by changes in, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt></dl></dd><dt>television</dt><dd><dl><dt>advertising on, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a>, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>-<a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>cable vs. broadcast, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>controversy avoided by, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt></dl></dd><dt>Television Archive, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Thomas, Clarence, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>tort reform, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>United Kingdom</dt><dd><dl><dt>history of copyright law in, <a class="indexterm" href="#founders">Chapter Six: Founders</a>-<a class="indexterm" href="#founders">Chapter Six: Founders</a></dt><dt>public creative archive in, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt></dl></dd><dt>United States Trade Representative (USTR), <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>United States v. Lopez, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a>-<a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>United States v. Morrison, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>university computer networks, p2p sharing on, <a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a>-<a class="indexterm" href="#catalogs">Chapter Three: Catalogs</a></dt><dt>used record sales, <a class="indexterm" href="#piracy-ii">Piracy II</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Chapter One: Creators</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Chapter Six: Founders</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>, <a class="indexterm" href="#together">Together</a></dt><dt>Valenti, Jack</dt><dd><dl><dt>background of, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>-<a class="indexterm" href="#property-i">Chapter Ten: «Property»</a></dt><dt>Eldred Act opposed by, <a class="indexterm" href="#eldred-ii">Chapter Fourteen: Eldred II</a></dt><dt> on creative property rights, <a class="indexterm" href="#c-introduction">Introduction</a>, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>on VCR technology, <a class="indexterm" href="#piracy-ii">Piracy II</a>-<a class="indexterm" href="#piracy-ii">Piracy II</a></dt><dt>perpetual copyright term proposed by, <a class="indexterm" href="#eldred">Chapter Thirteen: Eldred</a></dt></dl></dd><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>VCRs, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Liberate the Music—Again</a></dt><dt>venture capitalists, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>veterans' pensions, <a class="indexterm" href="#shortterms">2. Shorter Terms</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a>-<a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>-<a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Chapter Seven: Recorders</a>-<a class="indexterm" href="#recorders">Chapter Seven: Recorders</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Chapter Ten: «Property»</a>, <a class="indexterm" href="#lawforce">Architecture and Law: Force</a>-<a class="indexterm" href="#lawforce">Architecture and Law: Force</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Web sites, domain name registration of, <a class="indexterm" href="#registration">Registration and renewal</a></dt><dt>Web-logs (blogs), <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduction</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a>-<a class="indexterm" href="#chimera">Chapter Eleven: Chimera</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">Chapter Nine: Collectors</a></dt><dt>willful infringement, <a class="indexterm" href="#lawreach">Law and Architecture: Reach</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piracy I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Chapter One: Creators</a>-<a class="indexterm" href="#creators">Chapter One: Creators</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>World Intellectual Property Organization (WIPO), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Summit on the Information Society (WSIS), <a class="indexterm" href="#c-conclusion">Conclusion</a>-<a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Conclusion</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>Wright brothers, <a class="indexterm" href="#c-introduction">Introduction</a>-<a class="indexterm" href="#c-introduction">Introduction</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Chapter Two: «Mere Copyists»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp60903200">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp64834112"></a></h1><p>
Free culture: How big media uses technology and the law to lock down
culture and control creativity / Lawrence Lessig.
</p><p>
<a class="xref" href="#fig-1761-pattern-modern-media-ownership" title="Figure 10.19. ">10.19</a>
courtesy of the office of FCC Commissioner, Michael J. Copps.
</p><p>
-Includes index.
+Cover created by Petter Reinholdtsen using inkscape.
+</p><p>
+The quotes on the cover came from
+<a class="ulink" href="http://free-culture.cc/jacket/" target="_top">http://free-culture.cc/jacket/</a>.
+</p><p>
+Portrait on the cover was created 2013 by ActuaLitté and licensed
+under a Creative Commons Attribution-ShareAlike 2.0 license. It was
+downloaded from
+<a class="ulink" href="https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg" target="_top">https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg</a>.
</p><p>
Classifications:
</p><p>
</p><p>
Thomas Gramstad Forlag donated the ISBN numbers.
</p><p>
+Printing was sponsed by NUUG Foundation,
+<a class="ulink" href="http://www.nuugfoundation.no/" target="_top">http://www.nuugfoundation.no/</a>.
+</p><p>
+Includes index.
+</p><p>
The Docbook source is available from
<a class="ulink" href="https://github.com/petterreinholdtsen/free-culture-lessig" target="_top">https://github.com/petterreinholdtsen/free-culture-lessig</a>.
Please report any issues with the book there.
+</p><p>
+ </p><div class="informalfigure"><a name="cc-logo"></a><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="11%"><tr><td align="center"><img src="images/cc.svg" align="middle" width="100%"></td></tr></table></div></div><p>
</p><p>
This book is licensed under a Creative Commons license. This license
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This book is a proof reading draft. Please visit the github URL above
to get the latest version.
</p><p>
-</p><div class="informaltable"><a name="isbn"></a><table border="1"><colgroup><col><col></colgroup><thead><tr><th align="left">
ISBN</th><th align="left">Format / MIME-type</th></tr></thead><tbody><tr><td align="left">978-82-8067-010-6</td><td align="left">US Trade size from lulu.com</td></tr><tr><td align="left">978-82-8067-011-3</td><td align="left">application/pdf</td></tr><tr><td align="left">978-82-8067-012-0</td><td align="left">application/epub+zip</td></tr><tr><td align="left">978-82-8067-013-7</td><td align="left">application/x-mobipocket-ebook</td></tr></tbody></table></div><p>
+</p><div class="informaltable"><a name="isbn"></a><table border="1"><colgroup><col><col></colgroup><thead><tr><th align="left">
Format / MIME-type</th><th align="left">ISBN</th></tr></thead><tbody><tr><td align="left">US Trade edition from lulu.com</td><td align="left">978-82-8067-010-6</td></tr><tr><td align="left">application/pdf</td><td align="left">978-82-8067-011-3</td></tr><tr><td align="left">application/epub+zip</td><td align="left">978-82-8067-012-0</td></tr><tr><td align="left">application/x-mobipocket-ebook</td><td align="left">978-82-8067-013-7</td></tr></tbody></table></div><p>
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<html><head><meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"><title>Fri kultur</title><meta name="generator" content="DocBook XSL Stylesheets V1.78.1"><meta name="description" content="Om forfatteren Lawrence Lessig (http://www.lessig.org) er professor i rettsvitenskap og John A. Wilson Distinguished Faculty Scholar ved Stanford Law School. Han er stifteren av Stanford Center for Internet and Society og styreleder i Creative Commons (http://creativecommons.org). Forfatteren har gitt ut The Future of Ideas (Random House, 2001) og Code: And other Laws of Cyberspace (Basic Books, 1999), samt er medlem av styrene i Public Library of Science, the Electronic Frontier Foundation, og Public Knowledge. Han har vunnet Free Software Foundation's Award for the Advancement of Free Software, to ganger vært oppført i BusinessWeeks e.biz 25, og omtalt som en av Scientific Americans 50 visjonærer. Etter utdanning ved University of Pennsylvania, Cambridge University, og Yale Law School, assisterte Lessig dommer Richard Posner ved USAs syvende ankekrets."></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="nb" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="index"></a>Fri kultur</h1></div><div><h2 class="subtitle">Hvordan store medieaktører bruker teknologi og rettsvesenet til å begrense
-kulturen og kontrollere kreativiteten</h2></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Lawrence</span> <span class="surname">Lessig</span></h3></div></div></div><div><p class="releaseinfo">Versjon 2004-02-10</p></div><div><p class="copyright">Opphavsrett © 2004 Lawrence Lessig</p></div><div><div class="legalnotice"><a name="idp
3871312"></a><p>
+kulturen og kontrollere kreativiteten</h2></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Lawrence</span> <span class="surname">Lessig</span></h3></div></div></div><div><p class="releaseinfo">Versjon 2004-02-10</p></div><div><p class="copyright">Opphavsrett © 2004 Lawrence Lessig</p></div><div><div class="legalnotice"><a name="idp
51199088"></a><p>
<span class="inlinemediaobject"><img src="images/cc.png" align="middle" height="38" alt="Creative Commons, noen rettigheter forbeholdt"></span>
</p><p>
Denne boken er lisensiert med en Creative Commons-lisens. Denne lisensen
tillater ikke-kommersiell utnyttelse av verket, hvis opphavsinnehaveren er
navngitt. For mer informasjon om lisensen, besøk <a class="ulink" href="http://creativecommons.org/licenses/by-nc/1.0/" target="_top">http://creativecommons.org/licenses/by-nc/1.0/</a>.
- </p></div></div><div><p class="pubdate">20
04-03-25</p></div><div><div class="abstract"><p class="title"><b>Om forfatteren</b></p><p>
+ </p></div></div><div><p class="pubdate">20
15-09-04</p></div><div><div class="abstract"><p class="title"><b>Om forfatteren</b></p><p>
Lawrence Lessig (<a class="ulink" href="http://www.lessig.org" target="_top">http://www.lessig.org</a>) er professor i
rettsvitenskap og John A. Wilson Distinguished Faculty Scholar ved Stanford
Law School. Han er stifteren av Stanford Center for Internet and Society og
</p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="alsobylessig"></a>
Andre bøker av Lawrence Lessig
</h1></div></div></div><div class="itemizedlist"><ul class="itemizedlist" style="list-style-type: disc; "><li class="listitem"><p>
-
-
-The USA is Lesterland: The Nature of Congressional Corruption
+The USA is lesterland: The nature of congressional corruption (2014)
</p></li><li class="listitem"><p>
-
-
-Republic, lost: How Money corrupts Congress - and a Plan to stop it
+Republic, lost: How money corrupts Congress - and a plan to stop it (2011)
</p></li><li class="listitem"><p>
-
-
-Remix: Making Art and Commerce thrive in the Hybrid Economy
+Remix: Making art and commerce thrive in the hybrid economy (2008)
</p></li><li class="listitem"><p>
-
-
-Code: Version 2.0
+Code: Version 2.0 (2006)
</p></li><li class="listitem"><p>
-
-
-The Future of Ideas: The Fate of the Commons in a Connected World
+The Future of Ideas: The Fate of the Commons in a Connected World (2001)
</p></li><li class="listitem"><p>
-
-
-Code: And Other Laws of Cyberspace
-</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp321488"></a></h1></div></div></div><p>
-Til Eric Eldred — hvis arbeid først trakk meg til denne saken, og for
+Code: And Other Laws of Cyberspace (1999)
+</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp53755728"></a></h1></div></div></div><p>
+Til Eric Eldred – hvis arbeid først trakk meg til denne saken, og for
hvem saken fortsetter.
-</p></div><div class="toc"><dl class="toc"><dt><span class="preface"><a href="#preface">Forord</a></span></dt><dt><span class="chapter"><a href="#c-introduction">Introduksjon</a></span></dt><dt><span class="part">I. <a href="#c-piracy"><span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">1. <a href="#creators">Kapittel en: Skaperne</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists">Kapittel to: <span class="quote">«<span class="quote">Kun etterapere</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Kapittel tre: Kataloger</a></span></dt><dt><span class="chapter">4. <a href="#pirates">Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></a></span></dt><dd><dl><dt><span class="section">4.1. <a href="#film">Film</a></span></dt><dt><span class="section">4.2. <a href="#recordedmusic">Innspilt musikk</a></span></dt><dt><span class="section">4.3. <a href="#radio">Radio</a></span></dt><dt><span class="section">4.4. <a href="#cabletv">Kabel-TV</a></span></dt></dl></dd><dt><span class="chapter">5. <a href="#piracy">Kapittel fem: <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="section">5.1. <a href="#piracy-i">Piratvirksomhet I</a></span></dt><dt><span class="section">5.2. <a href="#piracy-ii">Piratvirksomhet II</a></span></dt></dl></dd></dl></dd><dt><span class="part">II. <a href="#c-property"><span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">6. <a href="#founders">Kapittel seks: Grunnleggerne</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Kapittel syv: Innspillerne</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Kapittel åtte: Omformerne</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Kapittel ni: Samlere</a></span></dt><dt><span class="chapter">10. <a href="#property-i">Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="section">10.1. <a href="#hollywood">Hvorfor Hollywood har rett</a></span></dt><dt><span class="section">10.2. <a href="#beginnings">Opphav</a></span></dt><dt><span class="section">10.3. <a href="#lawduration">Loven: Varighet</a></span></dt><dt><span class="section">10.4. <a href="#lawscope">Loven: Omfang</a></span></dt><dt><span class="section">10.5. <a href="#lawreach">Lov og arkitektur: Rekkevidde</a></span></dt><dt><span class="section">10.6. <a href="#lawforce">Arkitektur og lov: Makt</a></span></dt><dt><span class="section">10.7. <a href="#marketconcentration">Marked: Konsentrering</a></span></dt><dt><span class="section">10.8. <a href="#together">Sammen</a></span></dt></dl></dd></dl></dd><dt><span class="part">III. <a href="#c-puzzles">Nøtter</a></span></dt><dd><dl><dt><span class="chapter">11. <a href="#chimera">Kapittel elleve: Fantasifoster
/ Chimera</a></span></dt><dt><span class="chapter">12. <a href="#harms">Kapittel tolv: Skader</a></span></dt><dd><dl><dt><span class="section">12.1. <a href="#constrain">Legger bånd på skaperne</a></span></dt><dt><span class="section">12.2. <a href="#innovators">Legger bånd på oppfinnere</a></span></dt><dt><span class="section">12.3. <a href="#corruptingcitizens">Skader borgere</a></span></dt></dl></dd></dl></dd><dt><span class="part">IV. <a href="#c-balances">Maktfordeling</a></span></dt><dd><dl><dt><span class="chapter">13. <a href="#eldred">Kapittel tretten: Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Kapittel fjorten: Eldred II</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-conclusion">Konklusjon</a></span></dt><dt><span class="chapter"><a href="#c-afterword">Etterord</a></span></dt><dd><dl><dt><span class="section">1. <a href="#usnow">Oss, nå</a></span></dt><dd><dl><dt><span class="section">1.1. <a href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></span></dt><dt><span class="section">1.2. <a href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></span></dt></dl></dd><dt><span class="section">2. <a href="#themsoon">Dem, snart</a></span></dt><dd><dl><dt><span class="section">2.1. <a href="#formalities">1. Flere formaliteter</a></span></dt><dd><dl><dt><span class="section">2.1.1. <a href="#registration">Registrering og fornying</a></span></dt><dt><span class="section">2.1.2. <a href="#marking">Merking</a></span></dt></dl></dd><dt><span class="section">2.2. <a href="#shortterms">2. Kortere vernetid</a></span></dt><dt><span class="section">2.3. <a href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></span></dt><dt><span class="section">2.4. <a href="#liberatemusic">4. Frigjør musikken — igjen</a></span></dt><dt><span class="section">2.5. <a href="#firelawyers">5. Spark en masse advokater</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#c-notes">Notater</a></span></dt><dd><dl><dt><span class="index"><a href="#idp11292432">Register</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-acknowledgments">Takk til</a></span></dt><dt><span class="chapter"><a href="#c-about-this-edition">Om denne utgaven</a></span></dt><dt><span class="index"><a href="#idp11311840">Register</a></span></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="preface"></a>Forord</h1></div></div></div><a class="indexterm" name="idxpoguedavid"></a><p>
+</p></div><div class="toc"><dl class="toc"><dt><span class="preface"><a href="#preface">Forord</a></span></dt><dt><span class="chapter"><a href="#c-introduction">Introduksjon</a></span></dt><dt><span class="part">I. <a href="#c-piracy"><span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">1. <a href="#creators">Kapittel en: Skaperne</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists">Kapittel to: <span class="quote">«<span class="quote">Kun etterapere</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Kapittel tre: Kataloger</a></span></dt><dt><span class="chapter">4. <a href="#pirates">Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></a></span></dt><dd><dl><dt><span class="section">4.1. <a href="#film">Film</a></span></dt><dt><span class="section">4.2. <a href="#recordedmusic">Innspilt musikk</a></span></dt><dt><span class="section">4.3. <a href="#radio">Radio</a></span></dt><dt><span class="section">4.4. <a href="#cabletv">Kabel-TV</a></span></dt></dl></dd><dt><span class="chapter">5. <a href="#piracy">Kapittel fem: <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="section">5.1. <a href="#piracy-i">Piratvirksomhet I</a></span></dt><dt><span class="section">5.2. <a href="#piracy-ii">Piratvirksomhet II</a></span></dt></dl></dd></dl></dd><dt><span class="part">II. <a href="#c-property"><span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">6. <a href="#founders">Kapittel seks: Grunnleggerne</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Kapittel syv: Innspillerne</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Kapittel åtte: Omformerne</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Kapittel ni: Samlere</a></span></dt><dt><span class="chapter">10. <a href="#property-i">Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="section">10.1. <a href="#hollywood">Hvorfor Hollywood har rett</a></span></dt><dt><span class="section">10.2. <a href="#beginnings">Opphav</a></span></dt><dt><span class="section">10.3. <a href="#lawduration">Loven: Varighet</a></span></dt><dt><span class="section">10.4. <a href="#lawscope">Loven: Omfang</a></span></dt><dt><span class="section">10.5. <a href="#lawreach">Lov og arkitektur: Rekkevidde</a></span></dt><dt><span class="section">10.6. <a href="#lawforce">Arkitektur og lov: Makt</a></span></dt><dt><span class="section">10.7. <a href="#marketconcentration">Marked: Konsentrering</a></span></dt><dt><span class="section">10.8. <a href="#together">Sammen</a></span></dt></dl></dd></dl></dd><dt><span class="part">III. <a href="#c-puzzles">Nøtter</a></span></dt><dd><dl><dt><span class="chapter">11. <a href="#chimera">Kapittel elleve: Fantasifoster
/Chimera</a></span></dt><dt><span class="chapter">12. <a href="#harms">Kapittel tolv: Skader</a></span></dt><dd><dl><dt><span class="section">12.1. <a href="#constrain">Legger bånd på skaperne</a></span></dt><dt><span class="section">12.2. <a href="#innovators">Legger bånd på oppfinnere</a></span></dt><dt><span class="section">12.3. <a href="#corruptingcitizens">Skader borgere</a></span></dt></dl></dd></dl></dd><dt><span class="part">IV. <a href="#c-balances">Maktfordeling</a></span></dt><dd><dl><dt><span class="chapter">13. <a href="#eldred">Kapittel tretten: Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Kapittel fjorten: Eldred II</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-conclusion">Konklusjon</a></span></dt><dt><span class="chapter"><a href="#c-afterword">Etterord</a></span></dt><dd><dl><dt><span class="section">1. <a href="#usnow">Oss, nå</a></span></dt><dd><dl><dt><span class="section">1.1. <a href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></span></dt><dt><span class="section">1.2. <a href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></span></dt></dl></dd><dt><span class="section">2. <a href="#themsoon">Dem, snart</a></span></dt><dd><dl><dt><span class="section">2.1. <a href="#formalities">1. Flere formaliteter</a></span></dt><dd><dl><dt><span class="section">2.1.1. <a href="#registration">Registrering og fornying</a></span></dt><dt><span class="section">2.1.2. <a href="#marking">Merking</a></span></dt></dl></dd><dt><span class="section">2.2. <a href="#shortterms">2. Kortere vernetid</a></span></dt><dt><span class="section">2.3. <a href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></span></dt><dt><span class="section">2.4. <a href="#liberatemusic">4. Frigjør musikken – igjen</a></span></dt><dt><span class="section">2.5. <a href="#firelawyers">5. Spark en masse advokater</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#c-notes">Notater</a></span></dt><dd><dl><dt><span class="index"><a href="#idp58457536">Register</a></span></dt></dl></dd><dt><span class="chapter"><a href="#c-acknowledgments">Takk til</a></span></dt><dt><span class="chapter"><a href="#c-about-this-edition">Om denne utgaven</a></span></dt><dt><span class="index"><a href="#idp58479792">Register</a></span></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="preface"></a>Forord</h1></div></div></div><a class="indexterm" name="idxpoguedavid"></a><a class="indexterm" name="idp51425440"></a><p>
<span class="bold"><strong>I slutten av</strong></span> sin gjennomgang av min første
bok <em class="citetitle">Code: And Other Laws of Cyberspace</em>, skrev David
Pogue, en glimrende skribent og forfatter av utallige tekniske og
minoritet av verdens befolkning er online). Og hvis du ikke liker systemet
med Internett, kan du alltid skru av modemet.<a href="#ftn.preface01" class="footnote" name="preface01"><sup class="footnote">[1]</sup></a>
</p></blockquote></div><p>
-Pogue var skeptisk til bokens hovedpoeng — at programvare, eller
-<span class="quote">«<span class="quote">kode,</span>»</span> fungerte som en slags lov — og foreslo i sin
+Pogue var skeptisk til bokens hovedpoeng – at programvare, eller
+<span class="quote">«<span class="quote">kode,</span>»</span> fungerte som en slags lov – og foreslo i sin
anmeldelse den lykkelige tanken at hvis tilværelsen i cyberspace ble slett,
kan vi alltid, liksom på magisk vis, slå over en bryter og være hjemme
igjen. Skru av modemet, koble fra datamaskinen, og eventuelle problemer som
<span class="quote">«<span class="quote">påvirke</span>»</span> oss mer.
</p><p>
-Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan
+Pogue kan ha hatt rett i 1999 – jeg er skeptisk, men det kan
hende. Men selv om han hadde rett da, er ikke argumentet lenger
gyldig. <em class="citetitle">Fri kultur</em> er om problemene Internett
forårsaker selv etter at modemet er slått av. Den er et argument om hvordan
slagene som nå utkjempes om livet online fundamentalt påvirker <span class="quote">«<span class="quote">folk
som ikke er pålogget.</span>»</span> Det finnes ingen bryter som kan isolere oss
fra Internetts påvirkning.
-</p><a class="indexterm" name="idp
173616"></a><p>
+</p><a class="indexterm" name="idp
53123280"></a><p>
Men i motsetning til boken <em class="citetitle">Code</em>, er tema her ikke så
mye Internett i seg selv. I stedet er boken om konsekvensen av Internett for
en del av vår tradisjon som er mye mer grunnleggende, og uansett hvor hardt
</p><p>
Den tradisjonen er hvordan vår kultur blir skapt. Som jeg vil forklare i
sidene som følger, kommer vi fra en tradisjon av <span class="quote">«<span class="quote">fri kultur</span>»</span>
-— ikke <span class="quote">«<span class="quote">fri</span>»</span> som i <span class="quote">«<span class="quote">fri bar</span>»</span> (for å låne et
-uttrykk fra stifteren av fri programvarebevegelsen<a href="#ftn.idp190304" class="footnote" name="idp190304"><sup class="footnote">[2]</sup></a>), men <span class="quote">«<span class="quote">fri</span>»</span> som i
+– ikke <span class="quote">«<span class="quote">fri</span>»</span> som i <span class="quote">«<span class="quote">fri bar</span>»</span> (for å låne et
+uttrykk fra stifteren av fri programvarebevegelsen<a href="#ftn.idp50552608" class="footnote" name="idp50552608"><sup class="footnote">[2]</sup></a>), men <span class="quote">«<span class="quote">fri</span>»</span> som i
<span class="quote">«<span class="quote">talefrihet,</span>»</span> <span class="quote">«<span class="quote">fritt marked,</span>»</span>
<span class="quote">«<span class="quote">frihandel,</span>»</span> <span class="quote">«<span class="quote">fri konkurranse,</span>»</span> <span class="quote">«<span class="quote">fri
vilje</span>»</span> og <span class="quote">«<span class="quote">frie valg.</span>»</span> En fri kultur støtter og
skapere og oppfinnere forblir <span class="emphasis"><em>så fri som mulig</em></span> fra
kontroll fra fortiden. En fri kultur er ikke en kultur uten eierskap, like
lite som et fritt marked er et marked der alt er gratis. Det motsatte av
-fri kultur er <span class="quote">«<span class="quote">tillatelseskultur</span>»</span> — en kultur der skapere
+fri kultur er <span class="quote">«<span class="quote">tillatelseskultur</span>»</span> – en kultur der skapere
kun kan skape med tillatelse fra de mektige, eller fra skaperne fra
fortiden.
</p><p>
høyresiden, eller er uinteressert i det skillet, så bør historien jeg
forteller her forstyrre deg. For endringene jeg beskriver påvirker verdier
som begge sider av vår politiske kultur anser som grunnleggende.
-</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="idp
6910064"></a><a class="indexterm" name="idp6910816"></a><a class="indexterm" name="idp6911568"></a><p>
+</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="idp
52962032"></a><a class="indexterm" name="idp50936624"></a><a class="indexterm" name="idp51925408"></a><p>
Vi så et glimt av dette tverrpolitiske raseriet på forsommeren i 2003. Da
Federal Communications Commission (FCC) vurderte endringer i reglene for
medieeierskap som ville slakke på begrensningene rundt mediekonsentrering,
var på spill: konsentrering av makt. Så spurte han:
</p><div class="blockquote"><blockquote class="blockquote"><p>
Høres dette ikke-konservativt ut? Ikke for meg. Denne konsentreringen av
-makt — politisk, selskapsmessig, pressemessig, kulturelt — bør
+makt – politisk, selskapsmessig, pressemessig, kulturelt – bør
være bannlyst av de konservative. Spredningen av makt gjennom lokal
kontroll, og derigjennom oppmuntre til individuell deltagelse, er essensen i
-føderalismen, og det største uttrykk for demokrati.<a href="#ftn.idp6914800" class="footnote" name="idp6914800"><sup class="footnote">[3]</sup></a>
+føderalismen, og det største uttrykk for demokrati.<a href="#ftn.idp53247008" class="footnote" name="idp53247008"><sup class="footnote">[3]</sup></a>
</p></blockquote></div><p>
Denne idéen er et element i argumentet til <em class="citetitle">Fri
kultur</em>, selv om min fokus ikke bare er på konsentreringen av
er mindre synlig, på konsentreringen av makt som er resultat av en radikal
endring i det effektive virkeområdet til rettsvesenet. Rettsvesenet er i
endring, og endringen forandrer hvordan vår kultur blir skapt. Den endringen
-bør bekymre deg — uansett om du bryr deg om Internett eller ikke, og
+bør bekymre deg – uansett om du bryr deg om Internett eller ikke, og
uansett om du er til venstre for Safires eller til høyre.
-</p><a class="indexterm" name="idp
6918544"></a><p>
+</p><a class="indexterm" name="idp
48539584"></a><p>
<span class="strong"><strong>Inspirasjonen</strong></span> til tittelen og mye av
argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free
Software Foundation. Faktisk, da jeg leste Stallmans egne tekster på nytt,
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.preface01" class="footnote"><p><a href="#preface01" class="para"><sup class="para">[1] </sup></a>
David Pogue, <span class="quote">«<span class="quote">Don't Just Chat, Do Something,</span>»</span> <em class="citetitle">New
York Times</em>, 30. januar 2000.
-</p></div><div id="ftn.idp190304" class="footnote"><p><a href="#idp190304" class="para"><sup class="para">[2] </sup></a>
+</p></div><div id="ftn.idp50552608" class="footnote"><p><a href="#idp50552608" class="para"><sup class="para">[2] </sup></a>
Richard M. Stallman, <em class="citetitle">Free Software, Free Societies</em> 57
(Joshua Gay, red. 2002).
-</p></div><div id="ftn.idp6914800" class="footnote"><p><a href="#idp6914800" class="para"><sup class="para">[3] </sup></a> William Safire, <span class="quote">«<span class="quote">The Great Media Gulp,</span>»</span> <em class="citetitle">New York
-Times</em>, 22. mai 2003. <a class="indexterm" name="idp6916656"></a>
+</p></div><div id="ftn.idp53247008" class="footnote"><p><a href="#idp53247008" class="para"><sup class="para">[3] </sup></a> William Safire, <span class="quote">«<span class="quote">The Great Media Gulp,</span>»</span> <em class="citetitle">New York
+Times</em>, 22. mai 2003. <a class="indexterm" name="idp48537600"></a>
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-introduction"></a>Introduksjon</h1></div></div></div><a class="indexterm" name="idxwrightbrothers"></a><p>
<span class="strong"><strong>Den 17. desember</strong></span> 1903, på en vindfylt
strand i Nord-Carolina i nesten hundre sekunder, demonstrerte
Da Wright-brødrene fant opp flymaskinen, hevdet rettsvesenet i USA at en
grunneier ble antatt å eie ikke bare overflaten på området sitt, men også
alt landet under bakken, helt ned til senterpunktet i jorda, og alt volumet
-over bakken, <span class="quote">«<span class="quote">i ubestemt grad, oppover.</span>»</span><a href="#ftn.idp6946208" class="footnote" name="idp6946208"><sup class="footnote">[4]</sup></a> I mange år undret lærde over hvordan en best skulle
+over bakken, <span class="quote">«<span class="quote">i ubestemt grad, oppover.</span>»</span><a href="#ftn.idp48409744" class="footnote" name="idp48409744"><sup class="footnote">[4]</sup></a> I mange år undret lærde over hvordan en best skulle
tolke idéen om at eiendomsretten gikk helt til himmelen. Betød dette at du
eide stjernene? Kunne en dømme gjess for at de regelmessig og med vilje tok
seg inn på annen manns eiendom?
-</p><a class="indexterm" name="idp
6947728"></a><p>
+</p><a class="indexterm" name="idp
48411344"></a><p>
Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i
-USA — og som er helt grunnleggende for vår tradisjon, og akseptert av
-de viktigste juridiske tenkerne i vår fortid — en betydning. Hvis min
+USA – og som er helt grunnleggende for vår tradisjon, og akseptert av
+de viktigste juridiske tenkerne i vår fortid – en betydning. Hvis min
eiendom rekker til himmelen, hva skjer når United flyr over mitt område?
Har jeg rett til å nekte dem å bruke min eiendom? Har jeg mulighet til å
inngå en eksklusiv avtale med Delta Airlines? Kan vi gjennomføre en auksjon
for å finne ut hvor mye disse rettighetene er verdt?
-</p><a class="indexterm" name="idp
6948960"></a><a class="indexterm" name="idp6950928"></a><p>
+</p><a class="indexterm" name="idp
48448688"></a><a class="indexterm" name="idp48449472"></a><p>
I 1945 ble disse spørsmålene en føderal sak. Da bøndene Thomas Lee og Tinie
Causby i Nord-Carolina begynte å miste kyllinger på grunn av lavtflygende
militære fly (vettskremte kyllinger ble hevdet å fly i låveveggene og dø),
strakk seg <span class="quote">«<span class="quote">i ubestemt grad, oppover,</span>»</span> så hadde regjeringen
trengt seg inn på deres eiendom, og Causbyene ønsket å sette en stopper for
dette.
-</p><a class="indexterm" name="idp
6953344"></a><a class="indexterm" name="idp6954096"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
+</p><a class="indexterm" name="idp
48452000"></a><a class="indexterm" name="idp48452816"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
Høyesterett gikk med på å ta opp Causbys sak. Kongressen hadde vedtatt at
-luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig
-rakk til himmelen, da kunne muligens kongressens vedtak ha vært i strid med
-grunnlovens forbud mot å <span class="quote">«<span class="quote">ta</span>»</span> eiendom uten kompensasjon.
-Retten erkjente at <span class="quote">«<span class="quote">det er gammel doktrine etter sedvanerett at en
+luftfartsveiene var tilgjengelige for alle, men hvis ens eiendom virkelig
+rakk til himmelen, da kunne muligens Kongressens vedtak ha vært i strid med
+Grunnlovens forbud mot å <span class="quote">«<span class="quote">ta</span>»</span> eiendom uten kompensasjon.
+Retten erkjente at <span class="quote">«<span class="quote">det er gammel doktrine etter rettspraksis at en
eiendom rakk til utkanten av universet.</span>»</span> Men dommer Douglas hadde
-ikke tålmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble
-hundrevis av år med eiendomslovgivningen strøket. Som han skrev på vegne av
+ikke tålmodighet for forhistoriske doktriner. I et enkelt avsnitt ble
+hundrevis av år med eiendomslovgivning strøket. Som han skrev på vegne av
retten:
</p><div class="blockquote"><blockquote class="blockquote"><p>
[Denne] doktrinen har ingen plass i den moderne verden. Luften er en
strid med sunn fornuft. Å anerkjenne slike private krav til luftrommet
ville blokkere disse motorveiene, seriøst forstyrre muligheten til kontroll
og utvikling av dem i fellesskapets interesse, og overføre til privat
-eierskap det som kun fellesskapet har et rimelig krav til.<a href="#ftn.idp6960992" class="footnote" name="idp6960992"><sup class="footnote">[5]</sup></a>
+eierskap det som kun fellesskapet har et rimelig krav til.<a href="#ftn.idp48460240" class="footnote" name="idp48460240"><sup class="footnote">[5]</sup></a>
</p></blockquote></div><p>
<span class="quote">«<span class="quote">Idéen er i strid med sunn fornuft.</span>»</span>
-</p><a class="indexterm" name="idp
6966656"></a><p>
+</p><a class="indexterm" name="idp
53960032"></a><p>
Det er slik rettsvesenet vanligvis fungerer. Ikke ofte like brått eller
utålmodig, men til slutt er dette slik loven fungerer. Det var ikke stilen
til Douglas å utbrodere. Andre dommere ville ha skrevet mange flere sider
før de nådde sin konklusjon, men for Douglas holdt det med en enkel linje:
<span class="quote">«<span class="quote">Idéen er i strid med sunn fornuft.</span>»</span> Men uansett om det tar
-flere sider eller kun noen få ord, så er det en genial egenskap med et
-sedvanerettssystem, slik som vårt er, at rettsvesenet tilpasser seg til de
+flere sider, eller kun noen få ord, så er det en genial egenskap med et
+rettspraksissystem, slik som vårt er, at rettsvesenet tilpasser seg til de
aktuelle teknologiene. Og mens den tilpasser seg, så endres den. Idéer som
var solide som fjell i en tidsalder knuses i en annen.
-</p><a class="indexterm" name="idp
6970368"></a><a class="indexterm" name="idp6971152"></a><a class="indexterm" name="idp6971968"></a><p>
+</p><a class="indexterm" name="idp
53963296"></a><a class="indexterm" name="idp53964048"></a><a class="indexterm" name="idp53964800"></a><p>
Eller, det er hvordan ting skjer når det ikke er noen mektige på motsatt
side av endringen. Causbyene var bare bønder. Og selv om det uten tvil var
mange som dem som var lei av den økende trafikken i luften (og en håper ikke
De kunne stå på sine gårder, med døde kyllinger i hendene, og hytte
knyttneven mot disse nye teknologiene så mye de ville. De kunne ringe sine
representanter, eller til og med saksøke. Men når alt kom til alt, ville
-kraften i det som virket <span class="quote">«<span class="quote">åpenbart</span>»</span> for alle andre —
-makten til <span class="quote">«<span class="quote">sunn fornuft</span>»</span> — vinne frem. Deres
+kraften i det som virket <span class="quote">«<span class="quote">åpenbart</span>»</span> for alle andre –
+makten til <span class="quote">«<span class="quote">sunn fornuft</span>»</span> – vinne frem. Deres
<span class="quote">«<span class="quote">personlige interesser</span>»</span> ville ikke få lov til å nedkjempe en
åpenbar fordel for fellesskapet.
-</p><a class="indexterm" name="idp
6976448"></a><a class="indexterm" name="idp6977872"></a><a class="indexterm" name="idp6978848"></a><a class="indexterm" name="idp6979824"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp6982032"></a><a class="indexterm" name="idp6982784"></a><a class="indexterm" name="idp6983536"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
+</p><a class="indexterm" name="idp
53968944"></a><a class="indexterm" name="idp53969920"></a><a class="indexterm" name="idp53970896"></a><a class="indexterm" name="idp53971872"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp53974080"></a><a class="indexterm" name="idp53974832"></a><a class="indexterm" name="idp53975584"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
<span class="strong"><strong>Edwin Howard Armstrong</strong></span> er en av USAs
glemte oppfinnergenier. Han dukket opp på oppfinnerscenen etter titaner som
</p><p>
Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for
-hans mest signifikante oppfinnelse — FM-radio. Inntil da hadde
+hans mest signifikante oppfinnelse – FM-radio. Inntil da hadde
forbrukerradioer vært amplitude-modulert (AM) radio. Tidens teoretikere
hadde sagt at frekvens-modulert (FM) radio ikke kunne fungere. De hadde
rett når det gjelder et smalt bånd av spektrumet. Men Armstrong oppdaget at
Sousa-marsjer ble spilt av fra plater, og en pianosolo og et gitarnummer ble
utført. … Musikken ble presentert med en livaktighet som sjeldent,
om noen gang før, hadde vært hørt fra en
-radio-<span class="quote">«<span class="quote">musikk-boks.</span>»</span><a href="#ftn.idp6992032" class="footnote" name="idp6992032"><sup class="footnote">[6]</sup></a>
+radio-<span class="quote">«<span class="quote">musikk-boks.</span>»</span><a href="#ftn.idp53984080" class="footnote" name="idp53984080"><sup class="footnote">[6]</sup></a>
</p></blockquote></div><a class="indexterm" name="idxrca"></a><a class="indexterm" name="idxmediaownershipconcentrationin"></a><p>
Som vår egen sunne fornuft forteller oss, hadde Armstrong oppdaget en mye
AM-radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men
alle stasjonene i de store byene var eid av en liten håndfull selskaper.
-</p><a class="indexterm" name="idp
6998848"></a><p>
+</p><a class="indexterm" name="idp
53990896"></a><p>
Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter å få
Armstrong til å oppdage en måte å fjerne støyen fra AM-radio. Så Sarnoff var
ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet
oppfinnelse, var ikke Sarnoff fornøyd.
</p><div class="blockquote"><blockquote class="blockquote"><p>
Jeg trodde Armstrong ville finne opp et slags filter for å fjerne skurring
-fra AM-radioen vår. Jeg trodde ikke han skulle starte en revolusjon —
-starte en hel forbannet ny industri i konkurranse med RCA.<a href="#ftn.idp6988144" class="footnote" name="idp6988144"><sup class="footnote">[7]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp
7005632"></a><p>
+fra AM-radioen vår. Jeg trodde ikke han skulle starte en revolusjon –
+starte en hel forbannet ny industri i konkurranse med RCA.<a href="#ftn.idp53980192" class="footnote" name="idp53980192"><sup class="footnote">[7]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp
53997680"></a><p>
Armstrongs oppfinnelse truet RCAs AM-herredømme, så selskapet lanserte en
kampanje for å kvele FM-radio. Mens FM kan ha vært en overlegen teknologi,
var Sarnoff en overlegen taktiker. En forfatter beskrev det slik:
hvis det fikk utvikle seg uten begrensninger … en komplett endring i
maktforholdene rundt radio … og muligens fjerningen av det nøye
begrensede AM-systemet som var grunnlaget for fremveksten av RCAs
-makt.<a href="#ftn.idp7009552" class="footnote" name="idp7009552"><sup class="footnote">[8]</sup></a>
+makt.<a href="#ftn.idp54001600" class="footnote" name="idp54001600"><sup class="footnote">[8]</sup></a>
</p></blockquote></div><a class="indexterm" name="idxfcconfmradio"></a><p>
RCA holdt først teknologien innomhus, og insisterte på at det var nødvendig
med ytterligere tester. Da Armstrong, etter to år med testing, ble
utålmodig, begynte RCA å bruke sin makt hos myndighetene til holde tilbake
den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere
lederen av FCC, og ga ham oppgaven med å sikre at FCC tilordnet
-radiospekteret på en måte som ville kastrere FM — hovedsakelig ved å
+radiospekteret på en måte som ville kastrere FM – hovedsakelig ved å
flytte FM-radio til et annet band i spekteret. I første omgang lyktes ikke
disse forsøkene. Men mens Armstrong og nasjonen var distrahert av andre
verdenskrig, begynte RCAs arbeid å bære frukter. Like etter at krigen var
</p><div class="blockquote"><blockquote class="blockquote"><p>
Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en
serie med avgjørelser manipulert gjennom FCC av de store radiointeressene,
-var nesten utrolige i deres kraft og underfundighet.<a href="#ftn.idp7015376" class="footnote" name="idp7015376"><sup class="footnote">[9]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7016144"></a><a class="indexterm" name="idp7017120"></a><p>
+var nesten utrolige i deres kraft og underfundighet.<a href="#ftn.idp54007424" class="footnote" name="idp54007424"><sup class="footnote">[9]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
54008192"></a><a class="indexterm" name="idp54009168"></a><p>
For å gjøre plass i spektrumet for RCAs nyeste satsingsområde, televisjon,
skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet.
Sendestyrken til FM-radioene ble også redusert, og gjorde at FM ikke lenger
av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nødt
til å kjøpe kablede linjer fra AT&T.) Spredningen av FM-radio var
dermed kvalt, i hvert fall midlertidig.
-</p><a class="indexterm" name="idp
7018880"></a><a class="indexterm" name="idp7019856"></a><p>
+</p><a class="indexterm" name="idp
54010928"></a><a class="indexterm" name="idp54011904"></a><p>
Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter.
Etter å ha bakt FM-teknologi inn i den nye standarden for TV, erklærte RCS
-patentene ugyldige — uten grunn, og nesten femten år etter at de ble
+patentene ugyldige – uten grunn, og nesten femten år etter at de ble
utstedet. De nektet dermed å betale ham for bruken av patentene. I seks år
kjempet Armstrong en dyr søksmålskrig for å forsvare patentene sine. Til
slutt, samtidig som patentene utløp, tilbød RCA et forlik så lavt at det
ikke engang dekket Armstrongs advokatregning. Beseiret, knust og nå blakk,
skrev Armstrong i 1954 en kort beskjed til sin kone, før han gikk ut av et
vindu i trettende etasje og falt i døden.
-</p><a class="indexterm" name="idp
7021152"></a><a class="indexterm" name="idp7023280"></a><a class="indexterm" name="idp7024256"></a><a class="indexterm" name="idp7025008"></a><p>
+</p><a class="indexterm" name="idp
54013136"></a><a class="indexterm" name="idp54015264"></a><a class="indexterm" name="idp54016240"></a><a class="indexterm" name="idp54016992"></a><p>
Dette er slik rettsvesenet virker noen ganger. Ikke ofte like tragisk, og
sjelden med heltemodig drama, men noen ganger er det slik det virker. Fra
en annen, er videreført gjennom denne subtile korrupsjonen av vår politiske
prosess. RCA hadde hva Causbyene ikke hadde: Makten til å undertrykke
effekten av en teknologisk endring.
-</p><a class="indexterm" name="idp
7027536"></a><a class="indexterm" name="idp7028512"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
+</p><a class="indexterm" name="idp
54019520"></a><a class="indexterm" name="idp54020496"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
<span class="strong"><strong>Det er ingen</strong></span> enkeltoppfinner av
Internett. Ei heller er det en god dato som kan brukes til å markere når
det ble født. Likevel har Internett i løpet av svært kort tid blitt en del
av vanlige amerikaneres liv. Ifølge the Pew Internet and American
Life-prosjektet, har 58 prosent av amerikanerne hatt tilgang til Internett i
-2002, opp fra 49 prosent to år tidligere.<a href="#ftn.idp7032592" class="footnote" name="idp7032592"><sup class="footnote">[10]</sup></a> Det tallet kan uten problemer passere to tredjedeler av nasjonen
+2002, opp fra 49 prosent to år tidligere.<a href="#ftn.idp54024576" class="footnote" name="idp54024576"><sup class="footnote">[10]</sup></a> Det tallet kan uten problemer passere to tredjedeler av nasjonen
ved utgangen av 2004.
</p><p>
Etter hvert som Internett er blitt en integrert del av det vanlige liv, har
-ting blitt endret. Noen av disse endringene er tekniske — Internett
+ting blitt endret. Noen av disse endringene er tekniske – Internett
har gjort kommunikasjon raskere, det har redusert kostnaden med å samle inn
data, og så videre. Disse tekniske endringene er ikke fokus for denne
boken. De er viktige. De er ikke godt forstått. Men de er den type ting
fleste, hvis de la merke til denne endringen, ville avvise den. Men de
fleste legger ikke engang merke til denne endringen som Internett har
introdusert.
-</p><a class="indexterm" name="idp
7037088"></a><a class="indexterm" name="idp7038064"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp7040304"></a><p>
+</p><a class="indexterm" name="idp
54029072"></a><a class="indexterm" name="idp54030048"></a><a class="indexterm" name="idp54030800"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp54033296"></a><p>
Vi kan få en følelse av denne endringen ved å skille mellom kommersiell og
ikke-kommersiell kultur, ved å knytte rettsvesenets reguleringer til hver av
inn. Men rettsvesenet var aldri direkte interessert i skapingen eller
spredningen av denne form for kultur, og lot denne kulturen være
<span class="quote">«<span class="quote">fri.</span>»</span> Den alminnelige måten som alminnelige individer delte
-og formet sin kultur — historiefortelling, formidling av scener fra
+og formet sin kultur – historiefortelling, formidling av scener fra
teater eller TV, delta i fan-klubber, deling av musikk, laging av kassetter
-— ble ikke styrt av rettsvesenet.
+– ble ikke styrt av rettsvesenet.
</p><a class="indexterm" name="idxcopyrightinfringementlawsuitscommercialcreativityasprimarypurposeof"></a><p>
Fokuset på loven var kommersiell kreativitet. I starten forsiktig, etter
hvert betraktelig, beskytter loven incentivet til skaperne ved å tildele dem
en eksklusiv rett til deres kreative verk, slik at de kan selge disse
-eksklusive rettighetene på en kommersiell markedsplass.<a href="#ftn.idp7048320" class="footnote" name="idp7048320"><sup class="footnote">[11]</sup></a> Dette er også, naturligvis, en viktig del av
+eksklusive rettighetene på en kommersiell markedsplass.<a href="#ftn.idp54041312" class="footnote" name="idp54041312"><sup class="footnote">[11]</sup></a> Dette er også, naturligvis, en viktig del av
kreativitet og kultur, og det har blitt en viktigere og viktigere del i
USA. Men det var på ingen måte dominerende i vår tradisjon. Det var i
stedet bare en del, en kontrollert del, balansert mot det frie.
-</p><a class="indexterm" name="idp
7051424"></a><a class="indexterm" name="idp7052432"></a><p>
+</p><a class="indexterm" name="idp
54044416"></a><a class="indexterm" name="idp54045424"></a><p>
Denne grove inndelingen mellom den frie og den kontrollerte har nå blitt
-fjernet.<a href="#ftn.idp7053872" class="footnote" name="idp7053872"><sup class="footnote">[12]</sup></a> Internett har satt scenen for
+fjernet.<a href="#ftn.idp54046864" class="footnote" name="idp54046864"><sup class="footnote">[12]</sup></a> Internett har satt scenen for
denne fjerningen, og presset frem av store medieaktører har loven nå
påvirket den. For første gang i vår tradisjon, har de vanlige måtene som
individer skaper og deler kultur havnet innen rekkevidde for reguleringene
til loven, som har blitt utvidet til å dra inn i sitt dekningsområde den
enorme mengden kultur og kreativitet som den aldri tidligere har nådd over.
-Teknologien som tok vare på den historiske balansen — mellom bruken av
+Teknologien som tok vare på den historiske balansen – mellom bruken av
den delen av vår kultur som var fri, og bruken av vår kultur som krevde
-tillatelse — er blitt borte. Konsekvensen er at vi er mindre og
+tillatelse – er blitt borte. Konsekvensen er at vi er mindre og
mindre en fri kultur, og mer og mer en tillatelseskultur.
-</p><a class="indexterm" name="idp
7055632"></a><a class="indexterm" name="idp7057504"></a><a class="indexterm" name="idp7058256"></a><p>
+</p><a class="indexterm" name="idp
54048624"></a><a class="indexterm" name="idp54050496"></a><a class="indexterm" name="idp54051248"></a><p>
Denne endringen blir rettferdiggjort som nødvendig for å beskytte
kommersiell kreativitet. Og ganske riktig, proteksjonisme er nøyaktig det
som motiverer endringen. Men proteksjonismen som rettferdiggjør endringene
skapt og delt, har samlet seg for å få lovgiverne til å bruke loven til å
beskytte selskapene. Dette er historien om RCA og Armstrong, og det er
drømmen til Causbyene.
-</p><a class="indexterm" name="idp
7061024"></a><p>
+</p><a class="indexterm" name="idp
54054016"></a><p>
For Internett har sluppet løs en ekstraordinær mulighet for mange til å
delta i prosessen med å bygge og kultivere en kultur som rekker lagt utenfor
lokale grenselinjer. Den makten har endret markedsplassen for å lage og
Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av
kreativitet. Og avhengig av noen få viktige faktorer, så kunne disse
skaperne tjene mer i snitt fra dette systemet enn skaperne gjør i dag
-— så lenge RCA-ene av i dag ikke bruker loven til å beskytte dem selv
+– så lenge RCA-ene av i dag ikke bruker loven til å beskytte dem selv
mot denne konkurransen.
</p><p>
Likevel, som jeg argumenterer for i sidene som følger, er dette nøyaktig det
loven til å beskytte dem mot denne nye, mer effektive, mer levende
teknologien for å bygge kultur. De lykkes i deres plan om å gjøre om
Internett før Internett gjør om på dem.
-</p><a class="indexterm" name="idp
7063360"></a><a class="indexterm" name="idp7066960"></a><p>
+</p><a class="indexterm" name="idp
54056352"></a><a class="indexterm" name="idp54059952"></a><p>
Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og
Internett er fjernt for de fleste. For de få som følger dem, virker de i
-hovedsak å handle om et enklere sett med spørsmål — hvorvidt
+hovedsak å handle om et enklere sett med spørsmål – hvorvidt
<span class="quote">«<span class="quote">piratvirksomhet</span>»</span> vil bli akseptert, og hvorvidt
<span class="quote">«<span class="quote">eiendomsretten</span>»</span> vil bli beskyttet. <span class="quote">«<span class="quote">Krigen</span>»</span> som
-har blitt erklært mot teknologiene til Internett — det presidenten for
+har blitt erklært mot teknologiene til Internett – det presidenten for
Motion Picture Association of America (MPAA), Jack Valenti, kaller sin
-<span class="quote">«<span class="quote">egen terroristkrig</span>»</span><a href="#ftn.idp7070208" class="footnote" name="idp7070208"><sup class="footnote">[13]</sup></a>—har blitt rammet inn som en kamp om å følge loven og
-respektere eiendomsretten. For å vite hvilken side vi bør ta i denne krigen
-tenker de fleste at vi kun trenger å bestemme om hvorvidt vi er for
-eiendomsrett eller mot den.
+<span class="quote">«<span class="quote">egen terroristkrig</span>»</span><a href="#ftn.idp54063200" class="footnote" name="idp54063200"><sup class="footnote">[13]</sup></a>
+– har blitt rammet inn som en kamp om å følge loven og respektere
+eiendomsretten. For å vite hvilken side vi bør ta i denne krigen tenker de
+fleste at vi kun trenger å bestemme om hvorvidt vi er for eiendomsrett eller
+mot den.
</p><p>
Hvis dette virkelig var alternativene, så ville jeg være enig med Jack
Valenti og innholdsindustrien. Jeg tror også på eiendomsretten, og spesielt
-på viktigheten av hva Mr. Valenti så pent kaller <span class="quote">«<span class="quote">kreativ
+på viktigheten av hva Herr Valenti så pent kaller <span class="quote">«<span class="quote">kreativ
eiendomsrett.</span>»</span> Jeg tror at <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> er galt,
og at loven, riktig innstilt, bør straffe <span class="quote">«<span class="quote">piratvirksomhet,</span>»</span>
både på og utenfor Internett.
legge merke til denne endringen, så vil krigen for å befri verden fra
Internetts <span class="quote">«<span class="quote">pirater</span>»</span> også fjerne verdier fra vår kultur som har
vært integrert i vår tradisjon helt fra starten.
-</p><a class="indexterm" name="idp
7076048"></a><a class="indexterm" name="idp7077056"></a><a class="indexterm" name="idp7078064"></a><a class="indexterm" name="idp7078816"></a><p>
+</p><a class="indexterm" name="idp
54069056"></a><a class="indexterm" name="idp54070064"></a><a class="indexterm" name="idp54071072"></a><a class="indexterm" name="idp54071824"></a><p>
Disse verdiene bygget en tradisjon som, for i hvert fall de første 180 årene
av vår republikk, garanterte skaperne retten til å bygge fritt på sin
fortid, og beskyttet skaperne og innovatørene fra både statlig og privat
kontroll. Det første grunnlovstillegget beskyttet skaperne fra statlig
-kontroll. Og som professor Neil Netanel med kraft argumenterer,<a href="#ftn.idp7080560" class="footnote" name="idp7080560"><sup class="footnote">[14]</sup></a> åndsverkslov, skikkelig balansert, beskyttet
+kontroll. Og som professor Neil Netanel med kraft argumenterer,<a href="#ftn.idp54073568" class="footnote" name="idp54073568"><sup class="footnote">[14]</sup></a> åndsverkslov, skikkelig balansert, beskyttet
skaperne mot privat kontroll. Vår tradisjon var dermed hverken Sovjet eller
tradisjonen til velgjørere. I stedet skar det ut et bredt manøvreringsrom
hvor skapere kunne kultivere og utvide vår kultur.
endringer i teknologien i Internett selv, ført til massiv økning av den
effektive reguleringen av kreativitet i USA. For å bygge på eller kritisere
kulturen rundt oss må en spørre, som Oliver Twist, om tillatelse først.
-Tillatelse blir, naturligvis, ofte innvilget — men det blir ofte ikke
+Tillatelse blir, naturligvis, ofte innvilget – men det blir ofte ikke
innvilget til den kritiske eller den uavhengige. Vi har bygget en slags
kulturell adel. De innenfor dette adelskapet har et enkelt liv, mens de på
utsiden har det ikke. Men det er adelskap i alle former som er fremmed for
Internett-teknologiene. Det vil være til stor skade for vår tradisjon og
kultur hvis den får lov til å fortsette ukontrollert. Vi må forstå kilden
til denne krigen. Vi må finne en løsning snart.
-</p><a class="indexterm" name="idp
7088064"></a><a class="indexterm" name="idp7088704"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
+</p><a class="indexterm" name="idp
54080944"></a><a class="indexterm" name="idp54081696"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
<span class="strong"><strong>Lik Causbyenes</strong></span> kamp er denne krigen,
delvis, om <span class="quote">«<span class="quote">eiendomsrett.</span>»</span> Eiendommen i denne krigen er ikke
like håndfast som den til Causbyene, og ingen uskyldige kyllinger har så
rette</span>»</span> mot legitime krav til <span class="quote">«<span class="quote">eiendomsrett.</span>»</span> Det er
like klart for oss som det var for dem at loven skulle ta affære for å
stoppe denne inntrengingen i annen manns eiendom.
-</p><a class="indexterm" name="idp
7095136"></a><a class="indexterm" name="idp7095888"></a><a class="indexterm" name="idp7096640"></a><p>
+</p><a class="indexterm" name="idp
54088128"></a><a class="indexterm" name="idp54088880"></a><a class="indexterm" name="idp54089632"></a><p>
Og dermed, når nerder og teknologer forsvarer sin tids Armstrong og
Wright-brødrenes teknologi, får de lite sympati fra de fleste av oss. Sunn
er sunn fornuft på samme side som eiendomseierne i denne krigen. I
motsetning til hos de heldige Wright-brødrene, har Internett ikke inspirert
en revolusjon til fordel for seg.
-</p><a class="indexterm" name="idp
7098672"></a><p>
+</p><a class="indexterm" name="idp
54091664"></a><p>
Mitt håp er å skyve denne sunne fornuften videre. Jeg har blitt stadig mer
overrasket over kraften til denne idéen om immaterielle rettigheter og, mer
viktig, dets evne til å slå av kritisk tanke hos lovmakere og innbyggere.
fornuft faktisk tror på dette ekstreme? Eller står sunn fornuft i stillhet
i møtet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer
mektige siden har sikret seg at det har et mye mer mektig standpunkt?
-</p><a class="indexterm" name="idp
7105552"></a><a class="indexterm" name="idp7106304"></a><p>
+</p><a class="indexterm" name="idp
54098544"></a><a class="indexterm" name="idp54099296"></a><p>
Jeg forsøker ikke å være mystisk. Mine egne synspunkter er klare. Jeg mener
det var riktig for sunn fornuft å gjøre opprør mot ekstremismen til
på annen manns eiendom. Men konsekvensene av den nye dumskapen vil bli mye
mer dyptgripende.
-</p><a class="indexterm" name="idp
7109152"></a><p>
+</p><a class="indexterm" name="idp
54102144"></a><p>
<span class="strong"><strong>Basketaket</strong></span> som pågår akkurat nå sentrerer
seg rundt to idéer: <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> og
<span class="quote">«<span class="quote">eiendom.</span>»</span> Mitt mål med denne bokens neste to deler er å
</p><p>
Metoden min er ikke den vanlige metoden for en akademiker. Jeg ønsker ikke
å pløye deg inn i et komplisert argument, steinsatt med referanser til
-obskure franske teoretikere — uansett hvor naturlig det har blitt for
+obskure franske teoretikere – uansett hvor naturlig det har blitt for
den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del
med en samling historier som etablerer en sammenheng der disse
tilsynelatende enkle idéene kan bli fullt ut forstått.
forstå endringene som Internett kan gjøre mulig, og i stedet for å ta den
tiden som trengs for å la <span class="quote">«<span class="quote">sunn fornuft</span>»</span> finne ut hvordan best
svare på utfordringen, så lar vi de som er mest truet av endringene bruke
-sin makt til å endre loven — og viktigere, å bruke sin makt til å
+sin makt til å endre loven – og viktigere, å bruke sin makt til å
endre noe fundamentalt om hvordan vi alltid har fungert.
</p><p>
Jeg tror vi tillater dette, ikke fordi det er riktig, og heller ikke fordi
de fleste av oss tror på disse endringene. Vi tillater det på grunn av at
de interessene som er mest truet er blant de mest mektige aktørene i vår
deprimerende kompromittert prosess for å utforme lover. Denne boken er
-historien om nok en konsekvens for denne type korrupsjon — en
+historien om nok en konsekvens for denne type korrupsjon – en
konsekvens de fleste av oss forblir ukjent med.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6946208" class="footnote"><p><a href="#idp6946208" class="para"><sup class="para">[4] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp48409744" class="footnote"><p><a href="#idp48409744" class="para"><sup class="para">[4] </sup></a>
St. George Tucker, <em class="citetitle">Blackstone's Commentaries</em> 3 (South
Hackensack, N.J.: Rothman Reprints, 1969), 18.
-</p></div><div id="ftn.idp6960992" class="footnote"><p><a href="#idp6960992" class="para"><sup class="para">[5] </sup></a>
+</p></div><div id="ftn.idp48460240" class="footnote"><p><a href="#idp48460240" class="para"><sup class="para">[5] </sup></a>
USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være
å <span class="quote">«<span class="quote">ta</span>»</span> hvis regjeringens bruk av sitt land reelt sett hadde
ødelagt verdien av eiendommen til Causby. Dette eksemplet ble foreslått for
Sovereignty: Notes Toward a cultural Geography of Authorship,</span>»</span>
<em class="citetitle">Stanford Law Review</em> 48 (1996): 1293, 1333. Se også
Paul Goldstein, <em class="citetitle">Real Property</em> (Mineola, N.Y.:
-Foundation Press (1984)), 1112–13. <a class="indexterm" name="idp6964688"></a> <a class="indexterm" name="idp6964304"></a>
-</p></div><div id="ftn.idp6992032" class="footnote"><p><a href="#idp6992032" class="para"><sup class="para">[6] </sup></a>
+Foundation Press (1984)), 1112–13. <a class="indexterm" name="idp48540272"></a> <a class="indexterm" name="idp53958128"></a>
+</p></div><div id="ftn.idp53984080" class="footnote"><p><a href="#idp53984080" class="para"><sup class="para">[6] </sup></a>
Lawrence Lessing, <em class="citetitle">Man of High Fidelity:: Edwin Howard
Armstrong</em> (Philadelphia: J. B. Lipincott Company, 1956), 209.
-</p></div><div id="ftn.idp6988144" class="footnote"><p><a href="#idp6988144" class="para"><sup class="para">[7] </sup></a> Se <span class="quote">«<span class="quote">Saints: The Heroes and Geniuses of the Electronic Era,</span>»</span>
+</p></div><div id="ftn.idp53980192" class="footnote"><p><a href="#idp53980192" class="para"><sup class="para">[7] </sup></a> Se <span class="quote">«<span class="quote">Saints: The Heroes and Geniuses of the Electronic Era,</span>»</span>
første elektroniske kirke i USA, hos www.webstationone.com/fecha,
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #1</a>.
-</p></div><div id="ftn.idp7009552" class="footnote"><p><a href="#idp7009552" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
-</p></div><div id="ftn.idp7015376" class="footnote"><p><a href="#idp7015376" class="para"><sup class="para">[9] </sup></a>
+</p></div><div id="ftn.idp54001600" class="footnote"><p><a href="#idp54001600" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
+</p></div><div id="ftn.idp54007424" class="footnote"><p><a href="#idp54007424" class="para"><sup class="para">[9] </sup></a>
Lessing, 256.
-</p></div><div id="ftn.idp7032592" class="footnote"><p><a href="#idp7032592" class="para"><sup class="para">[10] </sup></a>
+</p></div><div id="ftn.idp54024576" class="footnote"><p><a href="#idp54024576" class="para"><sup class="para">[10] </sup></a>
Amanda Lenhart, <span class="quote">«<span class="quote">The Ever-Shifting Internet Population: A New Look at
Internet Access and the Digital Divide,</span>»</span> Pew Internet and American
Life Project, 15. april 2003: 6, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #2</a>.
-</p></div><div id="ftn.idp7048320" class="footnote"><p><a href="#idp7048320" class="para"><sup class="para">[11] </sup></a>
+</p></div><div id="ftn.idp54041312" class="footnote"><p><a href="#idp54041312" class="para"><sup class="para">[11] </sup></a>
Dette er ikke det eneste formålet med opphavsrett, men det er helt klart
hovedformålet med opphavsretten slik den er etablert i føderal grunnlov.
Åndsverklovene i delstatene beskyttet historisk ikke bare kommersielle
åndsverklovene forfatterne makt til å kontrollere spredningen av fakta om
seg selv. Se Samuel D. Warren og Louis Brandeis, <span class="quote">«<span class="quote">The Right to
Privacy,</span>»</span> Harvard Law Review 4 (1890): 193, 198–200.
-<a class="indexterm" name="idp6964560"></a>
-</p></div><div id="ftn.idp7053872" class="footnote"><p><a href="#idp7053872" class="para"><sup class="para">[12] </sup></a>
+<a class="indexterm" name="idp54026848"></a>
+</p></div><div id="ftn.idp54046864" class="footnote"><p><a href="#idp54046864" class="para"><sup class="para">[12] </sup></a>
Se Jessica Litman, <em class="citetitle">Digital Copyright</em> (New York:
-Prometheus bøker, 2001), kap. 13. <a class="indexterm" name="idp7054752"></a>
-</p></div><div id="ftn.idp7070208" class="footnote"><p><a href="#idp7070208" class="para"><sup class="para">[13] </sup></a>
+Prometheus bøker, 2001), kap. 13. <a class="indexterm" name="idp54047744"></a>
+</p></div><div id="ftn.idp54063200" class="footnote"><p><a href="#idp54063200" class="para"><sup class="para">[13] </sup></a>
Amy Harmon, <span class="quote">«<span class="quote">Black Hawk Download: Moving Beyond Music, Pirates Use New
Tools to Turn the Net into an Illicit Video Club,</span>»</span> <em class="citetitle">New
York Times</em>, 17. januar 2002.
-</p></div><div id="ftn.idp7080560" class="footnote"><p><a href="#idp7080560" class="para"><sup class="para">[14] </sup></a>
+</p></div><div id="ftn.idp54073568" class="footnote"><p><a href="#idp54073568" class="para"><sup class="para">[14] </sup></a>
Neil W. Netanel, <span class="quote">«<span class="quote">Copyright and a Democratic Civil Society,</span>»</span>
-<em class="citetitle">Yale Law Journal</em> 106 (1996): 283. <a class="indexterm" name="idp7081840"></a>
-</p></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-piracy"></a>Del I. <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></h1></div></div></div><div class="partintro"><div></div><a class="indexterm" name="idp
7118496"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp7120992"></a><a class="indexterm" name="idp7121744"></a><p>
+<em class="citetitle">Yale Law Journal</em> 106 (1996): 283. <a class="indexterm" name="idp54074848"></a>
+</p></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-piracy"></a>Del I. <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></h1></div></div></div><div class="partintro"><div></div><a class="indexterm" name="idp
54111472"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp54113968"></a><a class="indexterm" name="idp54114720"></a><p>
<span class="strong"><strong>Helt siden</strong></span> rettsvesenet begynte å
regulere kreative eierrettigheter, har det vært en krig mot
<span class="quote">«<span class="quote">piratvirksomhet.</span>»</span> Det presise omrisset av dette konseptet,
</p><div class="blockquote"><blockquote class="blockquote"><p>
En person kan bruke kopien til å spille den, men han har ingen rett til å
robbe forfatteren for profitten, ved å lage flere kopier og distribuere
-etter eget forgodtbefinnende.<a href="#ftn.idp7125744" class="footnote" name="idp7125744"><sup class="footnote">[15]</sup></a>
-</p><a class="indexterm" name="idp
7127408"></a></blockquote></div><a class="indexterm" name="idp7128512"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
+etter eget forgodtbefinnende.<a href="#ftn.idp54118720" class="footnote" name="idp54118720"><sup class="footnote">[15]</sup></a>
+</p><a class="indexterm" name="idp
54120384"></a></blockquote></div><a class="indexterm" name="idp54121488"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
I dag er vi midt inne i en annen <span class="quote">«<span class="quote">krig</span>»</span> mot
<span class="quote">«<span class="quote">piratvirksomhet.</span>»</span> Internett har fremprovosert denne krigen.
mengde opphavsrettsbeskyttet innhold. Denne delingen har i sin tur ansporet
til krigen, på grunn av at eiere av opphavsretter frykter delingen vil
<span class="quote">«<span class="quote">robbe forfatteren for profitten.</span>»</span>
-</p><a class="indexterm" name="idp
7134656"></a><p>
+</p><a class="indexterm" name="idp
54127632"></a><p>
Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større
grad til teknologi for å forsvare sin <span class="quote">«<span class="quote">eiendom</span>»</span> mot denne
<span class="quote">«<span class="quote">piratvirksomheten.</span>»</span> En generasjon amerikanere, advarer
krigerne, blir oppdratt til å tro at <span class="quote">«<span class="quote">eiendom</span>»</span> skal være
<span class="quote">«<span class="quote">gratis.</span>»</span> Glem tatoveringer, ikke tenk på kroppspiercing
-— våre barn blir <span class="emphasis"><em>tyver</em></span>!
+– våre barn blir <span class="emphasis"><em>tyver</em></span>!
</p><p>
Det er ingen tvil om at <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> er galt, og at
pirater bør straffes. Men før vi roper på bødlene, bør vi sette dette
tar noe av verdi fra noen andre, bør jeg få tillatelse fra dem. Å ta noe
som har verdi fra andre uten tillatelse er galt. Det er en form for
piratvirksomhet.
-</p></blockquote></div><a class="indexterm" name="idp
7142160"></a><a class="indexterm" name="idp7142912"></a><a class="indexterm" name="idp7143664"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
54135056"></a><a class="indexterm" name="idp54135808"></a><a class="indexterm" name="idp54136560"></a><a class="indexterm" name="idp54137312"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
Dette synet går dypt i de pågående debattene. Det er hva jussprofessor
-Rochelle Dreyfuss ved NYU kritiserer som <span class="quote">«<span class="quote">hvis verdi, så
-rettighet</span>»</span>-teorien for kreative eierrettigheter <a href="#ftn.idp7148544" class="footnote" name="idp7148544"><sup class="footnote">[16]</sup></a>—hvis det finnes verdi, så må noen ha
+Rochelle Dreyfuss ved New York University kritiserer som <span class="quote">«<span class="quote">hvis verdi,
+så rettighet</span>»</span>-teorien for kreative eierrettigheter <a href="#ftn.idp54142480" class="footnote" name="idp54142480"><sup class="footnote">[16]</sup></a> – hvis det finnes verdi, så må noen ha
rettigheten til denne verdien. Det er perspektivet som fikk komponistenes
rettighetsorganisasjon, ASCAP, til å saksøke jentespeiderne for å ikke
-betale for sangene som jentene sang rundt sine leirbål.<a href="#ftn.idp7150672" class="footnote" name="idp7150672"><sup class="footnote">[17]</sup></a> Det fantes <span class="quote">«<span class="quote">verdi</span>»</span> (sangene), så det
-måtte ha vært en <span class="quote">«<span class="quote">rettighet</span>»</span>—til og med i forhold til
+betale for sangene som jentene sang rundt sine leirbål.<a href="#ftn.idp54130912" class="footnote" name="idp54130912"><sup class="footnote">[17]</sup></a> Det fantes <span class="quote">«<span class="quote">verdi</span>»</span> (sangene), så det
+måtte ha vært en <span class="quote">«<span class="quote">rettighet</span>»</span> – til og med i forhold til
jentespeiderne.
-</p><a class="indexterm" name="idp
7155328"></a><p>
+</p><a class="indexterm" name="idp
54149104"></a><p>
Denne idéen er helt klart en mulig forståelse om hvordan kreative
eierrettigheter bør virke. Det er helt klart et mulig design for et
<span class="quote">«<span class="quote">hvis verdi, så rettighet</span>»</span> for kreative eierrettigheter har
aldri vært USAs teori for kreative eierrettigheter. Det har aldri vært vår
rettspraksis.
-</p><a class="indexterm" name="idp
7158032"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
+</p><a class="indexterm" name="idp
54151808"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idp54154384"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
I vår tradisjon har immaterielle rettigheter i stedet vært et instrument.
Det bidrar til fundamentet for et rikt kreativt samfunn, men forblir
underordnet verdien til kreativitet. Dagens debatt har snudd dette helt
verdien av syne.
</p><p>
Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om
-å markere — skillet mellom å publisere på nytt noens verk på den ene
+å markere – skillet mellom å publisere på nytt noens verk på den ene
siden, og bygge på og gjøre om verket på den andre. Da opphavsretten kom
var det kun publisering som ble berørt. Opphavsretten i dag regulerer begge.
-</p><a class="indexterm" name="idp
7164560"></a><p>
+</p><a class="indexterm" name="idp
54159104"></a><p>
Før teknologiene til Internett dukket opp, betød ikke denne begrepsmessige
sammenblandingen mye. Teknologiene for å publisere var kostbare, som betød
at det meste av publisering var kommersiell. Kommersielle aktører kunne
-håndtere byrden pålagt av loven — til og med byrden med den bysantiske
+håndtere byrden pålagt av loven – til og med byrden med den bysantiske
kompleksiteten som åndsverksloven har blitt. Det var bare nok en kostnad
ved å drive forretning.
-</p><a class="indexterm" name="idp
7165760"></a><a class="indexterm" name="idp7167776"></a><a class="indexterm" name="idp7168528"></a><p>
+</p><a class="indexterm" name="idp
54160224"></a><a class="indexterm" name="idp54162240"></a><a class="indexterm" name="idp54162992"></a><p>
Men da Internett dukket opp, forsvant denne naturlige begrensningen til
lovens virkeområde. Loven kontrollerer ikke bare kreativiteten til
kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om
utvidelsen ikke ville bety stort hvis åndsverksloven kun regulerte
<span class="quote">«<span class="quote">kopiering,</span>»</span> så betyr utvidelsen mye når loven regulerer så
bredt og obskurt som den gjør. Byrden denne loven gir oppveier nå langt
-fordelene den ga da den ble vedtatt — helt klart slik den påvirker
+fordelene den ga da den ble vedtatt – helt klart slik den påvirker
ikke-kommersiell kreativitet, og i stadig større grad slik den påvirker
kommersiell kreativitet. Dermed, slik vi ser klarere i de kommende
kapitler, er rettsstatens rolle i stadig mindre grad å støtte kreativitet,
ekstraordinær mengde med kommersiell og ikke-kommersiell kreativitet, tynger
loven denne kreativiteten med sinnsykt kompliserte og vage regler, og med
trusselen om uanstendig harde straffer. Vi ser kanskje, som Richard Florida
-skriver, <span class="quote">«<span class="quote">Fremveksten av den kreative klasse</span>»</span><a href="#ftn.idp7170496" class="footnote" name="idp7170496"><sup class="footnote">[18]</sup></a> Dessverre ser vi også en ekstraordinær fremvekst av
+skriver, <span class="quote">«<span class="quote">Fremveksten av den kreative klasse</span>»</span><a href="#ftn.idp54164960" class="footnote" name="idp54164960"><sup class="footnote">[18]</sup></a> Dessverre ser vi også en ekstraordinær fremvekst av
reguleringer av denne kreative klassen.
-</p><a class="indexterm" name="idp
7176032"></a><p>
+</p><a class="indexterm" name="idp
54170496"></a><p>
Disse byrdene gir ingen mening i vår tradisjon. Vi bør begynne med å forstå
den tradisjonen litt mer, og ved å plassere dagens slag om oppførsel med
merkelappen <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> i sin rette sammenheng.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7125744" class="footnote"><p><a href="#idp7125744" class="para"><sup class="para">[15] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp54118720" class="footnote"><p><a href="#idp54118720" class="para"><sup class="para">[15] </sup></a>
<em class="citetitle">Bach</em> v. <em class="citetitle">Longman</em>, 98
Eng. Rep. 1274 (1777) (Mansfield).
-</p></div><div id="ftn.idp7148544" class="footnote"><p><a href="#idp7148544" class="para"><sup class="para">[16] </sup></a>
+</p></div><div id="ftn.idp54142480" class="footnote"><p><a href="#idp54142480" class="para"><sup class="para">[16] </sup></a>
Se Rochelle Dreyfuss, <span class="quote">«<span class="quote">Expressive Genericity: Trademarks as Language
in the Pepsi Generation,</span>»</span> <em class="citetitle">Notre Dame Law
Review</em> 65 (1990): 397.
-</p></div><div id="ftn.idp7150672" class="footnote"><p><a href="#idp7150672" class="para"><sup class="para">[17] </sup></a>
+</p></div><div id="ftn.idp54130912" class="footnote"><p><a href="#idp54130912" class="para"><sup class="para">[17] </sup></a>
Lisa Bannon, <span class="quote">«<span class="quote">The Birds May Sing, but Campers Can't Unless They Pay
Up,</span>»</span> <em class="citetitle">Wall Street Journal</em>, 21. august 1996,
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #3</a>;
Jonathan Zittrain, <span class="quote">«<span class="quote">Calling Off the Copyright War: In Battle of
Property vs. Free Speech, No One Wins,</span>»</span> <em class="citetitle">Boston
-Globe</em>, 24. november 2002. <a class="indexterm" name="idp7153296"></a>
-</p></div><div id="ftn.idp7170496" class="footnote"><p><a href="#idp7170496" class="para"><sup class="para">[18] </sup></a>
+Globe</em>, 24. november 2002. <a class="indexterm" name="idp54147072"></a>
+</p></div><div id="ftn.idp54164960" class="footnote"><p><a href="#idp54164960" class="para"><sup class="para">[18] </sup></a>
I <em class="citetitle">The Rise of the Creative Class</em> (New York: Basic
Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot
vilkår som kreativiteten blir muliggjort eller hindret under. Jeg er helt
klart enig med ham i viktigheten og betydningen av denne endringen, men jeg
tror også at vilkårene som disse endringene blir aktivert under er mye
-vanskeligere. <a class="indexterm" name="idp7173808"></a> <a class="indexterm" name="idp7174816"></a>
+vanskeligere. <a class="indexterm" name="idp54168272"></a> <a class="indexterm" name="idp54169280"></a>
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="creators"></a>Kapittel en: Skaperne</h2></div></div></div><a class="indexterm" name="idxanimatedcartoons"></a><a class="indexterm" name="idxcartoonfilms"></a><a class="indexterm" name="idxfilmsanimated"></a><a class="indexterm" name="idxsteamboatwillie"></a><a class="indexterm" name="idxmickeymouse"></a><p>
<span class="strong"><strong>I 1928</strong></span> ble en tegnefilmfigur født. En
tidlig Mikke Mus debuterte i mai dette året, i en stille flopp ved navn
Effekten på vårt lille publikum var intet mindre enn elektrisk. De reagerte
nesten instinktivt til denne union av lyd og bevegelse. Jeg trodde de
tullet med meg. Så de puttet meg i publikum og satte i gang på nytt. Det
-var grufullt, men det var fantastisk. Og det var noe nytt!<a href="#ftn.idp7194432" class="footnote" name="idp7194432"><sup class="footnote">[19]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7195840"></a><p>
+var grufullt, men det var fantastisk. Og det var noe nytt!<a href="#ftn.idp54188896" class="footnote" name="idp54188896"><sup class="footnote">[19]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
54190304"></a><p>
Disneys daværende partner, og en av animasjonsverdenens mest ekstraordinære
talenter, Ub Iwerks, uttalte det sterkere: <span class="quote">«<span class="quote">Jeg har aldri vært så
begeistret i hele mitt liv. Ingenting annet har noensinne vært like
bra.</span>»</span>
</p><p>
Disney hadde laget noe helt nytt, basert på noe relativt nytt. Synkronisert
-lyd ga liv til en form for kreativitet som sjeldent hadde — unntatt
-fra Disneys hender — vært noe annet en fyllstoff for andre filmer.
+lyd ga liv til en form for kreativitet som sjeldent hadde – unntatt
+fra Disneys hender – vært noe annet en fyllstoff for andre filmer.
Gjennom animasjonfilmens tidligere historie var det Disneys oppfinnelser som
satte standarden som andre måtte sloss for å oppfylle. Og ganske ofte var
Disneys store geni, hans gnist av kreativitet, bygget på arbeidet til andre.
-</p><a class="indexterm" name="idp
7198240"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
+</p><a class="indexterm" name="idp
54192704"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
Dette er kjent stoff. Det du kanskje ikke vet er at 1928 også markerer en
annen viktig overgang. I samme år laget et komedie-geni (i motsetning til
tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var
han mestret bruken av bredpenslet fysisk komedie på en måte som tente
ukontrollerbar latter fra hans publikum. <em class="citetitle">Steamboat Bill,
Jr</em>. var en klassiker av denne typen, berømt blant film-elskere
-for sine utrolige stunts. Filmen var en klassisk Keaton — fantastisk
+for sine utrolige stunts. Filmen var en klassisk Keaton – fantastisk
populær og blant de beste i sin sjanger.
</p><a class="indexterm" name="idxderivativeworkspiracyvs"></a><a class="indexterm" name="idxpiracyderivativeworkvs"></a><p>
<em class="citetitle">Steamboat Bill, Jr</em>. kom før Disneys tegnefilm
Steamboat Willie. Det er ingen tilfeldighet at titlene er så
like. Steamboat Willie er en direkte tegneserieparodi av Steamboat
-Bill,<a href="#ftn.idp7209424" class="footnote" name="idp7209424"><sup class="footnote">[20]</sup></a> og begge bygger på en felles sang
+Bill,<a href="#ftn.idp54203888" class="footnote" name="idp54203888"><sup class="footnote">[20]</sup></a> og begge bygger på en felles sang
som kilde. Det er ikke kun fra nyskapningen med synkronisert lyd i
<em class="citetitle">The Jazz Singer</em> at vi får <em class="citetitle">Steamboat
Willie</em>. Det er også fra Buster Keatons nyskapning Steamboat
Bill, Jr., som igjen var inspirert av sangen <span class="quote">«<span class="quote">Steamboat Bill,</span>»</span>
at vi får Steamboat Willie. Og fra Steamboat Willie får vi så Mikke Mus.
-</p><a class="indexterm" name="idp
7216224"></a><a class="indexterm" name="idp7217200"></a><a class="indexterm" name="idp7218176"></a><a class="indexterm" name="idp7219152"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
+</p><a class="indexterm" name="idp
54210688"></a><a class="indexterm" name="idp54211664"></a><a class="indexterm" name="idp54212640"></a><a class="indexterm" name="idp54213616"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
Denne <span class="quote">«<span class="quote">låningen</span>»</span> var ikke unik, hverken for Disney eller for
industrien. Disney apet alltid etter helaftensfilmene rettet mot
-massemarkedet rundt ham.<a href="#ftn.idp7223632" class="footnote" name="idp7223632"><sup class="footnote">[21]</sup></a> Det samme
+massemarkedet rundt ham.<a href="#ftn.idp54218096" class="footnote" name="idp54218096"><sup class="footnote">[21]</sup></a> Det samme
gjorde mange andre. Tidlige tegnefilmer er stappfulle av etterapninger
-— små variasjoner over suksessfulle temaer, gamle historier fortalt på
+– små variasjoner over suksessfulle temaer, gamle historier fortalt på
nytt. Nøkkelen til suksess var brilliansen i forskjellene. Med Disney var
det lyden som ga gnisten i hans animasjonsfilmer. Senere var det kvaliteten
på arbeidet hans i forhold til de masseproduserte tegnefilmene som han
landstrykeren</em> (1955), <em class="citetitle">Mulan</em> (1998),
<em class="citetitle">Tornerose</em> (1959), <em class="citetitle">101
Dalmatinere</em> (1961), <em class="citetitle">Sverdet i steinen</em>
-(1963), og <em class="citetitle">Jungelboken</em> (1967)—for ikke å nevne
-et nylig eksempel som vi bør kanskje glemme raskt, <em class="citetitle">Treasure
+(1963), og <em class="citetitle">Jungelboken</em> (1967) – for ikke å
+nevne et nylig eksempel som vi bør kanskje glemme raskt, <em class="citetitle">Treasure
Planet</em> (2003). I alle disse tilfellene, har Disney (eller
Disney, Inc.) hentet kreativitet fra kultur rundt seg, blandet med
kreativiteten fra sitt eget ekstraordinære talent, og deretter brent denne
blandingen inn i sjelen til kulturen sin. Hente, blande og brenne.
-</p><a class="indexterm" name="idp
7237472"></a><p>
+</p><a class="indexterm" name="idp
54231936"></a><p>
Dette er en type kreativitet. Det er en kreativitet som vi bør huske på, og
feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra
denne typen. Vi trenger ikke gå så langt for å anerkjenne dens betydning.
Vi kan kalle dette <span class="quote">«<span class="quote">Disney-kreativitet,</span>»</span> selv om det vil være
litt misvisende. Det er mer presist <span class="quote">«<span class="quote">Walt Disney-kreativitet</span>»</span>
-— en uttrykksform og genialitet som bygger på kulturen rundt oss, og
+– en uttrykksform og genialitet som bygger på kulturen rundt oss, og
omformer den til noe annet.
-</p><a class="indexterm" name="idp
7240496"></a><a class="indexterm" name="idp7241472"></a><a class="indexterm" name="idp7242448"></a><a class="indexterm" name="idxcopyrightdurationof"></a><a class="indexterm" name="idxpublicdomaindefined"></a><a class="indexterm" name="idxpublicdomaintraditionaltermforconversionto"></a><p> I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt
+</p><a class="indexterm" name="idp
54234960"></a><a class="indexterm" name="idp54235936"></a><a class="indexterm" name="idp54236912"></a><a class="indexterm" name="idp54237888"></a><a class="indexterm" name="idxcopyrightdurationof"></a><a class="indexterm" name="idxpublicdomaindefined"></a><a class="indexterm" name="idxpublicdomaintraditionaltermforconversionto"></a><p> I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt
fersk. Allemannseie i 1928 var ikke veldig gammelt, og var dermed ganske
levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve år
-— for den lille delen av kreative verk som faktisk var
-opphavsrettsbeskyttet.<a href="#ftn.idp7240144" class="footnote" name="idp7240144"><sup class="footnote">[22]</sup></a> Det betyr at i
+– for den lille delen av kreative verk som faktisk var
+opphavsrettsbeskyttet.<a href="#ftn.idp54234608" class="footnote" name="idp54234608"><sup class="footnote">[22]</sup></a> Det betyr at i
tredve år, i gjennomsnitt, hadde forfattere eller opphavsrettighetsinnehaver
av kreative verk en <span class="quote">«<span class="quote">eksklusiv rett</span>»</span> til å kontrollere bestemte
typer bruk av verket. Å bruke disse opphavsrettsbeskyttede verkene på de
verket. Ingen tillatelse og dermed heller ingen advokater. Allemannseie er
en <span class="quote">«<span class="quote">advokat-fri sone.</span>»</span> Det meste av innhold fra det nittende
århundre var dermed fritt tilgjengelig for Disney til å bruke eller bygge på
-i 1928. Det var tilgjengelig for enhver — uansett om de hadde
+i 1928. Det var tilgjengelig for enhver – uansett om de hadde
forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller
-ikke — til å bruke og bygge videre på.
-</p><a class="indexterm" name="idp
7253408"></a><a class="indexterm" name="idp7255232"></a><p>
+ikke – til å bruke og bygge videre på.
+</p><a class="indexterm" name="idp
54248880"></a><a class="indexterm" name="idp54250704"></a><p>
-Dette er slik det alltid har vært — inntil ganske nylig. I
+Dette er slik det alltid har vært – inntil ganske nylig. I
mesteparten av vår historie, har allemannseiet vært like over horisonten.
Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer
enn trettito år, noe som gjorde at det meste av kultur fra en og en halv
1970-tallet nå ville være fritt tilgjengelig for den neste Walt Disney å
bygge på uten tillatelse. Men i dag er allemannseie presumtivt kun for
innhold fra før mellomkrigstiden.
-</p><a class="indexterm" name="idp
7257632"></a><a class="indexterm" name="idp7258608"></a><a class="indexterm" name="idp7259584"></a><a class="indexterm" name="idp7260560"></a><a class="indexterm" name="idp7261536"></a><a class="indexterm" name="idp7262512"></a><p>
+</p><a class="indexterm" name="idp
54253104"></a><a class="indexterm" name="idp54254080"></a><a class="indexterm" name="idp54255056"></a><a class="indexterm" name="idp54256032"></a><a class="indexterm" name="idp54257008"></a><a class="indexterm" name="idp54257984"></a><p>
<span class="strong"><strong>Walt Disney</strong></span> hadde selvfølgelig ikke
monopol på <span class="quote">«<span class="quote">Walt Disney-kreativitet.</span>»</span> Det har heller ikke
USA. Normen med fri kultur har, inntil nylig, og unntatt i totalitære
<span class="emphasis"><em>bare</em></span> er en kopi. Kunstneren må gjøre et bidrag til
kunsten han kopierer ved å omforme det enten subtilt eller betydelig. En
doujinshi-tegneserie kan dermed ta en massemarkedstegneserie og utvikle den
-i en annen retning — med en annen historielinje. Eller tegneserien
+i en annen retning – med en annen historielinje. Eller tegneserien
kan beholde figuren som den er, men endre litt på utseendet. Det er ingen
bestemt formel for hva som gjør en doujinshi tilstrekkelig
<span class="quote">«<span class="quote">forskjellig.</span>»</span> Men de må være forskjellige hvis de skal anses
hverandre, men det er ingen vedvarende innsats fra dem som kontrollerer det
kommersielle manga-markedet for å stenge doujinshi-markedet. Det blomstrer,
på tross av konkurransen, og på tross for loven.
-</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="idp
7287040"></a><p>
+</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="idp
54291328"></a><p>
Den mest gåtefulle egenskapen med doujinshi-markedet, for dem som har
juridisk trening i hvert fall, er at det overhodet tillates å eksistere.
Under japansk åndsverkslov, som i hvert fall på dette området (på papiret)
opprinnelige opphavsrettsinnehaver ulovlig. Det er et brudd på
opphavsretten til det opprinnelige verket å lage en kopi, eller et avledet
verk uten tillatelse fra den opprinnelige rettighetsinnehaveren.
-</p><a class="indexterm" name="idp
7290976"></a><a class="indexterm" name="idxwinickjudd"></a><p>
+</p><a class="indexterm" name="idp
54295264"></a><a class="indexterm" name="idxwinickjudd"></a><p>
Likevel eksisterer og blomstrer faktisk dette illegale markedet i Japan, og
etter manges syn er det nettopp fordi det eksisterer, at japansk manga
blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, <span class="quote">«<span class="quote">I
-amerikansk tegneseriers første dager var det ganske likt det som foregår i
+amerikanske tegneseriers første dager var det ganske likt det som foregår i
Japan i dag. … Amerikanske tegneserier kom til verden ved å kopiere
-hverandre. … Det er slik [kunstnerne] lærer å tegne — ved å se
+hverandre. … Det er slik [kunstnerne] lærer å tegne – ved å se
i tegneseriebøker, og ikke følge streken, men ved å se på dem, og kopiere
-dem</span>»</span>, og bygge basert på dem.<a href="#ftn.idp7293920" class="footnote" name="idp7293920"><sup class="footnote">[23]</sup></a>
-</p><a class="indexterm" name="idp
7296288"></a><a class="indexterm" name="idp7297264"></a><p>
+dem</span>»</span>, og bygge basert på dem.<a href="#ftn.idp54299168" class="footnote" name="idp54299168"><sup class="footnote">[23]</sup></a>
+</p><a class="indexterm" name="idp
54300704"></a><a class="indexterm" name="idp54301568"></a><p>
Amerikanske tegneserier nå er ganske annerledes, forklarer Winick, delvis på
grunn av de juridiske problemene med å tilpasse tegneserier slik doujinshi
får lov til. Med for eksempel Supermann, fortalte Winick meg, <span class="quote">«<span class="quote">er det
<span class="quote">«<span class="quote">ikke kan</span>»</span> gjøre. <span class="quote">«<span class="quote">For en som lager tegneserier er det
frustrerende å måtte begrense seg til noen parameter som er femti år
gamle.</span>»</span>
-</p><a class="indexterm" name="idp
7300368"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp7302832"></a><a class="indexterm" name="idxmehrasalil"></a><p>
+</p><a class="indexterm" name="idp
54304672"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp54307136"></a><a class="indexterm" name="idxmehrasalil"></a><p>
Normen i Japan reduserer denne juridiske utfordringen. Noen sier at det
nettopp er den oppsamlede fordelen i det japanske manga-markedet som
forklarer denne reduksjonen. Jussprofessor Salil Mehra ved Temple
University har for eksempel en hypotese om at manga-markedet aksepterer
disse teoretiske bruddene fordi de får manga-markedet til å bli rikere og
mer produktivt. Alle ville få det verre hvis doujinshi ble bannlyst, så
-loven bannlyser ikke doujinshi.<a href="#ftn.idp7306016" class="footnote" name="idp7306016"><sup class="footnote">[24]</sup></a>
-</p><a class="indexterm" name="idp
7308816"></a><a class="indexterm" name="idp7309792"></a><a class="indexterm" name="idp7310768"></a><p>
+loven bannlyser ikke doujinshi.<a href="#ftn.idp54310320" class="footnote" name="idp54310320"><sup class="footnote">[24]</sup></a>
+</p><a class="indexterm" name="idp
54313120"></a><a class="indexterm" name="idp54314096"></a><a class="indexterm" name="idp54315072"></a><p>
Problemet med denne historien, derimot, og som Mehra helt klart erkjenner,
er at mekanismen som produserer denne <span class="quote">«<span class="quote">hold hendene
borte</span>»</span>-responsen ikke er forstått. Det kan godt være at markedet som
finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksøkt
doujinshi-kunstnere, hvorfor er det ikke et mer generelt mønster for å
blokkere denne <span class="quote">«<span class="quote">frie ta-ingen</span>»</span> hos doujinshi-kulturen?
-</p><a class="indexterm" name="idp
7313696"></a><a class="indexterm" name="idp7314672"></a><p>
+</p><a class="indexterm" name="idp
54318000"></a><a class="indexterm" name="idp54318976"></a><p>
Jeg var fire nydelige måneder i Japan, og jeg stilte dette spørsmål så ofte
som jeg kunne. Kanskje det beste svaret til slutt kom fra en venn i et
større japansk advokatfirma. <span class="quote">«<span class="quote">Vi har ikke nok advokater,</span>»</span>
Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem?
Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter,
eller skade dem?
-</p><a class="indexterm" name="idp
7318688"></a><p>
+</p><a class="indexterm" name="idp
54322992"></a><p>
<span class="strong"><strong>La oss ta</strong></span> et øyeblikks pause.
</p><p>
Hvis du er som meg et tiår tilbake, eller som folk flest når de først
Vi lever i en verden som feirer <span class="quote">«<span class="quote">eiendom.</span>»</span> Jeg er en av de som
feirer den. Jeg tror på verdien av eiendom generelt, og jeg tror også på
verdien av den sære formen for eiendom som advokater kaller
-<span class="quote">«<span class="quote">immateriell eiendom.</span>»</span><a href="#ftn.idp7322688" class="footnote" name="idp7322688"><sup class="footnote">[25]</sup></a> Et
+<span class="quote">«<span class="quote">immateriell eiendom.</span>»</span><a href="#ftn.idp54326992" class="footnote" name="idp54326992"><sup class="footnote">[25]</sup></a> Et
stort og variert samfunn kan ikke overleve uten eiendom, og et moderne
samfunn kan ikke blomstre uten immaterielle eierrettigheter.
-</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="idp
7329088"></a><p>
+</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="idp
54333296"></a><p>
Men det tar bare noen sekunders refleksjon for å innse at det er masse av
verdi der ute som <span class="quote">«<span class="quote">eiendom</span>»</span> ikke dekker. Jeg mener ikke
<span class="quote">«<span class="quote">kjærlighet kan ikke kjøpes med penger</span>»</span>, men i stedet en verdi
som ganske enkelt er del av produksjonsprosessen, både for kommersiell og
ikke-kommersiell produksjon. Hvis Disneys animatører hadde stjålet et sett
med blyanter for å tegne Steamboat Willie, vi ville ikke nølt med å dømme
-det som galt — selv om det er trivielt, og selv om det ikke blir
+det som galt – selv om det er trivielt, og selv om det ikke blir
oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at
Disney tok fra Buster Keaton, eller fra Grimm-brødrene. Det var intet galt
med å ta fra Keaton, fordi Disneys bruk ville blitt ansett som
fordi deres verk var allemannseie.
</p><a class="indexterm" name="idxfreeculturederivativeworksbasedon"></a><p>
-Dermed, selv om de tingene som Disney tok — eller mer generelt,
-tingene som blir tatt av enhver som utøver Walt Disney-kreativitet —
+Dermed, selv om de tingene som Disney tok – eller mer generelt,
+tingene som blir tatt av enhver som utøver Walt Disney-kreativitet –
er verdifulle, så anser ikke vår tradisjon det som galt å ta disse tingene.
Noen ting forblir frie til å bli tatt i en fri kultur, og denne friheten er
bra.
-</p><a class="indexterm" name="idp
7335248"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp7338224"></a><a class="indexterm" name="idxdoujinshicomics2"></a><a class="indexterm" name="idxjapanesecomics2"></a><a class="indexterm" name="idxmanga2"></a><p>
+</p><a class="indexterm" name="idp
54339456"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp54342432"></a><a class="indexterm" name="idxdoujinshicomics2"></a><a class="indexterm" name="idxjapanesecomics2"></a><a class="indexterm" name="idxmanga2"></a><p>
Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brøt
seg inn på kontoret til en forlegger, og stakk av med tusen kopier av hans
-siste verk — eller bare en kopi — uten å betale, så ville vi
+siste verk – eller bare en kopi – uten å betale, så ville vi
uten å nøle si at kunstneren har gjort noe galt. I tillegg til å ha trengt
seg inn på andres eiendom, ville han ha stjålet noe av verdi. Loven forbyr
stjeling i enhver form, uansett hvor stort eller lite som blir tatt.
-</p><a class="indexterm" name="idp
7331728"></a><p>
+</p><a class="indexterm" name="idp
54335936"></a><p>
Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si
at etterapende tegneseriekunstnere <span class="quote">«<span class="quote">stjeler.</span>»</span> Denne formen for
Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt
advokater synes det er vanskelig å forklare hvorfor.
-</p><a class="indexterm" name="idp
7346352"></a><a class="indexterm" name="idp7347328"></a><a class="indexterm" name="idp7348304"></a><a class="indexterm" name="idp7349280"></a><a class="indexterm" name="idp7350256"></a><a class="indexterm" name="idp7351232"></a><a class="indexterm" name="idp7352208"></a><p>
+</p><a class="indexterm" name="idp
54350560"></a><a class="indexterm" name="idp54351536"></a><a class="indexterm" name="idp54352512"></a><a class="indexterm" name="idp54353488"></a><a class="indexterm" name="idp54354464"></a><a class="indexterm" name="idp54355440"></a><a class="indexterm" name="idp54356416"></a><p>
Det er det samme med tusen eksempler som dukker opp over alt med en gang en
begynner å se etter dem. Forskerne bygger på arbeidet til andre forskere
uten å spørre eller betale for privilegiet. (<span class="quote">«<span class="quote">Unnskyld meg, professor
kontrollert, har noen gang krevd at enhver bruk skulle bli betalt for, eller
at tillatelse for Walt Disney-kreativitet alltid måtte skaffes. I stedet
har ethvert samfunn latt en bestemt bit av sin kultur være fritt
-tilgjengelig for alle å ta — frie samfunn muligens i større grad enn
+tilgjengelig for alle å ta – frie samfunn muligens i større grad enn
ufrie, men en viss grad i alle samfunn.
-</p><a class="indexterm" name="idp
7356256"></a><p>
+</p><a class="indexterm" name="idp
54360464"></a><p>
Det vanskelige spørsmålet er derfor ikke <span class="emphasis"><em>om</em></span> en kultur
er fri. Alle kulturer er frie til en viss grad. Det vanskelige spørsmålet
er i stedet <span class="quote">«<span class="quote"><span class="emphasis"><em>hvor</em></span> fri er denne kulturen?</span>»</span>
Frie kulturer er kulturer som etterlater mye åpent for andre å bygge på.
Ufrie, eller tillatelse-kulturer etterlater mye mindre. Vår var en fri
kultur. Den er på tur til å bli mindre fri.
-</p><a class="indexterm" name="idp7362176"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7194432" class="footnote"><p><a href="#idp7194432" class="para"><sup class="para">[19] </sup></a>
+</p><a class="indexterm" name="idp54366384"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp54188896" class="footnote"><p><a href="#idp54188896" class="para"><sup class="para">[19] </sup></a>
Leonard Maltin, <em class="citetitle">Of Mice and Magic: A History of American Animated
Cartoons</em> (New York: Penguin Books, 1987), 34–35.
-</p></div><div id="ftn.idp7209424" class="footnote"><p><a href="#idp7209424" class="para"><sup class="para">[20] </sup></a>
+</p></div><div id="ftn.idp54203888" class="footnote"><p><a href="#idp54203888" class="para"><sup class="para">[20] </sup></a>
Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie,
<span class="quote">«<span class="quote">The Turkey in the Straw,</span>»</span> var allerede allemannseie. Brev fra
David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til
forfatteren.
-</p></div><div id="ftn.idp7223632" class="footnote"><p><a href="#idp7223632" class="para"><sup class="para">[21] </sup></a>
+</p></div><div id="ftn.idp54218096" class="footnote"><p><a href="#idp54218096" class="para"><sup class="para">[21] </sup></a>
Han var også tilhenger av allmannseiet. Se Chris Sprigman, <span class="quote">«<span class="quote">The Mouse
that Ate the Public Domain,</span>»</span> Findlaw, 5. mars 2002, fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #5</a>.
-</p></div><div id="ftn.idp7240144" class="footnote"><p><a href="#idp7240144" class="para"><sup class="para">[22] </sup></a>
+</p></div><div id="ftn.idp54234608" class="footnote"><p><a href="#idp54234608" class="para"><sup class="para">[22] </sup></a>
Inntil 1976 ga åndsverkloven en forfatter to mulige verneperioder: en
år. Fornyingsdata og andre relevante data ligger på nettsidene tilknyttet
denne boka, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#6</a>.
-</p></div><div id="ftn.idp7293920" class="footnote"><p><a href="#idp7293920" class="para"><sup class="para">[23] </sup></a>
+</p></div><div id="ftn.idp54299168" class="footnote"><p><a href="#idp54299168" class="para"><sup class="para">[23] </sup></a>
For en utmerket historie, se Scott McCloud, <em class="citetitle">Reinventing
Comics</em> (New York: Perennial, 2000).
-</p></div><div id="ftn.idp7306016" class="footnote"><p><a href="#idp7306016" class="para"><sup class="para">[24] </sup></a>
+</p></div><div id="ftn.idp54310320" class="footnote"><p><a href="#idp54310320" class="para"><sup class="para">[24] </sup></a>
Se Salil K. Mehra, <span class="quote">«<span class="quote">Copyright and Comics in Japan: Does Law Explain
alle manga-kunstnere kan være bedre stilt hvis de setter sin individuelle
egeninteresse til side og bestemmer seg for ikke å forfølge sine juridiske
rettigheter. Dette er essensielt en løsning på fangens dilemma.</span>»</span>
-</p></div><div id="ftn.idp7322688" class="footnote"><p><a href="#idp7322688" class="para"><sup class="para">[25] </sup></a>
+</p></div><div id="ftn.idp54326992" class="footnote"><p><a href="#idp54326992" class="para"><sup class="para">[25] </sup></a>
-<a class="indexterm" name="idp7323072"></a> Begrepet <em class="citetitle">intellektuell
+<a class="indexterm" name="idp54327376"></a> Begrepet <em class="citetitle">intellektuell
eiendom</em> er av relativ ny opprinnelse. Se See Siva Vaidhyanathan,
<em class="citetitle">Copyrights and Copywrongs</em>, 11 (New York: New York
University Press, 2001). Se også Lawrence Lessig, <em class="citetitle">The Future of
Ideas</em> (New York: Random House, 2001), 293 n. 26. Begrepet
-beskriver presist et sett med <span class="quote">«<span class="quote">eiendoms</span>»</span>-rettigheter —
-opphavsretter, patenter, varemerker og forretningshemmeligheter — men
+beskriver presist et sett med <span class="quote">«<span class="quote">eiendoms</span>»</span>-rettigheter –
+opphavsretter, patenter, varemerker og forretningshemmeligheter – men
egenskapene til disse rettighetene er svært forskjellige.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="mere-copyists"></a>Kapittel to: <span class="quote">«<span class="quote">Kun etterapere</span>»</span></h2></div></div></div><a class="indexterm" name="idp
7364912"></a><a class="indexterm" name="idxcameratechnology"></a><a class="indexterm" name="idxphotography"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="mere-copyists"></a>Kapittel to: <span class="quote">«<span class="quote">Kun etterapere</span>»</span></h2></div></div></div><a class="indexterm" name="idp
54369120"></a><a class="indexterm" name="idxcameratechnology"></a><a class="indexterm" name="idxphotography"></a><p>
<span class="strong"><strong>I 1839</strong></span> fant Louis Daguerre opp den første
praktiske teknologien for å produsere det vi ville kalle
<span class="quote">«<span class="quote">fotografier.</span>»</span> Rimelig nok ble de kalt
velstående amatører. (Det var til og med en amerikansk Daguerre-forening
som hjalp til med å regulere industrien, slik alle slike foreninger gjør,
ved å holde konkurransen ned slik at prisene var høye.)
-</p><a class="indexterm" name="idp
7370768"></a><p>
+</p><a class="indexterm" name="idp
54374976"></a><p>
Men til tross for høye priser var etterspørselen etter daguerreotyper
sterk. Dette inspirerte oppfinnere til å finne enklere og billigere måter å
lage <span class="quote">«<span class="quote">automatiske bilder.</span>»</span> William Talbot oppdaget snart en
Eastman utviklet bøyelig, emulsjonsbelagt papirfilm og plasserte ruller med
dette i små, enkle kameraer: Kodaken. Enheten ble markedsført med fokus på
dets enkelhet. <span class="quote">«<span class="quote">Du trykker på knappen og vi fikser
-resten.</span>»</span><a href="#ftn.idp7379808" class="footnote" name="idp7379808"><sup class="footnote">[26]</sup></a> Som han skrev i
+resten.</span>»</span><a href="#ftn.idp54384016" class="footnote" name="idp54384016"><sup class="footnote">[26]</sup></a> Som han skrev i
<em class="citetitle">The Kodak Primer</em>:
</p><div class="blockquote"><blockquote class="blockquote"><p>
Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan
et apparat som helt fjernet kravet om spesielt utstyr og fra
fotograferingspraksisen, og helt fjernet krav om spesiell kunnskap innen
kunstarten. Det kan tas i bruk uten forutgående studier, uten et mørkerom
-og uten kjemikalier.<a href="#ftn.idp6992800" class="footnote" name="idp6992800"><sup class="footnote">[27]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7385392"></a><p>
+og uten kjemikalier.<a href="#ftn.idp53984848" class="footnote" name="idp53984848"><sup class="footnote">[27]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
54389600"></a><p>
For 25 dollar kunne alle ta bilder. Det var allerede film i kameraet, og
når det var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen
ble fremkalt. Etter hvert, naturligvis, ble både kostnaden til kameraet og
lagt ut for salg i 1888, og et år senere trykket Kodak mer enn seks tusen
negativer om dagen. Fra 1888 til 1909, mens produksjonen i industrien
vokste med 4,7 prosent, økte salget av fotografisk utstyr og materiale med
-11 prosent.<a href="#ftn.idp7387392" class="footnote" name="idp7387392"><sup class="footnote">[28]</sup></a> Salget til Eastman Kodak
-opplevde i samme periode en årlig vekst på over 17 prosent.<a href="#ftn.idp7388352" class="footnote" name="idp7388352"><sup class="footnote">[29]</sup></a>
-</p><a class="indexterm" name="idp
7389248"></a><p>
+11 prosent.<a href="#ftn.idp54391600" class="footnote" name="idp54391600"><sup class="footnote">[28]</sup></a> Salget til Eastman Kodak
+opplevde i samme periode en årlig vekst på over 17 prosent.<a href="#ftn.idp54392560" class="footnote" name="idp54392560"><sup class="footnote">[29]</sup></a>
+</p><a class="indexterm" name="idp
54393456"></a><p>
Den virkelige betydningen av oppfinnelsen til Eastman var derimot ikke
gang tilbød fotoalbumet mannen i gata et permanent arkiv over hans familie
og dens aktiviteter. … For første gang i historien fantes det en
autentisk visuell oppføring av utseende og aktivitet til vanlige mennesker
-laget uten [skrivefør] tolkning eller forutinntatthet.</span>»</span><a href="#ftn.idp7391232" class="footnote" name="idp7391232"><sup class="footnote">[30]</sup></a>
-</p><a class="indexterm" name="idp
7393088"></a><a class="indexterm" name="idp7394064"></a><p>
+laget uten [skrivefør] tolkning eller forutinntatthet.</span>»</span><a href="#ftn.idp54395440" class="footnote" name="idp54395440"><sup class="footnote">[30]</sup></a>
+</p><a class="indexterm" name="idp
54397296"></a><a class="indexterm" name="idp54398192"></a><p>
På denne måten var Kodak-kameraet og film uttrykksteknologier. Blyanten og
malepenselen var selvfølgelig også en uttrykksteknologi. Men det tok årevis
med trening før de kunne bli brukt nyttig og effektivt av amatører. Med
kreativitetserfaring som Kodaken gjorde mulig. Demokratiske verktøy ga
vanlige folk en måte å uttrykke seg selv enklere enn noe annet verktøy kunne
ha gjort før.
-</p><a class="indexterm" name="idp
7397168"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
+</p><a class="indexterm" name="idp
54401216"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
Hva krevdes for at denne teknologien skulle blomstre? Eastmans genialitet
var åpenbart en viktig del. Men det juridiske miljøet som Eastmans
oppfinnelse vokste i var også viktig. For tidlig i historien til
fotografering, var det en rekke rettsavgjørelser som godt kunne ha endret
kursen til fotograferingen betydelig. Domstoler ble spurt om fotografen,
amatør eller profesjonell, måtte ha tillatelse før han kunne fange og trykke
-hvilket som helst bilde han ønsket. Svaret var nei.<a href="#ftn.idp7400672" class="footnote" name="idp7400672"><sup class="footnote">[31]</sup></a>
-</p><a class="indexterm" name="idp
7403872"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
+hvilket som helst bilde han ønsket. Svaret var nei.<a href="#ftn.idp54404720" class="footnote" name="idp54404720"><sup class="footnote">[31]</sup></a>
+</p><a class="indexterm" name="idp
54407920"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent
ut. Fotografen <span class="quote">«<span class="quote">tok</span>»</span> noe fra personen eller bygningen som ble
-fotografert — røvet til seg noe av verdi. Noen trodde til og med at
+fotografert – røvet til seg noe av verdi. Noen trodde til og med at
han tok motivets sjel. På samme måte som Disney ikke sto fritt til å ta
blyantene som hans animatører brukte for å tegne Mikke, så skulle heller
ikke disse fotografene stå fritt til å ta bilder som de fant verdi i.
-</p><a class="indexterm" name="idp
7409232"></a><a class="indexterm" name="idp7409984"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
+</p><a class="indexterm" name="idp
54413280"></a><a class="indexterm" name="idp54414032"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
På den andre siden var et argument som også bør være kjent. Joda, det var
kanskje noe av verdi som ble brukt. Men borgerne burde ha rett til å fange
i hvert fall de bildene som var tatt av offentlig område. (Louis Brandeis,
som senere ble høyesterettsjustitiarus, mente regelen skulle være annerledes
-for bilder tatt av private områder.<a href="#ftn.idp7412848" class="footnote" name="idp7412848"><sup class="footnote">[32]</sup></a>)
+for bilder tatt av private områder.<a href="#ftn.idp54416896" class="footnote" name="idp54416896"><sup class="footnote">[32]</sup></a>)
Det kan være at dette betyr at fotografen får noe for ingenting. På samme
måte som Disney kunne hente inspirasjon fra <em class="citetitle">Steamboat Bill,
Jr.</em>, eller Grimm-brødrene, så burde fotografene stå fritt til å
fange et bilde uten å kompensere kilden.
-</p><a class="indexterm" name="idp
7417024"></a><p>
-Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse
+</p><a class="indexterm" name="idp
54421072"></a><p>
+Heldigvis for Herr Eastman, og for fotografering generelt, gikk disse
tidligere avgjørelsene i favør av piratene. Generelt ble det ikke nødvendig
å sikre seg tillatelse før et bilde kunne tas og deles med andre. I stedet
var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven
ga etter en stund et unntak for berømte personer: kommersielle fotografer
som tok bilder av berømte personer for kommersielle formål har flere
begrensninger enn resten av oss. Men i det vanlige tilfellet kan bildet tas
-uten å klarere rettighetene for å ta det.<a href="#ftn.idp7419040" class="footnote" name="idp7419040"><sup class="footnote">[33]</sup></a>)
-</p><a class="indexterm" name="idp
7422320"></a><a class="indexterm" name="idp7423072"></a><p>
+uten å klarere rettighetene for å ta det.<a href="#ftn.idp54423088" class="footnote" name="idp54423088"><sup class="footnote">[33]</sup></a>)
+</p><a class="indexterm" name="idp
54426288"></a><a class="indexterm" name="idp54427040"></a><p>
Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven
hadde slått ut den andre veien. Hvis den hadde vært mot fotografen, da
ville fotografen måttet dokumentere at tillatelse var på plass. Kanskje
tillatelse ble vist frem før et selskap fremkalte bildene. Vi kan
forestille oss at et system blir utviklet for å legge frem slike
tillatelser.
-</p><a class="indexterm" name="idp
7426560"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp7428768"></a><a class="indexterm" name="idp7429856"></a><p>
+</p><a class="indexterm" name="idp
54430528"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp54432736"></a><a class="indexterm" name="idp54433744"></a><p>
svært vanskelig å se hvordan fotografering skulle ha blomstret slik det
gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det.
Fotografering ville eksistert. Det ville ha økt sin betydning over tid.
-Profesjonelle ville ha fortsatt å bruke teknologien slik de gjorde —
+Profesjonelle ville ha fortsatt å bruke teknologien slik de gjorde –
siden profesjonelle enklere kunne håndtert byrdene pålagt dem av
godkjenningssystemet. Men spredningen av fotografering til vanlige folk
ville aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det
ville uten tvil aldri vært realisert en slik vekst i demokratisk
uttrykksteknologi.
-</p><a class="indexterm" name="idp
7431456"></a><a class="indexterm" name="idp7434176"></a><a class="indexterm" name="idp7435152"></a><a class="indexterm" name="idp7436128"></a><a class="indexterm" name="idp7437104"></a><a class="indexterm" name="idxjustthink"></a><p>
+</p><a class="indexterm" name="idp
54435264"></a><a class="indexterm" name="idp54437984"></a><a class="indexterm" name="idp54438960"></a><a class="indexterm" name="idp54439936"></a><a class="indexterm" name="idp54440912"></a><a class="indexterm" name="idxjustthink"></a><p>
<span class="strong"><strong>Hvis du kjører</strong></span> gjennom området Presidio i
San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med
fargefulle og iøynefallende bilder, og logoen <span class="quote">«<span class="quote">Just Think!</span>»</span> i
og billigere. Kostnaden til et digitalt høykvalitets videosystem har falt
dramatisk. Som en analytiker omtalte det, <span class="quote">«<span class="quote">for fem år siden kostet et
godt sanntids redigeringssystem for digital video 25 000 dollar. I dag
-kan du få profesjonell kvalitet for 595 dollar.</span>»</span><a href="#ftn.idp7448176" class="footnote" name="idp7448176"><sup class="footnote">[34]</sup></a> Disse bussene er fylt med teknologi som ville
+kan du få profesjonell kvalitet for 595 dollar.</span>»</span><a href="#ftn.idp54451984" class="footnote" name="idp54451984"><sup class="footnote">[34]</sup></a> Disse bussene er fylt med teknologi som ville
kostet hundretusenvis av dollar for bare ti år siden. Og det er nå mulig å
forestille seg ikke bare slike busser, men klasserom rundt om i landet hvor
unger kan lære mer og mer av det lærerne kaller <span class="quote">«<span class="quote">lese- og
skriveferdigheter innen media.</span>»</span>
-</p><a class="indexterm" name="idp
7451712"></a><p>
+</p><a class="indexterm" name="idp
54455520"></a><p>
<span class="quote">«<span class="quote">Lese- og skriveferdigheter innen media,</span>»</span> som administrerende
å forstå, analysere og dekonstruere mediebilder. Dets mål er å gjøre [unger]
i stand til å forstå hvordan mediene fungerer, hvordan de er konstruert,
hvordan de blir levert, og hvordan folk bruker dem.</span>»</span>
-</p><a class="indexterm" name="idp
7455072"></a><p>
+</p><a class="indexterm" name="idp
54458800"></a><p>
Dette kan virke som en litt rar måte å tenke på <span class="quote">«<span class="quote">lese- og
-skriveferdigheter.</span>»</span> For de fleste handler lese- og skriveferdigheter
om å kunne lese og skrive. Folk med <span class="quote">«<span class="quote">lese- og
-skriveferdigheter</span>»</span> kjenner begreper som Faulkner og Hemingway, og
kan kjenne igjen delte infinitiver.
-</p><a class="indexterm" name="idp
7457824"></a><a class="indexterm" name="idp7458656"></a><a class="indexterm" name="idp7459472"></a><p>
+</p><a class="indexterm" name="idp
54461552"></a><a class="indexterm" name="idp54462384"></a><a class="indexterm" name="idp54463200"></a><p>
Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med
TV-reklamer i året, eller generelt mellom 20 000 og 45 000
-reklameinnslag,<a href="#ftn.idp7461152" class="footnote" name="idp7461152"><sup class="footnote">[35]</sup></a> så er det mer og mer
+reklameinnslag,<a href="#ftn.idp54464880" class="footnote" name="idp54464880"><sup class="footnote">[35]</sup></a> så er det mer og mer
viktig å forstå <span class="quote">«<span class="quote">grammatikken</span>»</span> i medieinnslag. For på samme
måte som det er en grammatikk for det skrevne ord, så er det også en for
media. Og akkurat slik som unger lærer å skrive ved å skrive masse grusom
prosa, så lærer unger å skrive media ved å konstruere en masse (i hvert fall
-i begynnelsen) grusome medieinnslag.
+i begynnelsen) grusomme medieinnslag.
</p><p>
Et voksende felt av akademikere og aktivister ser denne formen for lese- og
skriveferdighet som avgjørende for den neste generasjonen av kultur. For
-selv om de som har skrevet forstår hvor vanskelig det er å skrive —
+selv om de som har skrevet forstår hvor vanskelig det er å skrive –
hvor vanskelig det er å bestemme rekkefølge i historien, å holde på
oppmerksomheten hos leseren, å forme språket slik at det er forståelig
-— så har få av oss en reell følelse av hvor vanskelig medier er. Eller
+– så har få av oss en reell følelse av hvor vanskelig medier er. Eller
mer fundamentalt, de færreste av oss har en følelse for hvordan media
fungerer, hvordan det holder på publikum, eller leder leseren gjennom
historien, hvordan det utløser følelser eller bygger opp spenningen.
-</p><a class="indexterm" name="idp
7453424"></a><p>
+</p><a class="indexterm" name="idp
54468448"></a><p>
Det tok filmkunsten en generasjon før den kunne gjøre disse tingene bra.
Men selv da, så var kunnskapen i filmingen, ikke i å skrive om filmen.
Ferdigheten kom fra erfaring med å lage en film, ikke fra å lese en bok om
den. En lærer å skrive ved å skrive, og deretter reflektere over det en har
skrevet. En lærer å skrive med bilder ved å lage dem, og deretter
reflektere over det en har laget.
-</p><a class="indexterm" name="idxdaleyelizabeth"></a><a class="indexterm" name="idp
7469536"></a><p>
+</p><a class="indexterm" name="idxdaleyelizabeth"></a><a class="indexterm" name="idp
54473264"></a><p>
Denne grammatikken har endret seg etter hvert som media har endret seg. Da
det kun var film, som Elizabeth Daley, administrerende direktør ved
-Universitetet i Sør-Califorias Anneberg-senter for kommunkasjon og rektor
+Universitetet i Sør-Califorias Anneberg-senter for kommunikasjon og rektor
ved USC skole for kino og TV, forklarte for meg, var grammatikken om
<span class="quote">«<span class="quote">plasseringen av objekter, farger, … rytme, skritt og
-tekstur.</span>»</span><a href="#ftn.idp7454320" class="footnote" name="idp7454320"><sup class="footnote">[36]</sup></a> Men etter hvert som
+tekstur.</span>»</span><a href="#ftn.idp54458048" class="footnote" name="idp54458048"><sup class="footnote">[36]</sup></a> Men etter hvert som
datamaskiner åpner opp et interaktivt rom hvor en historie blir
-<span class="quote">«<span class="quote">fremført</span>»</span> i tillegg til opplevd, endrer gramatikken seg. Den
+<span class="quote">«<span class="quote">fremført</span>»</span> i tillegg til opplevd, endrer grammatikken seg. Den
enkle kontrollen til fortellerstemmen er forsvunnet, og dermed er andre
teknikker nødvendig. Forfatter Michael Crichton hadde mestret
fortellerstemmen til science fiction, men da han forsøkte å lage et
dataspill basert på et av sine verk, så var det et nytt håndverk han måtte
lære. Det var ikke åpenbart hvordan en leder folk gjennom et spill uten at
de får følelsen av å ha blitt ledet, selv for en svært vellykket
-forfatter.<a href="#ftn.idp7475520" class="footnote" name="idp7475520"><sup class="footnote">[37]</sup></a>
-</p><a class="indexterm" name="idp
7478432"></a><p>
+forfatter.<a href="#ftn.idp54479248" class="footnote" name="idp54479248"><sup class="footnote">[37]</sup></a>
+</p><a class="indexterm" name="idp
54482160"></a><p>
Akkurat denne ferdigheten er håndverket en lærer til de som lager
filmer. Som Daley skriver, <span class="quote">«<span class="quote">folk er svært overrasket over hvordan de
blir ledet gjennom en film. Den er perfekt konstruert for å hindre deg fra
ikke at du har vært ledet.</span>»</span> Hvis du vet at du ble ledet igjennom en
film, så har filmen feilet.
</p><p>
-Likevel er innsatsen for å utvide lese- og skriveferdigheter — som går
-ut over tekst til å også ta med elementer som høres og ses —h andler
+Likevel handler innsatsen for å utvide lese- og skriveferdigheter –
+som går ut over tekst til å også ta med elementer som høres og ses –
ikke om å skape bedre filmregissører. Målet er ikke å forbedre
filmprofesjonen i det hele tatt. I stedet, som Daley forklarer:
</p><div class="blockquote"><blockquote class="blockquote"><p>
verktøyene som gir skriving mulighet til å veilede eller villede. Målet med
enhver lese- og skriveferdighet, og denne lese- og skriveferdigheten
spesielt, er å <span class="quote">«<span class="quote">gi folket makt til å velge det språket som passer for
-det de trenger å lage eller uttrykke.</span>»</span><a href="#ftn.idp7485712" class="footnote" name="idp7485712"><sup class="footnote">[38]</sup></a> Det gir studenter mulighet <span class="quote">«<span class="quote">til å kommunisere i språket til
-det tjueførste århundret.</span>»</span><a href="#ftn.idp7488016" class="footnote" name="idp7488016"><sup class="footnote">[39]</sup></a>
+det de trenger å lage eller uttrykke.</span>»</span><a href="#ftn.idp54489296" class="footnote" name="idp54489296"><sup class="footnote">[38]</sup></a> Det gir studenter mulighet <span class="quote">«<span class="quote">til å kommunisere i språket til
+det tjueførste århundret.</span>»</span><a href="#ftn.idp54491600" class="footnote" name="idp54491600"><sup class="footnote">[39]</sup></a>
</p><a class="indexterm" name="idxbarishstephanie"></a><p>
Som med ethvert annet språk, læres dette språket lettere for noen enn for
andre. Det kommer ikke nødvendigvis lettere for dem som gjør det godt
skriftlig. Daley og Stephanie Barish, direktør for Institutt for lese- og
-skriveferdigeter innen Multimedia ved Annenberg-senteret, beskriver et
+skriveferdigheter innen Multimedia ved Annenberg-senteret, beskriver et
spesielt sterkt eksempel fra et prosjekt de gjennomførte i en videregående
skole. Den videregående skolen var en veldig fattig skole i den indre byen
i Los Angeles. Etter alle tradisjonelle måleenheter for suksess var denne
skolen en fiasko, men Daley og Barish gjennomførte et program som ga ungene
en mulighet til å bruke film til å uttrykke sine meninger om noe som
-studentene kjente godt til — våpen-relatert vold.
-</p><a class="indexterm" name="idp
7492000"></a><p>
+studentene kjente godt til – våpen-relatert vold.
+</p><a class="indexterm" name="idp
54495584"></a><p>
Klassen møttes fredag ettermiddag, og skapte et relativt nytt problem for
skolen. Mens utfordringen i de fleste klasser var å få ungene til å dukke
opp, var utfordringen for denne klassen å holde dem unna. <span class="quote">«<span class="quote">Ungene
dukket opp 06:00, og dro igjen 05:00 på natta,</span>»</span> sa Barish. De jobbet
-hardere enn i noen annen klasse for å gjøre det utdanning burde handle om
-— å lære hvordan de skulle uttrykke seg.
+hardere enn i noen andre fag for å gjøre det utdanning burde handle om
+– å lære hvordan de skulle uttrykke seg.
</p><p>
Ved å bruke hva som helst av <span class="quote">«<span class="quote">fritt tilgjengelig web-stoff de kunne
finne,</span>»</span> og relativt enkle verktøy som gjorde det mulig for ungene å
ellers ville forstå. Dette var et tema veldig nært livene til disse
studentene. Prosjektet <span class="quote">«<span class="quote">ga dem et verktøy, og bemyndiget dem slik at
de både ble i stand til å forstå det og snakke om det,</span>»</span> forklarer
-Barish. Dette verktøyet lyktes med å skape uttrykk — mye mer
+Barish. Dette verktøyet lyktes med å skape uttrykk – mye mer
vellykket og kraftfylt enn noe som hadde blitt laget ved å kun bruke tekst.
<span class="quote">«<span class="quote">Hvis du hadde sagt til disse studentene at <span class="quote">‘<span class="quote">du må gjøre dette i
tekstform</span>’</span>, så hadde de bare kastet hendene i været og gått og gjort
tekstform en form som kan uttrykke <span class="emphasis"><em>disse</em></span> idéene godt.
Kraften i dette budskapet var avhenging av hvordan det hang sammen med
uttrykksformen.
-</p><a class="indexterm" name="idp
7499520"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
+</p><a class="indexterm" name="idp
54503104"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
Utdanning, forklarer Daley, handler om å gi studentene en måte å
<span class="quote">«<span class="quote">konstruere mening.</span>»</span> Å si at det kun betyr skriving, er som å
si at å lære bort skriving kun handler om å lære ungene å
-stave. Tekstforming er bare en del — og i større grad ikke den
-viktigste delen — for å konstruere mening. Som Daley forklarte i den
+stave. Tekstforming er bare en del – og i større grad ikke den
+viktigste delen – for å konstruere mening. Som Daley forklarte i den
mest rørende delen av vårt intervju:
</p><div class="blockquote"><blockquote class="blockquote"><p>
Det du ønsker er å gi disse studentene er en måte å konstruere mening. Hvis
en liten film.</span>»</span> Men i stedet, virkelig hjelpe ungen å ta disse
elementene som ungen forstår, som er vedkommendes språk, og konstruer mening
om temaet. …
-</p><a class="indexterm" name="idp
7507680"></a><p>
+</p><a class="indexterm" name="idp
54511264"></a><p>
Dette gir enorm opplevelse av makt. Og det som skjer til slutt,
selvfølgelig, som det har skjedd i alle disse klassene, er at de stopper opp
når de treffer faktumet <span class="quote">«<span class="quote">jeg trenger å forklare dette, og da trenger
noe, i motsetning til å kun danse etter din pipe. De trengte faktisk å
bruke det språket de ikke håndterte veldig bra. Men de hadde begynt å
forstå at de hadde mye gjennomslagskraft med dette språket.
-</p></blockquote></div><a class="indexterm" name="idp
7511840"></a><a class="indexterm" name="idp7512816"></a><a class="indexterm" name="idp7513792"></a><a class="indexterm" name="idp7514768"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp7516976"></a><a class="indexterm" name="idxnewscoverage"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
54515040"></a><a class="indexterm" name="idp54516016"></a><a class="indexterm" name="idp54516992"></a><a class="indexterm" name="idp54517968"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp54520176"></a><a class="indexterm" name="idxnewscoverage"></a><p>
<span class="strong"><strong>Da to fly</strong></span> krasjet inn i World Trade
Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i
Pennsylvania, snudde alle medier verden rundt seg mot denne nyheten. Hvert
<span class="quote">«<span class="quote">balanse</span>»</span> og seriøsitet. Dette var nyheter koreografert slik
vi i stadig større grad forventer det, <span class="quote">«<span class="quote">nyheter som
underholdning,</span>»</span> selv om underholdningen er en tragedie.
-</p><a class="indexterm" name="idp
7522736"></a><a class="indexterm" name="idp7523488"></a><p>
+</p><a class="indexterm" name="idp
54525936"></a><a class="indexterm" name="idp54526688"></a><a class="indexterm" name="idp54527440"></a><a class="indexterm" name="idp54528192"></a><a class="indexterm" name="idxinternetnewseventson"></a><p>
Men i tillegg til disse produserte nyhetene om <span class="quote">«<span class="quote">tragedien
11. september,</span>»</span> kunne de av oss som er knyttet til Internett se en
svært annerledes produksjon. Internett er fullt av fortellinger om de samme
begrepet i sin bok <em class="citetitle">Cyber Rights</em>, rundt en
nyhetshendelse som hadde fanget oppmerksomheten til hele verden. Det var
ABC og CBS, men det var også Internett.
-</p><a class="indexterm" name="idp
7526384"></a><p>
+</p><a class="indexterm" name="idp
54532576"></a><p>
-Det er ikke så enkelt som at jeg ønsker å lovprise Internett — selv om
+Det er ikke så enkelt som at jeg ønsker å lovprise Internett – selv om
jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg
ønsker i stedet å peke på viktigheten av denne formen for tale. For på
samme måte som en Kodak, gjør Internett folk i stand til å fange bilder. Og
Men i motsetning til en hvilken som helst teknologi for å enkelt fange
bilder, tillater Internett at en nesten umiddelbart deler disse kreasjonene
med et ekstraordinært antall menesker. Dette er noe nytt i vår tradisjon
-— ikke bare kan kultur fanges inn mekanisk, og åpenbart heller ikke at
+– ikke bare kan kultur fanges inn mekanisk, og åpenbart heller ikke at
hendelser blir kommentert kritisk, men at denne blandingen av bilder, lyd
og kommentar kan spres vidt omkring nesten umiddelbart.
-</p><a class="indexterm" name="idp
7529552"></a><a class="indexterm" name="idxblogsweblogs"></a><a class="indexterm" name="idxinternetblogson"></a><a class="indexterm" name="idxweblogsblogs"></a><p>
+</p><a class="indexterm" name="idp
54535744"></a><a class="indexterm" name="idxblogsweblogs"></a><a class="indexterm" name="idxinternetblogson"></a><a class="indexterm" name="idxweblogsblogs"></a><p>
11. september var ikke et avvik. Det var en start. Omtrent på samme tid
-begynte en form for kommunkasjon, som hadde vokst dramatisk, å komme inn i
+begynte en form for kommunikasjon, som hadde vokst dramatisk, å komme inn i
offentlig bevissthet: web-loggen, eller blogg. Bloggen er en slags
offentlig dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig
lik en dagbok. I disse kulturene registrerer den private fakta på en
-offentlig måte — det er en slags elektronisk <em class="citetitle">Jerry
+offentlig måte – det er en slags elektronisk <em class="citetitle">Jerry
Springer</em>, tilgjengelig overalt i verden.
-</p><a class="indexterm" name="idp
7536608"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
+</p><a class="indexterm" name="idp
54542816"></a><a class="indexterm" name="idp54543792"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
Men i USA har blogger inntatt en svært annerledes karakter. Det er noen som
bruker denne plassen til å snakke om sitt private liv. Men det er mange som
bruker denne plassen til å delta i offentlig debatt. Diskuterer saker av
at disse valgene teller. Et relativt lite antall mennesker stemmer i disse
valgene. Syklusen med disse valgene har blitt totalt profesjonalisert og
rutinepreget. De fleste av oss tenker på dette som demokrati.
-</p><a class="indexterm" name="idp
7546656"></a><a class="indexterm" name="idp7547632"></a><a class="indexterm" name="idp7548608"></a><a class="indexterm" name="idp7549584"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp7551824"></a><p>
+</p><a class="indexterm" name="idp
54553680"></a><a class="indexterm" name="idp54554656"></a><a class="indexterm" name="idp54555632"></a><a class="indexterm" name="idp54556608"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp54558848"></a><p>
Men demokrati har aldri kun handlet om å gjennomføre valg. Demokrati betyr
at folket styrer, og å styre betyr noe mer enn å kunne velge. I vår
tradisjon betyr det også kontroll gjennom gjennomtenkt meningsbrytning.
Dette var idéen som fanget fantasien til Alexis de Tocqueville, den franske
nittenhundretalls-advokaten som skrev den viktigste historien om det tidlige
<span class="quote">«<span class="quote">demokratiet i Amerika.</span>»</span> Det var ikke allmenn stemmerett som
-fascinerte han — det var juryen, en institusjon som ga vanlige folk
+fascinerte han – det var juryen, en institusjon som ga vanlige folk
retten til å velge mellom liv og død over andre borgere. Og det som
fascinerte ham mest var at juryen ikke bare stemte over hvilket resultat de
ville legge frem. De diskuterte. Medlemmene argumenterte om hva som var
<span class="quote">«<span class="quote">riktig</span>»</span> resultat, de forsøkte å overbevise hverandre om
<span class="quote">«<span class="quote">riktig</span>»</span> resultat, og i hvert fall i kriminalsaker måtte de bli
enige om et enstemmig resultat for at prosessen skulle
-avsluttes.<a href="#ftn.idp7555728" class="footnote" name="idp7555728"><sup class="footnote">[40]</sup></a>
-</p><a class="indexterm" name="idp
7557088"></a><p>
+avsluttes.<a href="#ftn.idp54562752" class="footnote" name="idp54562752"><sup class="footnote">[40]</sup></a>
+</p><a class="indexterm" name="idp
54564112"></a><p>
Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det
ingen systematisk innsats for å gjøre borger-diskusjon mulig. Noen gjør en
-innsats for å lage en slik institusjon.<a href="#ftn.idp7558736" class="footnote" name="idp7558736"><sup class="footnote">[41]</sup></a>
+innsats for å lage en slik institusjon.<a href="#ftn.idp54565760" class="footnote" name="idp54565760"><sup class="footnote">[41]</sup></a>
Og i noen landsbyer i New England er det noe som ligner på diskusjon igjen.
Men for de fleste av oss det meste av tiden, mangler det tid og sted for å
gjennomføre <span class="quote">«<span class="quote">demokratisk diskusjon.</span>»</span>
mot å diskutere politikk. Det er greit å diskutere politikk med folk du er
enig med, men det er uhøflig å diskutere politikk med folk du er uenig med.
Politisk debatt blir isolert, og isolert diskusjon blir mer
-ekstrem.<a href="#ftn.idp7563392" class="footnote" name="idp7563392"><sup class="footnote">[42]</sup></a> Vi sier det våre venner vil
+ekstrem.<a href="#ftn.idp54570416" class="footnote" name="idp54570416"><sup class="footnote">[42]</sup></a> Vi sier det våre venner vil
høre, og hører veldig lite utenom hva våre venner sier.
-</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="idp
7566192"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp7569664"></a><a class="indexterm" name="idp7570640"></a><a class="indexterm" name="idp7571616"></a><p>
+</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="idp
54573120"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp54576592"></a><a class="indexterm" name="idp54577568"></a><a class="indexterm" name="idp54578544"></a><p>
Så kommer bloggen. Selve bloggens arkitektur løser en del av dette
problemet. Folk publiserer det de ønsker å publisere, og folk leser det de
ønsker å lese. Den vanskeligste tiden er synkron tid. Teknologier som
-muliggjør asynkron kommunasjon, slik som e-post, øker muligheten for
+muliggjør asynkron kommunikasjon, slik som e-post, øker muligheten for
kommunikasjon. Blogger gjør det mulig med offentlig debatt uten at folket
noen gang trenger å samle seg på et enkelt offentlig sted.
</p><p>
(libertarian), men det er mange av alle politiske farger. Til og med
blogger som ikke er politiske dekker politiske temaer når anledningen krever
det.
-</p><a class="indexterm" name="idp
7574944"></a><p>
+</p><a class="indexterm" name="idp
54581872"></a><p>
Betydningene av disse bloggene er liten nå, men ikke ubetydelig. Navnet
Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen,
bortsett fra hos noen få blogger. Men selv om antallet lesere er lavt, så
har det å lese dem en effekt.
-</p><a class="indexterm" name="idp
7576592"></a><a class="indexterm" name="idp7577344"></a><a class="indexterm" name="idxmediablogpressureon"></a><a class="indexterm" name="idxinternetnewseventson2"></a><p>
+</p><a class="indexterm" name="idp
54583520"></a><a class="indexterm" name="idp54584272"></a><a class="indexterm" name="idxmediablogpressureon"></a><a class="indexterm" name="idxinternetnewseventson2"></a><p>
En direkte effekt er på historier som hadde en annerledes livssyklus i de
store mediene. Trend Lott-affæren er et eksempel. Da Lott <span class="quote">«<span class="quote">sa
feil</span>»</span> på en fest for senator Storm Thurmond, og essensielt lovpriste
Bloggerne fortsatte å undersøke historien. Etter hvert dukket flere og
flere tilfeller av tilsvarende <span class="quote">«<span class="quote">feiluttalelser</span>»</span> opp. Så dukket
historien opp igjen hos de store mediene. Lott ble til slutt tvunget til å
-trekke seg som flertallsleder i senatet.<a href="#ftn.idp7583296" class="footnote" name="idp7583296"><sup class="footnote">[43]</sup></a>
+trekke seg som flertallsleder i senatet.<a href="#ftn.idp54590224" class="footnote" name="idp54590224"><sup class="footnote">[43]</sup></a>
</p><a class="indexterm" name="idxmediacommercialimperativesof"></a><p>
Denne annerledes syklusen er mulig på grunn av at et tilsvarende kommersielt
press ikke eksisterer hos blogger slik det gjør hos andre kanaler. TV og
aviser er kommersielle aktører. De må arbeide for å holde på
oppmerksomheten. Hvis de mister lesere, så mister de inntekter. Som haier,
må de bevege seg videre.
-</p><a class="indexterm" name="idp
7587120"></a><a class="indexterm" name="idp7588096"></a><p>
+</p><a class="indexterm" name="idp
54594048"></a><a class="indexterm" name="idp54595024"></a><p>
Men bloggere har ikke tilsvarende begrensninger. De kan bli opphengt, de
kan fokusere, de kan bli seriøse. Hvis en bestemt blogger skriver en
spesielt interessant historie, så vil flere og flere folk lenke til den
så stiger den i rangeringen for historier. Folk leser det som er populært,
og det som er populært har blitt valgt gjennom en svært demokratisk prosess
av likemanns-generert rangering.
-</p><a class="indexterm" name="idp
7590320"></a><a class="indexterm" name="idxjournalism"></a><a class="indexterm" name="idxwinerdave"></a><p>
+</p><a class="indexterm" name="idp
54597248"></a><a class="indexterm" name="idxjournalism"></a><a class="indexterm" name="idxwinerdave"></a><p>
Det er også en annen måte, hvor blogger har en annen syklus enn de store
mediene. Som Dave Winer, en av fedrene til denne bevegelsen og en
meg. <span class="quote">«<span class="quote">En amatørjournalist har ganske enkelt ikke interessekonflikt,
eller interessekonflikten er så enkelt å avsløre at du på en måte vet du kan
rydde den av veien.</span>»</span>
-</p><a class="indexterm" name="idp
7596496"></a><a class="indexterm" name="idp7597248"></a><a class="indexterm" name="idp7598256"></a><a class="indexterm" name="idp7599008"></a><p>
+</p><a class="indexterm" name="idp
54603328"></a><a class="indexterm" name="idp54604080"></a><a class="indexterm" name="idp54605088"></a><a class="indexterm" name="idp54605840"></a><p>
Disse konfliktene blir mer viktig etter hvert som mediene blir mer
sentralstyrt (mer om dette under). Konsentrerte medier kan skjule mer fra
-offentligheten enn ikke-konsentrerte medier kan — slik CNN innrømte at
+offentligheten enn ikke-konsentrerte medier kan – slik CNN innrømte at
de gjorde etter Irak-krigen fordi de var redd for konsekvensene for sine
-egne ansatte.<a href="#ftn.idp7553920" class="footnote" name="idp7553920"><sup class="footnote">[44]</sup></a> De trenger også å
+egne ansatte.<a href="#ftn.idp54571440" class="footnote" name="idp54571440"><sup class="footnote">[44]</sup></a> De trenger også å
opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste
jeg en melding på Internett fra noen som på det tidspunktet lyttet på
satellitt-forbindelsen til en reporter i Irak. New York-hovedkvarteret
Hun måtte tilby en mer optimistisk historie. Når hun fortalte New York at
det ikke var grunnlag for det, fortalte de henne at det var
<span class="emphasis"><em>de</em></span> som skrev <span class="quote">«<span class="quote">historien.</span>»</span>)
-</p><a class="indexterm" name="idp
7603280"></a><p>
-Bloggsfæren gir amatører en måte å bli med i debatten —
+</p><a class="indexterm" name="idp
54610112"></a><p>
+Bloggsfæren gir amatører en måte å bli med i debatten –
<span class="quote">«<span class="quote">amatør</span>»</span> ikke i betydningen uerfaren, men i betydningen av en
olympisk atlet, det vil si ikke betalt av noen for å komme med deres
rapport. Det tillater en mye bredere rekke av innspill til en historie,
slik rapporteringen av Columbia-katastrofen avdekket, når hundrevis fra hele
sørvestlige USA vendte seg til Internett for å gjenfortelle hva de hadde
-sett.<a href="#ftn.idp7605744" class="footnote" name="idp7605744"><sup class="footnote">[45]</sup></a> Og det får lesere til å lese på
+sett.<a href="#ftn.idp54612576" class="footnote" name="idp54612576"><sup class="footnote">[45]</sup></a> Og det får lesere til å lese på
tvers av en rekke fortellinger og <span class="quote">«<span class="quote">triangulere,</span>»</span> som Winer
formulerer det, sannheten. Blogger, sier Winer, <span class="quote">«<span class="quote">kommuniserer direkte
-med vår velgermasse, og mellommannen er fjernet</span>»</span> — med alle de
+med vår velgermasse, og mellommannen er fjernet</span>»</span> – med alle de
fordeler og ulemper det kan føre med seg.
</p><p>
Winer er optimistisk når det gjelder en journalistfremtid infisert av
blogger. <span class="quote">«<span class="quote">Det kommer til å bli en nødvendig ferdighet,</span>»</span> spår
Winer, for offentlige aktører og også i større grad for private aktører.
-Det er ikke klart at <span class="quote">«<span class="quote">journalismen</span>»</span> er glad for dette —
-noen journalister har blitt bedt om å kutte ut sin blogging.<a href="#ftn.idp7609536" class="footnote" name="idp7609536"><sup class="footnote">[46]</sup></a> Men det er klart at vi fortsatt er i en
+Det er ikke klart at <span class="quote">«<span class="quote">journalismen</span>»</span> er glad for dette –
+noen journalister har blitt bedt om å kutte ut sin blogging.<a href="#ftn.idp54616368" class="footnote" name="idp54616368"><sup class="footnote">[46]</sup></a> Men det er klart at vi fortsatt er i en
overgangsfase. <span class="quote">«<span class="quote">Mye av det vi gjør nå er oppvarmingsøvelser,</span>»</span>
fortalte Winer meg. Det er mye som må modne før dette feltet har modnet
ferdig. Og etter som inkludering av innhold på dette feltet er det feltet
med minst opphavsrettsbrudd på Internett, sa Winer at <span class="quote">«<span class="quote">vi vil være den
siste tingen som blir skutt ned.</span>»</span>
-</p><a class="indexterm" name="idp
7619760"></a><p>
+</p><a class="indexterm" name="idp
54626592"></a><p>
Slik tale påvirker demokratiet. Winer mener dette skjer fordi <span class="quote">«<span class="quote">du
trenger ikke jobber til noen som kontrollerer, [til] en portvokter.</span>»</span>
Det er sant. Men det påvirker demokratiet også på en annen måte. Etter
demokratiet. I dag er det antagelig et par millioner blogger der det
skrives på denne måten. Når det er ti millioner, så vil det være noe
ekstraordinært å rapportere.
-</p><a class="indexterm" name="idp
7623376"></a><a class="indexterm" name="idp7624352"></a><a class="indexterm" name="idp7625328"></a><a class="indexterm" name="idp7626304"></a><a class="indexterm" name="idp7627280"></a><a class="indexterm" name="idp7628256"></a><a class="indexterm" name="idp7629232"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
+</p><a class="indexterm" name="idp
54630208"></a><a class="indexterm" name="idp54631184"></a><a class="indexterm" name="idp54632160"></a><a class="indexterm" name="idp54633136"></a><a class="indexterm" name="idp54634112"></a><a class="indexterm" name="idp54635088"></a><a class="indexterm" name="idp54636064"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
<span class="strong"><strong>John Seely Brown</strong></span> er sjefsforsker ved
Xerox Corporation. Hans arbeid, ifølge hans eget nettsted, er
<span class="quote">«<span class="quote">menneskelig læring og … å skape kunnskapsøkologier for å skape
Brown tror vi lærer med å fikle. Da <span class="quote">«<span class="quote">mange av oss vokste opp,</span>»</span>
forklarer han, ble fiklingen gjort <span class="quote">«<span class="quote">på motorsykkelmotorer,
gressklippermotorer, biler, radioer og så videre.</span>»</span> Men digitale
-teknologier muliggjør en annen type fikling — med abstrakte idéer i
+teknologier muliggjør en annen type fikling – med abstrakte idéer i
sin konkrete form. Ungene i Just Think! tenker ikke bare på hvordan et
reklameinnslag fremstiller en politiker. Ved å bruke digital teknologi kan
de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og
løs en frifotomontasje til fellesskapet, slik at andre folk kan begynne å se
på koden din, fikle med den, teste den, se om de kan forbedre den.</span>»</span>
Og hver innsats er en slags læretid. <span class="quote">«<span class="quote">Åpen kildekode blir en stor
-lærlingsplatform.</span>»</span>
+lærlingsplattform.</span>»</span>
</p><p>
I denne prosessen, <span class="quote">«<span class="quote">er de konkrete tingene du fikler med abstrakte. De
er kildekode.</span>»</span> Unger <span class="quote">«<span class="quote">endres til å få evnen til å fikle med
det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du
-gjør i garasjen din. Du fikler med en fellesskapsplatform. … Du
+gjør i garasjen din. Du fikler med en fellesskapsplattform. … Du
fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer
du.</span>»</span> Jo mer du forbedrer, jo mer lærer du.
</p><p>
musikalsk, at du er kunstnerisk, du er visuell, at du er interessert i film
… da er det en masse du kan gå i gang med på dette mediet. Det kan
fremme og ta hensyn til alle disse formene for intelligens.</span>»</span>
-</p><a class="indexterm" name="idp
7645936"></a><a class="indexterm" name="idp7646912"></a><p>
+</p><a class="indexterm" name="idp
54652880"></a><a class="indexterm" name="idp54653744"></a><p>
Brown snakker om hva Elizabeth Daley, Stephanie Barish og Just Think! lærer
bort: at denne fiklingen med kultur lærer bort såvel som at den skaper. Den
kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>) har
utviklet et kraftig argument til fordel for <span class="quote">«<span class="quote">retten til å
fikle</span>»</span> slik det gjøres i informatikk og til kunnskap
-generelt.<a href="#ftn.idp7651504" class="footnote" name="idp7651504"><sup class="footnote">[47]</sup></a> Men bekymringen til Brown er
+generelt.<a href="#ftn.idp54658336" class="footnote" name="idp54658336"><sup class="footnote">[47]</sup></a> Men bekymringen til Brown er
tidligere, og mer fundamentalt. Det handler om hva slags læring unger kan
få, eller ikke kan få, på grunn av loven.
</p><p>
undertrykker den naturlige tendensen i dagens digitale unger. … Vi
bygger en arkitektur som frigjør 60 prosent av hjernen [og] et juridisk
system som stenger ned den delen av hjernen.</span>»</span>
-</p><a class="indexterm" name="idp7656928"></a><p>
+</p><p>
Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige
bilder og lyd, og legger inn plass for kommentarer, og en mulighet til å
spre denne kreativiteten over alt. Men vi bygger loven for å stenge ned
denne teknologien.
-</p><p>
+</p><a class="indexterm" name="idp54664640"></a><a class="indexterm" name="idp54665392"></a><p>
<span class="quote">«<span class="quote">Ikke måten å styre en kultur på,</span>»</span> sa Brewster Kahle, som vi
møtte i kapittel <a class="xref" href="#collectors" title="Kapittel ni: Samlere">9</a>, kommenterte til meg i et sjeldent øyeblikk av
nedstemthet.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7379808" class="footnote"><p><a href="#idp7379808" class="para"><sup class="para">[26] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp54384016" class="footnote"><p><a href="#idp54384016" class="para"><sup class="para">[26] </sup></a>
Reese V. Jenkins, <em class="citetitle">Images and Enterprise</em> (Baltimore:
Johns Hopkins University Press, 1975), 112.
-</p></div><div id="ftn.idp6992800" class="footnote"><p><a href="#idp6992800" class="para"><sup class="para">[27] </sup></a>
+</p></div><div id="ftn.idp53984848" class="footnote"><p><a href="#idp53984848" class="para"><sup class="para">[27] </sup></a>
-<a class="indexterm" name="idp7383616"></a> Brian Coe, <em class="citetitle">The Birth of
+<a class="indexterm" name="idp54387824"></a> Brian Coe, <em class="citetitle">The Birth of
Photography</em> (New York: Taplinger Publishing, 1977), 53.
-</p></div><div id="ftn.idp7387392" class="footnote"><p><a href="#idp7387392" class="para"><sup class="para">[28] </sup></a>
+</p></div><div id="ftn.idp54391600" class="footnote"><p><a href="#idp54391600" class="para"><sup class="para">[28] </sup></a>
Jenkins, 177.
-</p></div><div id="ftn.idp7388352" class="footnote"><p><a href="#idp7388352" class="para"><sup class="para">[29] </sup></a>
+</p></div><div id="ftn.idp54392560" class="footnote"><p><a href="#idp54392560" class="para"><sup class="para">[29] </sup></a>
Basert på et diagram i Jenkins, s. 178.
-</p></div><div id="ftn.idp7391232" class="footnote"><p><a href="#idp7391232" class="para"><sup class="para">[30] </sup></a>
+</p></div><div id="ftn.idp54395440" class="footnote"><p><a href="#idp54395440" class="para"><sup class="para">[30] </sup></a>
Coe, 58.
-</p></div><div id="ftn.idp7400672" class="footnote"><p><a href="#idp7400672" class="para"><sup class="para">[31] </sup></a>
+</p></div><div id="ftn.idp54404720" class="footnote"><p><a href="#idp54404720" class="para"><sup class="para">[31] </sup></a>
For illustrerende saker, se for eksempel, <em class="citetitle">Pavesich</em>
<em class="citetitle">Foster-Milburn Co</em>. mot <em class="citetitle">Chinn</em>,
123090 S.W. 364, 366 (Ky. 1909); <em class="citetitle">Corliss</em> mot
<em class="citetitle">Walker</em>, 64 F. 280 (Mass. Dist. Ct. 1894).
-</p></div><div id="ftn.idp7412848" class="footnote"><p><a href="#idp7412848" class="para"><sup class="para">[32] </sup></a>
+</p></div><div id="ftn.idp54416896" class="footnote"><p><a href="#idp54416896" class="para"><sup class="para">[32] </sup></a>
Samuel D. Warren og Louis D. Brandeis, <span class="quote">«<span class="quote">The Right to Privacy,</span>»</span>
-<em class="citetitle">Harvard Law Review</em> 4 (1890): 193. <a class="indexterm" name="idp7414128"></a> <a class="indexterm" name="idp7415136"></a>
-</p></div><div id="ftn.idp7419040" class="footnote"><p><a href="#idp7419040" class="para"><sup class="para">[33] </sup></a>
+<em class="citetitle">Harvard Law Review</em> 4 (1890): 193. <a class="indexterm" name="idp54418176"></a> <a class="indexterm" name="idp54419184"></a>
+</p></div><div id="ftn.idp54423088" class="footnote"><p><a href="#idp54423088" class="para"><sup class="para">[33] </sup></a>
Se Melville B. Nimmer, <span class="quote">«<span class="quote">The Right of Publicity,</span>»</span> <em class="citetitle">Law
(1960) 398–407; <em class="citetitle">White</em> mot <em class="citetitle">Samsung
Electronics America, Inc</em>., 971 F. 2d 1395 (9th Cir. 1992),
sert. nektet, 508 U.S. 951 (1993).
-</p></div><div id="ftn.idp7448176" class="footnote"><p><a href="#idp7448176" class="para"><sup class="para">[34] </sup></a>
+</p></div><div id="ftn.idp54451984" class="footnote"><p><a href="#idp54451984" class="para"><sup class="para">[34] </sup></a>
H. Edward Goldberg, <span class="quote">«<span class="quote">Essential Presentation Tools: Hardware and
Software You Need to Create Digital Multimedia Presentations,</span>»</span>
cadalyst, februar 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #7</a>.
-</p></div><div id="ftn.idp7461152" class="footnote"><p><a href="#idp7461152" class="para"><sup class="para">[35] </sup></a>
+</p></div><div id="ftn.idp54464880" class="footnote"><p><a href="#idp54464880" class="para"><sup class="para">[35] </sup></a>
Judith Van Evra, <em class="citetitle">Television and Child Development</em>
(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <span class="quote">«<span class="quote">Findings on
Family and TV Study,</span>»</span> <em class="citetitle">Denver Post</em>, 25. mai
1997, B6.
-</p></div><div id="ftn.idp7454320" class="footnote"><p><a href="#idp7454320" class="para"><sup class="para">[36] </sup></a>
+</p></div><div id="ftn.idp54458048" class="footnote"><p><a href="#idp54458048" class="para"><sup class="para">[36] </sup></a>
Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002.
-<a class="indexterm" name="idp7472160"></a> <a class="indexterm" name="idp7473168"></a>
-</p></div><div id="ftn.idp7475520" class="footnote"><p><a href="#idp7475520" class="para"><sup class="para">[37] </sup></a>
+<a class="indexterm" name="idp54475888"></a> <a class="indexterm" name="idp54476896"></a>
+</p></div><div id="ftn.idp54479248" class="footnote"><p><a href="#idp54479248" class="para"><sup class="para">[37] </sup></a>
Se Scott Steinberg, <span class="quote">«<span class="quote">Crichton Gets Medieval on PCs,</span>»</span> E!online,
4. november 2000, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #8</a>;
<span class="quote">«<span class="quote">Timeline,</span>»</span> 22. november 2000, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #9</a>.
-</p></div><div id="ftn.idp7485712" class="footnote"><p><a href="#idp7485712" class="para"><sup class="para">[38] </sup></a>
+</p></div><div id="ftn.idp54489296" class="footnote"><p><a href="#idp54489296" class="para"><sup class="para">[38] </sup></a>
-Intervju med Daley og Barish. <a class="indexterm" name="idp7486480"></a>
-</p></div><div id="ftn.idp7488016" class="footnote"><p><a href="#idp7488016" class="para"><sup class="para">[39] </sup></a>
+Intervju med Daley og Barish. <a class="indexterm" name="idp54490064"></a>
+</p></div><div id="ftn.idp54491600" class="footnote"><p><a href="#idp54491600" class="para"><sup class="para">[39] </sup></a>
ibid.
-</p></div><div id="ftn.idp7555728" class="footnote"><p><a href="#idp7555728" class="para"><sup class="para">[40] </sup></a>
+</p></div><div id="ftn.idp54562752" class="footnote"><p><a href="#idp54562752" class="para"><sup class="para">[40] </sup></a>
Se for eksempel Alexis de Tocqueville, <em class="citetitle">Democracy in
America</em>, bk. 1, overs. Henry Reeve (New York: Bantam Books,
2000), kap. 16.
-</p></div><div id="ftn.idp7558736" class="footnote"><p><a href="#idp7558736" class="para"><sup class="para">[41] </sup></a>
+</p></div><div id="ftn.idp54565760" class="footnote"><p><a href="#idp54565760" class="para"><sup class="para">[41] </sup></a>
Bruce Ackerman og James Fishkin, <span class="quote">«<span class="quote">Deliberation Day,</span>»</span>
<em class="citetitle">Journal of Political Philosophy</em> 10 (2) (2002): 129.
-</p></div><div id="ftn.idp7563392" class="footnote"><p><a href="#idp7563392" class="para"><sup class="para">[42] </sup></a>
+</p></div><div id="ftn.idp54570416" class="footnote"><p><a href="#idp54570416" class="para"><sup class="para">[42] </sup></a>
Cass Sunstein, <em class="citetitle">Republic.com</em> (Princeton: Princeton
University Press, 2001), 65–80, 175, 182, 183, 192.
-</p></div><div id="ftn.idp7583296" class="footnote"><p><a href="#idp7583296" class="para"><sup class="para">[43] </sup></a>
+</p></div><div id="ftn.idp54590224" class="footnote"><p><a href="#idp54590224" class="para"><sup class="para">[43] </sup></a>
Noah Shachtman, <span class="quote">«<span class="quote">With Incessant Postings, a Pundit Stirs the
Pot,</span>»</span> New York Times, 16. januar 2003, G5.
-</p></div><div id="ftn.idp7553920" class="footnote"><p><a href="#idp7553920" class="para"><sup class="para">[44] </sup></a>
+</p></div><div id="ftn.idp54571440" class="footnote"><p><a href="#idp54571440" class="para"><sup class="para">[44] </sup></a>
Telefonintervju med David Winer, 16. april 2003.
-</p></div><div id="ftn.idp7605744" class="footnote"><p><a href="#idp7605744" class="para"><sup class="para">[45] </sup></a>
+</p></div><div id="ftn.idp54612576" class="footnote"><p><a href="#idp54612576" class="para"><sup class="para">[45] </sup></a>
John Schwartz, <span class="quote">«<span class="quote">Loss of the Shuttle: The Internet; A Wealth of
Strong Overall,</span>»</span> Online Journalism Review, 2. februar 2003,
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#10</a>.
-</p></div><div id="ftn.idp7609536" class="footnote"><p><a href="#idp7609536" class="para"><sup class="para">[46] </sup></a>
+</p></div><div id="ftn.idp54616368" class="footnote"><p><a href="#idp54616368" class="para"><sup class="para">[46] </sup></a>
-<a class="indexterm" name="idp7612304"></a> <a class="indexterm" name="idp7613312"></a> <a class="indexterm" name="idp7614064"></a> <a class="indexterm" name="idp7614816"></a> Se Michael Falcone, <span class="quote">«<span class="quote">Does an Editor's
+<a class="indexterm" name="idp54619136"></a> <a class="indexterm" name="idp54620144"></a> <a class="indexterm" name="idp54620896"></a> <a class="indexterm" name="idp54621648"></a> Se Michael Falcone, <span class="quote">«<span class="quote">Does an Editor's
Pencil Ruin a Web Log?</span>»</span> <em class="citetitle">New York Times</em>,
29. september 2003, C4. (<span class="quote">«<span class="quote">Ikke alle nyhetsorganisasjoner har hatt like
stor aksept for ansatte som blogger. Kevin Sites, en CNN-korrespondent i
Olafson, en <em class="citetitle">Houston Chronicle</em>-reporter, sparken for å
ha hatt en personlig web-logg, publisert under pseudonym, som handlet om
noen av temaene og folkene som han dekket.</span>»</span>)
-</p></div><div id="ftn.idp7651504" class="footnote"><p><a href="#idp7651504" class="para"><sup class="para">[47] </sup></a>
+</p></div><div id="ftn.idp54658336" class="footnote"><p><a href="#idp54658336" class="para"><sup class="para">[47] </sup></a>
Se for eksempel, Edward Felten og Andrew Appel, <span class="quote">«<span class="quote">Technological Access
Control Interferes with Noninfringing Scholarship,</span>»</span>
<em class="citetitle">Communications of the Association for Computer
Machinery</em> 43 (2000): 9.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="catalogs"></a>Kapittel tre: Kataloger</h2></div></div></div><a class="indexterm" name="idp
7662128"></a><a class="indexterm" name="idp7662880"></a><a class="indexterm" name="idxrensselaer"></a><a class="indexterm" name="idxrensselaerpolytechnicinstituterpicomputernetworksearchengineof"></a><a class="indexterm" name="idxsearchengines"></a><a class="indexterm" name="idxuniversitycomputernetworksppsharingon"></a><a class="indexterm" name="idxinternetsearchenginesusedon"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="catalogs"></a>Kapittel tre: Kataloger</h2></div></div></div><a class="indexterm" name="idp
54669712"></a><a class="indexterm" name="idp54670464"></a><a class="indexterm" name="idxrensselaer"></a><a class="indexterm" name="idxrensselaerpolytechnicinstituterpicomputernetworksearchengineof"></a><a class="indexterm" name="idxsearchengines"></a><a class="indexterm" name="idxuniversitycomputernetworksppsharingon"></a><a class="indexterm" name="idxinternetsearchenginesusedon"></a><p>
<span class="strong"><strong>Høsten 2002</strong></span> ble Jesse Jordan fra
Oceanside, New York, innrullert som førsteårsstudent ved Rensselaer
Polytechnic Institute, i Troy, New York. Hans studieretning ved RPI var
Jesse var bygget for å dra nytte av denne teknologien. Den brukte
Microsofts nettverksfilsystem for å bygge en indeks over alle filene
tilgjengelig inne i RPI-nettverket.
-</p><a class="indexterm" name="idp
7682256"></a><p>
+</p><a class="indexterm" name="idp
54689840"></a><p>
Søkemotoren Jesse laget var ikke den første laget for RPI-nettverket. Hans
motor var faktisk en enkel endring av motorer som andre hadde bygget. Hans
viktigste enkeltforbedring i forhold til disse motorene var å fikse en feil
var på nett, så ville din datamaskin krasje. Jesse endret systemet litt for
å fikse det problemet, ved å legge til en knapp som en bruker kunne klikke
på for å se om maskinen som hadde filen fortsatt var på nett.
-</p><a class="indexterm" name="idp
7685008"></a><p>
+</p><a class="indexterm" name="idp
54692592"></a><p>
Motoren til Jesse kom på nett i slutten av oktober. I løpet av de følgende
seks månedene fortsatte han å justere den for å forbedre dens
funksjonalitet. I mars fungerte systemet ganske bra. Jesse hadde mer enn
en million filer i sin katalog, inkludert alle mulige typer innhold som
fantes på brukernes datamaskiner.
-</p><a class="indexterm" name="idp
7687040"></a><p>
+</p><a class="indexterm" name="idp
54694624"></a><p>
Dermed listet søkemotorindeksen han produserte opp både bilder, som
studentene kunne legge inn på sine egne nettsider, kopier av notater og
forskning, kopier av informasjonshefter, filmklipp som studentene kanskje
-hadde laget, universitetsbrosjyrer — kort sagt alt som brukerne av
+hadde laget, universitetsbrosjyrer – kort sagt alt som brukerne av
RPI-nettverket hadde gjort tilgjengelig i en offentlig mappe på sine
datamaskiner.
-</p><a class="indexterm" name="idp
7688528"></a><a class="indexterm" name="idp7690192"></a><p>
+</p><a class="indexterm" name="idp
54696112"></a><a class="indexterm" name="idp54697776"></a><p>
Men indeksen listet også opp musikkfiler. Faktisk var en fjerdedel av
filene omtalt i Jesses søkemotor musikkfiler. Men det betyr, naturligvis,
-at tre fjerdedeler ikke var det, og — slik at dette poenget er helt
-klart — Jesse gjorde ingenting for å få folk til å plassere
+at tre fjerdedeler ikke var det, og – slik at dette poenget er helt
+klart – Jesse gjorde ingenting for å få folk til å plassere
musikkfiler i deres offentlige mapper. Han gjorde ingenting for å sikte
søkemotoren mot disse filene. Han var en ungdom som fiklet med
Google-lignende teknologi ved et universitet der han studerte
fiklingen. Han var ikke knyttet til noen bedrift som skulle tjene penger
fra dette eksperimentet. Han var en ungdom som fiklet med teknologi i en
omgivelse hvor fikling med teknologi var nøyaktig hva han var ment å gjøre.
-</p><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsagainststudentfilesharing"></a><a class="indexterm" name="idxrecordingindustrycopyrightinfringementlawsuitsof"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaacopyrightinfringementlawsuitsfiledby"></a><a class="indexterm" name="idp
7699392"></a><p>
+</p><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsagainststudentfilesharing"></a><a class="indexterm" name="idxrecordingindustrycopyrightinfringementlawsuitsof"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaacopyrightinfringementlawsuitsfiledby"></a><a class="indexterm" name="idp
54706976"></a><p>
Den 3. april 2003 ble Jesse kontaktet av lederen for studentkontoret ved
RPI. Lederen fortalte Jesse at Foreningen for musikkindustri i USA, RIAA,
ville levere inn et søksmål mot han og tre andre studenter som han ikke en
søkemotoren som jeg kjørte eller … hva jeg hadde gjort med den. Jeg
mener, jeg hadde ikke endret den på noen måte som fremmet eller forbedret
arbeidet til pirater. Jeg endret kun søkemotoren slik at den ble enklere å
-bruke</span>»</span> — igjen, en <span class="emphasis"><em>søkemotor</em></span>, som Jesse
+bruke</span>»</span> – igjen, en <span class="emphasis"><em>søkemotor</em></span>, som Jesse
ikke hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse
ikke hadde bygd selv, for å gjøre det mulig for medlemmer av
RPI-fellesskapet å få tilgang til innhold, som Jesse ikke hadde laget eller
gjort tilgjengelig, og der det store flertall av dette ikke hadde noe med
musikk å gjøre.
-</p><a class="indexterm" name="idp
7704864"></a><a class="indexterm" name="idp7705728"></a><a class="indexterm" name="idp7706736"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp7709584"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaintimidationtacticsof"></a><p>
+</p><a class="indexterm" name="idp
54712448"></a><a class="indexterm" name="idp54713312"></a><a class="indexterm" name="idp54714320"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp54717168"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaintimidationtacticsof"></a><p>
Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk, og
dermed <span class="quote">«<span class="quote">bevisst</span>»</span> hadde brutt åndsverkslovene. De krevde at han
en opphavsrettighetseier å kreve 150 000 dollar per krenkelse. Etter
som RIAA påsto det var mer enn et hundre spesifikke opphavsrettskrenkelser,
krevde de dermed at Jesse betalte dem minst 15 000 000 dollar.
-</p><a class="indexterm" name="idp
7714208"></a><a class="indexterm" name="idp7715360"></a><p>
+</p><a class="indexterm" name="idp
54722320"></a><a class="indexterm" name="idp54723072"></a><p>
Lignende søksmål ble gjort mot tre andre studenter: en annen student ved
RPI, en ved Michigan Technical University og en ved Princeton. Deres
situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige
detaljer, var hovedpoenget nøyaktig det samme: store krav om
<span class="quote">«<span class="quote">erstatning</span>»</span> som RIAA påsto de hadde rett på. Hvis du summerte
opp disse kravene, ba disse fire søksmålene domstolene i USA å tildele
-saksøkerne nesten 100 <span class="emphasis"><em>milliarder</em></span> dollar — seks
+saksøkerne nesten 100 <span class="emphasis"><em>milliarder</em></span> dollar – seks
ganger det <span class="emphasis"><em>totale</em></span> overskuddet til filmindustrien i
-2001.<a href="#ftn.idp7718416" class="footnote" name="idp7718416"><sup class="footnote">[48]</sup></a>
-</p><a class="indexterm" name="idp
7720192"></a><p>
+2001.<a href="#ftn.idp54726128" class="footnote" name="idp54726128"><sup class="footnote">[48]</sup></a>
+</p><a class="indexterm" name="idp
54727904"></a><p>
Jesse kontaktet sine foreldre. De støttet ham, men var litt skremt. En
onkel var advokat. Han startet forhandlinger med RIAA. De krevde å få vite
hvor mye penger Jesse hadde. Jesse hadde spart opp 12 000 dollar fra
sommerjobber og annet arbeid. De krevde 12 000 dollar for å trekke
saken.
-</p><a class="indexterm" name="idp
7721856"></a><p>
+</p><a class="indexterm" name="idp
54729568"></a><p>
RIAA ville at Jesse skulle innrømme at han hadde gjort noe galt. Han
nektet. De ville ha ham til å godta en forføyning som i praksis ville gjøre
det umulig for han å arbeide i mange områder innen teknologi for resten av
ikke et tannlegebesøk hos meg flere ganger</span>»</span>), og gjennom det hele
insisterte RIAA at de ikke ville inngå forlik før de hadde tatt hver eneste
øre som Jesse hadde spart opp.
-</p><a class="indexterm" name="idp
7724864"></a><p>
+</p><a class="indexterm" name="idp
54732576"></a><p>
Familien til Jessie ble opprørt over disse påstandene. De ønsket å kjempe.
Men onkelen til Jessie gjorde en innsats for å lære familien om hvordan det
</p><p>
Så Jesse hadde et mafia-lignende valg: 250 000 dollar og en sjanse til
å vinne, eller 12 000 dollar og et forlik.
-</p><a class="indexterm" name="idp
7728384"></a><a class="indexterm" name="idp7729280"></a><a class="indexterm" name="idp7730288"></a><p>
+</p><a class="indexterm" name="idp
54736096"></a><a class="indexterm" name="idp54736992"></a><a class="indexterm" name="idp54738000"></a><p>
Musikkindustrien insisterer på at dette er et spørsmål om lov og moral. La
oss legge loven til side for et øyeblikk og tenke på moralen. Hvor er
moralen i et søksmål som dette? Hva er dyden i å skape offerlam? RIAA er
en spesielt mektig lobby. Presidenten i RIAA tjener ifølge rapporter mer
enn 1 million dollar i året. Artister, på den andre siden, får ikke godt
betalt. Den gjennomsnittlige innspillingsartist tjener 45 900
-dollar.<a href="#ftn.idp7726800" class="footnote" name="idp7726800"><sup class="footnote">[49]</sup></a> Det er utallige virkemidler som
+dollar.<a href="#ftn.idp54734512" class="footnote" name="idp54734512"><sup class="footnote">[49]</sup></a> Det er utallige virkemidler som
RIAA kan benytte for å påvirke og styre politikken. Så hva er det moralske
-i å ta penger fra en student for å drive en søkemotor?<a href="#ftn.idp7733904" class="footnote" name="idp7733904"><sup class="footnote">[50]</sup></a>
-</p><a class="indexterm" name="idp
7735568"></a><a class="indexterm" name="idp7736544"></a><p>
+i å ta penger fra en student for å drive en søkemotor?<a href="#ftn.idp54741616" class="footnote" name="idp54741616"><sup class="footnote">[50]</sup></a>
+</p><a class="indexterm" name="idp
54743280"></a><a class="indexterm" name="idp54744256"></a><p>
23. juni overførte Jesse alle sine oppsparte midler til advokaten som jobbet
for RIAA. Saken mot ham ble trukket. Og slik ble unggutten som hadde
fiklet med en datamaskin og blitt saksøkt for 15 millioner dollar, en
treklemmer. … Jeg synes det er sært at de ville lage bråk med ham.
Men han ønsker å la folk vite at de sender feil budskap. Og han ønsker å
korrigere rullebladet.</span>»</span>
-</p><a class="indexterm" name="idp7741728"></a><a class="indexterm" name="idp7742592"></a><a class="indexterm" name="idp7743568"></a><a class="indexterm" name="idp7744544"></a><a class="indexterm" name="idp7745600"></a><a class="indexterm" name="idp7746576"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7718416" class="footnote"><p><a href="#idp7718416" class="para"><sup class="para">[48] </sup></a>
+</p><a class="indexterm" name="idp54749360"></a><a class="indexterm" name="idp54750224"></a><a class="indexterm" name="idp54751200"></a><a class="indexterm" name="idp54752176"></a><a class="indexterm" name="idp54753232"></a><a class="indexterm" name="idp54754208"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp54726128" class="footnote"><p><a href="#idp54726128" class="para"><sup class="para">[48] </sup></a>
Tim Goral, <span class="quote">«<span class="quote">Recording Industry Goes After Campus P-2-P Networks: Suit
Alleges $97.8 Billion in Damages,</span>»</span> <em class="citetitle">Professional Media
Group LCC</em> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443.
-</p></div><div id="ftn.idp7726800" class="footnote"><p><a href="#idp7726800" class="para"><sup class="para">[49] </sup></a>
+</p></div><div id="ftn.idp54734512" class="footnote"><p><a href="#idp54734512" class="para"><sup class="para">[49] </sup></a>
Occupational Employment Survey, U.S. Dept. of Labor (2001) (27–2042
-— Musikere og Sangere). Se også National Endowment for the Arts,
+– Musikere og Sangere). Se også National Endowment for the Arts,
<em class="citetitle">More Than One in a Blue Moon</em> (2000).
-</p></div><div id="ftn.idp7733904" class="footnote"><p><a href="#idp7733904" class="para"><sup class="para">[50] </sup></a>
+</p></div><div id="ftn.idp54741616" class="footnote"><p><a href="#idp54741616" class="para"><sup class="para">[50] </sup></a>
Douglas Lichtman kommer med et relatert poeng i <span class="quote">«<span class="quote">KaZaA and
Punishment,</span>»</span> <em class="citetitle">Wall Street Journal</em>,
10. september 2003, A24.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="pirates"></a>Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></h2></div></div></div><a class="indexterm" name="idxpiracyindevelopmentofcontentindustry"></a><a class="indexterm" name="idp
7750800"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="pirates"></a>Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></h2></div></div></div><a class="indexterm" name="idxpiracyindevelopmentofcontentindustry"></a><a class="indexterm" name="idp
54758432"></a><p>
<span class="strong"><strong>Hvis <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> betyr</strong></span>
-å bruke den kreative eiendommen til andre uten deres tillatelse — hvis
-<span class="quote">«<span class="quote">hvis verdi, så rettighet</span>»</span> er tilfelle — da er historien
+å bruke den kreative eiendommen til andre uten deres tillatelse – hvis
+<span class="quote">«<span class="quote">hvis verdi, så rettighet</span>»</span> er tilfelle – da er historien
til innholdsindustrien en historie om piratvirksomhet. Hver eneste viktige
-sektor av <span class="quote">«<span class="quote">store medier</span>»</span> i dag — film, plater, radio og
-kabel-TV — kom fra en slags piratvirksomhet etter den definisjonen.
+sektor av <span class="quote">«<span class="quote">store medier</span>»</span> i dag – film, plater, radio og
+kabel-TV – kom fra en slags piratvirksomhet etter den definisjonen.
Den konsekvente fortellingen er at forrige generasjon pirater blir del av
-denne generasjonens borgerskap — inntil nå.
-</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="film"></a>4.1. Film</h2></div></div></div><p>
+denne generasjonens borgerskap – inntil nå.
+</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="film"></a>4.1. Film</h2></div></div></div><a class="indexterm" name="idp54763216"></a><a class="indexterm" name="idxhollywoodfilmindustry"></a><a class="indexterm" name="idxpatentsonfilmtechnology"></a><p>
-Filmindustrien i Hollywood var bygget opp av flyktende pirater.<a href="#ftn.idp7756096" class="footnote" name="idp7756096"><sup class="footnote">[51]</sup></a> Skapere og regissører flyttet fra østkysten til
+Filmindustrien i Hollywood var bygget opp av flyktende pirater.<a href="#ftn.idp54767456" class="footnote" name="idp54767456"><sup class="footnote">[51]</sup></a> Skapere og regissører flyttet fra østkysten til
California tidlig i det tjuende århundret delvis for å slippe unna
kontrollene som patenter ga den som fant opp å lage film, Thomas Edison.
Disse kontrollene ble utøvet gjennom et monopol-<span class="quote">«<span class="quote">kartell,</span>»</span> The
-Motion Pictures Patents company, og var basert på Thomas Edisons kreative
-eierrettigheter — patenter. Edison stiftet MPPC for å utøve
+Motion Pictures Patents Company, og var basert på Thomas Edisons kreative
+eierrettigheter – patenter. Edison stiftet MPPC for å utøve
rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriøs
med de krav om kontroll som de fremmet:
</p><p>
var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som
brukte ulovlig utstyr og importerte filmlager for å opprette sitt eget
undergrunnsmarked.
-</p><a class="indexterm" name="idp
7762192"></a><a class="indexterm" name="idp7762832"></a><a class="indexterm" name="idp7763584"></a><p>
+</p><a class="indexterm" name="idp
54773552"></a><a class="indexterm" name="idp54774192"></a><a class="indexterm" name="idp54774944"></a><p>
Med et land som så en kolossal økning i antall billige kinoer, såkalte
nickelodeons, reagerte patentselskapet på uavhengige-bevegelsen med å stifte
General Film Company, et hardhendt datterselskap opprettet for å blokkere
varelevering til kinoer som viste ulisensiert film, og effektivt
monopoliserte distribusjon ved å kjøpe opp alle USAs filmsentraler, med
unntak av den ene som var eid av den uavhengige William Fox som motsto
-kartellet selv etter at hans lisens var trukket tilbake.<a href="#ftn.idp7765920" class="footnote" name="idp7765920"><sup class="footnote">[52]</sup></a>
+kartellet selv etter at hans lisens var trukket tilbake.<a href="#ftn.idp54777280" class="footnote" name="idp54777280"><sup class="footnote">[52]</sup></a>
</p></blockquote></div><p>
Napsterne i de dager, de <span class="quote">«<span class="quote">uavhengige,</span>»</span> var selskaper som Fox.
Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet.
<span class="quote">«<span class="quote">Opptak ble avbrutt av stjålet maskineri, og <span class="quote">‘<span class="quote">uhell</span>’</span> som
førte til tapte negativer, utstyr, bygninger og noen ganger liv og lemmer
-skjedde ofte.</span>»</span><a href="#ftn.idp7772128" class="footnote" name="idp7772128"><sup class="footnote">[53]</sup></a> Dette fikk de
+skjedde ofte.</span>»</span><a href="#ftn.idp54783488" class="footnote" name="idp54783488"><sup class="footnote">[53]</sup></a> Dette fikk de
uavhengige til å flykte til østkysten. California var fjernt nok fra
Edisons innflytelse til at filmskaperne der kunne røve hans nyvinninger uten
å frykte loven. Og lederne blant Hollywoods filmskapere, Fox mest
fremtredende, gjorde akkurat dette.
-</p><p>
+</p><a class="indexterm" name="idp54786336"></a><p>
California vokste naturligvis raskt, og effektiv håndhevelse av føderale
lover spredte seg til slutt vestover. Men fordi patenter tildeler
år på den tiden), så var patentene utgått før nok føderale lovmenn dukket
opp. En ny industri var født, delvis fra piratvirksomhet mot Edisons
kreative rettigheter.
-</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="recordedmusic"></a>4.2. Innspilt musikk</h2></div></div></div><a class="indexterm" name="idxcopyrightlawonmusicrecordings"></a><p>
+</p><
a class="indexterm" name="idp54789104"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="recordedmusic"></a>4.2. Innspilt musikk</h2></div></div></div><a class="indexterm" name="idxcopyrightlawonmusicrecordings"></a><p>
Musikkindustrien ble født av en annen type piratvirksomhet, dog for å forstå
hvordan krever det at en setter seg inn i detaljer om hvordan loven
regulerer musikk.
-</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="idp
7781232"></a><p>
+</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="idp
54794544"></a><p>
På den tiden da Edison og Henri Fourneaux fant opp maskiner for å
reprodusere musikk (Edison fonografen, Fourneaux det automatiske pianoet),
gav loven komponister eksklusive rettigheter til å kontrollere kopier av
Russels populære låt <span class="quote">«<span class="quote">Happy Mose,</span>»</span> sa loven at jeg måtte betale
for rettigheten til å få en kopi av notearkene, og jeg måtte også betale for
å ha rett til å fremføre det offentlig.
-</p><a class="indexterm" name="idp
7783696"></a><p>
+</p><a class="indexterm" name="idp
54797008"></a><p>
Men hva hvis jeg ønsket å spille inn <span class="quote">«<span class="quote">Happy Mose</span>»</span> ved hjelp av
Edisons fonograf eller Fourneaux automatiske piano? Her snublet loven. Det
var klart nok at jeg måtte kjøpe en kopi av notene som jeg fremførte når jeg
om jeg måtte betale for en <span class="quote">«<span class="quote">offentlig fremføring</span>»</span> hvis jeg
spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til
Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte
-inn sangen fra hukommelsen (kopier i din hjerne er ikke — ennå —
+inn sangen fra hukommelsen (kopier i din hjerne er ikke – ennå –
regulert av åndsverksloven). Så hvis jeg ganske enkelt sang sangen inn i et
innspillingsapparat i mitt eget hjem, så var det ikke klart at jeg skyldte
komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte
komponisten noe hvis jeg så laget kopier av disse innspillingene. På grunn
av dette hullet i loven, så kunne jeg i effekt røve noen andres sang uten å
betale dets komponist noe.
-</p><a class="indexterm" name="idp
7786288"></a><p>
+</p><a class="indexterm" name="idp
54799600"></a><a class="indexterm" name="idxkittredgealfred"></a><a class="indexterm" name="idxmusicpublishing"></a><p>
Komponistene (og utgiverne) var ikke veldig glade for denne anledningen til
å røve. Som Senator Alfred Kittredge fra Sør-Dakota formulerte
-det:<a class="indexterm" name="idp7789152"></a>
+det:<a class="indexterm" name="idp54804928"></a>
</p><div class="blockquote"><blockquote class="blockquote"><p>
Forestill dere denne urettferdigheten. En komponist skriver en sang eller
en opera. En utgiver kjøper rettighetene til denne for en høy sum, og
registrerer opphavsretten til den. Så kommer de fonografiske selskapene og
selskapene som skjærer musikkruller, og med vitende og vilje stjeler
arbeidet som kommer fra hjernen til komponisten og utgiveren uten å bry seg
-om [deres] rettigheter.<a href="#ftn.idp7791616" class="footnote" name="idp7791616"><sup class="footnote">[54]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7794400"></a><p>
+om [deres] rettigheter.<a href="#ftn.idp54807392" class="footnote" name="idp54807392"><sup class="footnote">[54]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
54810176"></a><a class="indexterm" name="idp54811152"></a><p>
Innovatørene som utviklet teknologien for å spille inn andres arbeide,
<span class="quote">«<span class="quote">snyltet på innsatsen, arbeidet, talentet og geniet til amerikanske
-komponister,</span>»</span><a href="#ftn.idp7796000" class="footnote" name="idp7796000"><sup class="footnote">[55]</sup></a> og
+komponister,</span>»</span><a href="#ftn.idp54812752" class="footnote" name="idp54812752"><sup class="footnote">[55]</sup></a> og
<span class="quote">«<span class="quote">musikkforlagsbransjen</span>»</span> var dermed <span class="quote">«<span class="quote">fullstendig underlagt
-denne piraten.</span>»</span><a href="#ftn.idp7797568" class="footnote" name="idp7797568"><sup class="footnote">[56]</sup></a> Som John Philip
+denne piraten.</span>»</span><a href="#ftn.idp54814320" class="footnote" name="idp54814320"><sup class="footnote">[56]</sup></a> Som John Philip
Sousa formulerte det, så direkte som det kan sies, <span class="quote">«<span class="quote">når de tjener
-penger på mine stykker, så vil jeg ha en andel.</span>»</span><a href="#ftn.idp7799056" class="footnote" name="idp7799056"><sup class="footnote">[57]</sup></a>
-</p><a class="indexterm" name="idp
7800080"></a><a class="indexterm" name="idp7800832"></a><a class="indexterm" name="idp7801584"></a><a class="indexterm" name="idxcongressusoncopyrightlaws"></a><a class="indexterm" name="idxcongressusonrecordingindustry"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin"></a><a class="indexterm" name="idxrecordingindustrystatutorylicensesystemin"></a><p>
+penger på mine stykker, så vil jeg ha en andel.</span>»</span><a href="#ftn.idp54815808" class="footnote" name="idp54815808"><sup class="footnote">[57]</sup></a>
+</p><a class="indexterm" name="idp
54816832"></a><a class="indexterm" name="idp54817808"></a><a class="indexterm" name="idp54818560"></a><a class="indexterm" name="idp54819312"></a><a class="indexterm" name="idxcongressusoncopyrightlaws"></a><a class="indexterm" name="idxcongressusonrecordingindustry"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin"></a><a class="indexterm" name="idxrecordingindustrystatutorylicensesystemin"></a><p>
Disse argumentene høres omtrent ut som argumentene fra våre dager. Det samme
gjør argumentene fra den andre siden. Oppfinnerne som utviklet det
automatiske pianoet argumenterte med at <span class="quote">«<span class="quote">det er fullt mulig å vise at
introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist
noe han hadde før det ble introdusert.</span>»</span> I stedet økte maskinene
-salget av noteark.<a href="#ftn.idp7809744" class="footnote" name="idp7809744"><sup class="footnote">[58]</sup></a> Uansett,
+salget av noteark.<a href="#ftn.idp54827472" class="footnote" name="idp54827472"><sup class="footnote">[58]</sup></a> Uansett,
argumenterte oppfinnerne, jobben til kongressen var <span class="quote">«<span class="quote">å først vurdere
interessen til [folket], som de representerte, og som de skal tjene.</span>»</span>
<span class="quote">«<span class="quote">Alt snakk om <span class="quote">‘<span class="quote">tyveri</span>’</span>,</span>»</span> skrev sjefsjuristen til
American Graphophone Company, <span class="quote">«<span class="quote">er kun nonsens, for det finnes ingen
eiendom i musikalske idéer, skriftlig eller kunstnerisk, unntatt det som er
-definert i loven.</span>»</span><a href="#ftn.idp7812368" class="footnote" name="idp7812368"><sup class="footnote">[59]</sup></a>
-</p><a class="indexterm" name="idp
7813616"></a><p>
+definert i loven.</span>»</span><a href="#ftn.idp54830096" class="footnote" name="idp54830096"><sup class="footnote">[59]</sup></a>
+</p><a class="indexterm" name="idp
54831344"></a><p>
Loven løste snart denne kampen i favør av <span class="emphasis"><em>både</em></span>
komponisten og innspillingsartisten. Kongressen endret loven slik at
tillatelsen. Prisen for å publisere Grisham er dermed bestemt av Grisham,
og åndsverkloven sier at du ikke har tillatelse til å bruke Grishams verk
med mindre du har tillatelse fra Grisham.
-</p><a class="indexterm" name="idp
7823200"></a><a class="indexterm" name="idp7824176"></a><p>
+</p><a class="indexterm" name="idp
54840928"></a><a class="indexterm" name="idp54841904"></a><p>
Men loven som styrer innspillinger gir innspillingsartisten mindre. Og
dermed er effekten at loven <span class="emphasis"><em>subsidierer</em></span>
-musikkindustrien med et slags piratvirksomhet — ved å gi
+musikkindustrien med et slags piratvirksomhet – ved å gi
innspillingsartister en svakere rettighet enn de gir kreative forfattere.
The Beatles har mindre kontroll over deres kreative verk enn Grisham har.
Og de som nyter godt av at de har mindre kontroll, er musikkindustrien og
betalt, og folket får tilgang til en større mengde musikalsk kreativitet.
Kongressen var faktisk svært eksplisitt i sine grunner for å dele ut denne
rettigheten. Den fryktet monopolmakten til rettighetsinnehaverne, og at
-denne makten skulle kvele påfølgende kreativitet.<a href="#ftn.idp7759760" class="footnote" name="idp7759760"><sup class="footnote">[60]</sup></a>
-</p><a class="indexterm" name="idp
7828224"></a><a class="indexterm" name="idp7829200"></a><a class="indexterm" name="idp7830176"></a><p>
+denne makten skulle kvele påfølgende kreativitet.<a href="#ftn.idp54828112" class="footnote" name="idp54828112"><sup class="footnote">[60]</sup></a>
+</p><a class="indexterm" name="idp
54845952"></a><a class="indexterm" name="idp54846928"></a><a class="indexterm" name="idp54847904"></a><p>
Mens musikkindustrien har vært ganske stille om dette i det siste, har de
historisk vært høylytte tilhengere av den lovbestemte lisensen for
innspillinger. Som det sto i en rapport fra 1967 utgitt av House Committee
mekanisme for å unngå monopol da de tildelte disse rettighetene. De
argumenterer med at resultatet har vært at det har strømmet på med innspilt
musikk, at folket har fått lavere priser, bedre kvalitet og flere
-valg.<a href="#ftn.idp7834352" class="footnote" name="idp7834352"><sup class="footnote">[61]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7836128"></a><a class="indexterm" name="idp7837104"></a><a class="indexterm" name="idp7838080"></a><a class="indexterm" name="idp7839056"></a><p>
+valg.<a href="#ftn.idp54852080" class="footnote" name="idp54852080"><sup class="footnote">[61]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
54853856"></a><a class="indexterm" name="idp54854832"></a><a class="indexterm" name="idp54855808"></a><a class="indexterm" name="idp54856784"></a><p>
Ved å begrense rettighetene musikere hadde, ved å delvis røve deres kreative
verk, fikk innspillingsprodusentene, og folket, fordeler.
</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="radio"></a>4.3. Radio</h2></div></div></div><a class="indexterm" name="idxrecordingindustryradiobroadcastand"></a><a class="indexterm" name="idxartistsrecordingindustrypaymentsto"></a><p>
Radio kom også fra piratvirksomhet.
</p><p>
Når en radiostasjon spiller en plate på luften, så utgjør dette en
-<span class="quote">«<span class="quote">offentlig fremføring</span>»</span> av komponistens verk.<a href="#ftn.idp7845968" class="footnote" name="idp7845968"><sup class="footnote">[62]</sup></a> Som jeg beskrev over, gir loven komponisten (eller
+<span class="quote">«<span class="quote">offentlig fremføring</span>»</span> av komponistens verk.<a href="#ftn.idp54863696" class="footnote" name="idp54863696"><sup class="footnote">[62]</sup></a> Som jeg beskrev over, gir loven komponisten (eller
opphavsrettsinnehaveren) en eksklusiv rett til offentlige fremføringer av
hans verk. Radiostasjonen skylder dermed komponisten penger for denne
fremføringen.
-</p><p>
+</p><a class="indexterm" name="idxradiomusicrecordingsplayedon"></a><p>
Men når en radiostasjon spiller en plate, så fremfører det ikke bare et
eksemplar av <span class="emphasis"><em>komponistens</em></span> verk. Radiostasjonen
komposisjonen fremført av radiostasjonen. Og hvis loven var fullstendig
konsistent, så burde radiostasjonen også vært nødt til å betale
innspillingsartisten for sitt verk, på samme måten som den betaler
-komponisten av musikken for sitt verk. <a class="indexterm" name="idp7854672"></a>
+komponisten av musikken for sitt verk. <a class="indexterm" name="idp54873968"></a>
</p><p>
innspilling er ikke en <span class="quote">«<span class="quote">beskyttet</span>»</span> rettighet. Radiostasjonen
får dermed <span class="emphasis"><em>røve</em></span> verdien av Madonnas arbeid uten å
betale henne noen ting.
-</p><a class="indexterm" name="idp
7861024"></a><a class="indexterm" name="idp7862000"></a><p>
+</p><a class="indexterm" name="idp
54880320"></a><a class="indexterm" name="idp54881296"></a><a class="indexterm" name="idp54882272"></a><p>
Uten tvil kan en argumentere for at innspillingsartistene totalt sett tjener
på dette. I snitt er reklamen de får verdt mer enn fremføringsrettighetene
de sier fra seg. Kanskje. Men selv om det er slik, så gir loven vanligvis
skaperen retten til å gjøre dette valget. Ved å gjøre valget for ham eller
henne, gir loven radiostasjonen rett til å ta noe uten å betale.
-</p><a class="indexterm" name="idp
7864128"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="cabletv"></a>4.4. Kabel-TV</h2></div></div></div><a class="indexterm" name="idxcabletelevision"></a><p>
+</p><a class="indexterm" name="idp
54884400"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="cabletv"></a>4.4. Kabel-TV</h2></div></div></div><a class="indexterm" name="idxcabletelevision"></a><p>
Kabel-TV kom også fra en form for piratvirksomhet.
</p><p>
videre til sine kunder. Selv da kabelselskapene begynte å selge tilgang til
TV-kringkastinger, nektet de å betale for det de solgte. Kabelselskapene
Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster
-noen gang gjorde — Napster tok aldri betalt for innholdet som det ble
+noen gang gjorde – Napster tok aldri betalt for innholdet som det ble
mulig for andre å gi bort.
-</p><a class="indexterm" name="idp
7868368"></a><a class="indexterm" name="idp7870240"></a><a class="indexterm" name="idp7870992"></a><p>
+</p><a class="indexterm" name="idp
54888640"></a><a class="indexterm" name="idp54890512"></a><a class="indexterm" name="idp54891264"></a><p>
Kringkastere og opphavsrettsinnehavere var raske til å angripe dette
tyveriet. Rosel Hyde, styreleder i FCC, så praksisen som en slags
<span class="quote">«<span class="quote">urettferdig og potensielt ødeleggende
-konkurranse.</span>»</span><a href="#ftn.idp7872656" class="footnote" name="idp7872656"><sup class="footnote">[63]</sup></a> Det kan ha vært en
+konkurranse.</span>»</span><a href="#ftn.idp54892928" class="footnote" name="idp54892928"><sup class="footnote">[63]</sup></a> Det kan ha vært en
<span class="quote">«<span class="quote">offentlig interesse</span>»</span> i å øke spredningen til kabel-TV, men som
Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte
senator Quentin Burdick om under sitt vitnemål, <span class="quote">«<span class="quote">Dikterer offentlig
-interesse at du kan bruke noen andres eiendom?</span>»</span><a href="#ftn.idp7875808" class="footnote" name="idp7875808"><sup class="footnote">[64]</sup></a> Som en annen kringkaster formulerte det:
+interesse at du kan bruke noen andres eiendom?</span>»</span><a href="#ftn.idp54896080" class="footnote" name="idp54896080"><sup class="footnote">[64]</sup></a> Som en annen kringkaster formulerte det:
</p><div class="blockquote"><blockquote class="blockquote"><p>
Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste
selskapene jeg vet om hvor produktet som blir solgt ikke er betalt
-for.<a href="#ftn.idp7877520" class="footnote" name="idp7877520"><sup class="footnote">[65]</sup></a>
+for.<a href="#ftn.idp54897792" class="footnote" name="idp54897792"><sup class="footnote">[65]</sup></a>
</p></blockquote></div><p>
Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:
</p><div class="blockquote"><blockquote class="blockquote"><p>
Alt vi ber om er en veldig enkel ting, at folk som tar vår eiendom gratis
betaler for den. Vi forsøker å stoppe piratvirksomhet, og jeg kan ikke
tenke på et svakere ord for å beskrive det. Jeg tror det er sterkere ord
-som ville passe.<a href="#ftn.idp7880176" class="footnote" name="idp7880176"><sup class="footnote">[66]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7881392"></a><p>
+som ville passe.<a href="#ftn.idp54900448" class="footnote" name="idp54900448"><sup class="footnote">[66]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
54901664"></a><p>
Disse var <span class="quote">«<span class="quote">gratispassasjerer,</span>»</span> sa presidenten Charlton Heston i
Screen Actor's Guild, som <span class="quote">«<span class="quote">tok lønna fra
-skuespillerne.</span>»</span><a href="#ftn.idp7883200" class="footnote" name="idp7883200"><sup class="footnote">[67]</sup></a>
+skuespillerne.</span>»</span><a href="#ftn.idp54903472" class="footnote" name="idp54903472"><sup class="footnote">[67]</sup></a>
</p><p>
Men igjen, det er en annen side i debatten. Som assisterende justisminister
Edwin Zimmerman sa det:
opphavsrettsbeskyttelse. Problemet her er hvorvidt opphavsrettsinnehavere
som allerede blir kompensert, som allerede har et monopol, skal få lov til å
utvide dette monopolet. … Spørsmålet er hvor mye kompensasjon de bør
-ha, og hvor langt de kan strekke sin rett på kompensasjon.<a href="#ftn.idp7739264" class="footnote" name="idp7739264"><sup class="footnote">[68]</sup></a> <a class="indexterm" name="idp7888880"></a>
+ha, og hvor langt de kan strekke sin rett på kompensasjon.<a href="#ftn.idp54746896" class="footnote" name="idp54746896"><sup class="footnote">[68]</sup></a> <a class="indexterm" name="idp54909152"></a>
</p></blockquote></div><p>
Opphavsrettinnehaverne tok kabelselskapene for retten. Høyesterett fant to
ganger at kabelselskaper ikke skyldte opphavsrettsinnehaverne noen ting.
at kringkasterne ikke kunne utøve vetomakt over den nye
kabel-TV-teknologien. Kabel-TV-selskapene bygde dermed sitt imperium delvis
ved å <span class="quote">«<span class="quote">røve</span>»</span> verdien skapt av kringkasternes innhold.
-</p><a class="indexterm" name="idp
7892672"></a><a class="indexterm" name="idp7893648"></a><p>
+</p><a class="indexterm" name="idp
54912944"></a><a class="indexterm" name="idp54913920"></a><p>
<span class="strong"><strong>Disse separate historiene</strong></span> synger en
felles melodi. Hvis <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> betyr å bruke verdien
-fra noen andres kreative eiendom uten tillatelse fra dets skaper —
-slik det stadig oftere beskrives i dag<a href="#ftn.idp7887616" class="footnote" name="idp7887616"><sup class="footnote">[69]</sup></a>
-— da er <span class="emphasis"><em>enhver</em></span> industri påvirket av opphavsrett i
+fra noen andres kreative eiendom uten tillatelse fra dets skaper –
+slik det stadig oftere beskrives i dag<a href="#ftn.idp54907888" class="footnote" name="idp54907888"><sup class="footnote">[69]</sup></a>
+– da er <span class="emphasis"><em>enhver</em></span> industri påvirket av opphavsrett i
dag et produkt av dem som har nytt godt av ulike former for
piratvirksomhet. Film, plater, radio, kabel-TV. … Listen er lang,
og kunne vært lengre. Hver generasjon ønsker piratene fra den forrige
-velkommen. Hver generasjon — inntil nå.
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7756096" class="footnote"><p><a href="#idp7756096" class="para"><sup class="para">[51] </sup></a>
+velkommen. Hver generasjon – inntil nå.
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp54767456" class="footnote"><p><a href="#idp54767456" class="para"><sup class="para">[51] </sup></a>
-<a class="indexterm" name="idp7756480"></a> Jeg er takknemlig til Peter DiMauro
+<a class="indexterm" name="idp54767840"></a> Jeg er takknemlig til Peter DiMauro
for å ha pekt meg i retning av denne ekstraordinære historien. Se også Siva
Vaidhyanathan, <em class="citetitle">Copyrights and Copywrongs</em>,
87–93, som forteller detaljer om Edisons <span class="quote">«<span class="quote">eventyr</span>»</span> med
opphavsrett og patent.
-</p></div><div id="ftn.idp7765920" class="footnote"><p><a href="#idp7765920" class="para"><sup class="para">[52] </sup></a>
+</p></div><div id="ftn.idp54777280" class="footnote"><p><a href="#idp54777280" class="para"><sup class="para">[52] </sup></a>
J. A. Aberdeen, <em class="citetitle">Hollywood Renegades: The Society of Independent
Motion Picture Producers</em> (Cobblestone Entertainment, 2000) og
<span class="quote">«<span class="quote">From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal
and the Propertization of Copyright</span>»</span> (september 2002), University of
Chicago Law School, James M. Olin Program in Law and Economics, Working
-Paper No. 159. <a class="indexterm" name="idp7768928"></a>
-</p></div><div id="ftn.idp7772128" class="footnote"><p><a href="#idp7772128" class="para"><sup class="para">[53] </sup></a>
+Paper No. 159. <a class="indexterm" name="idp54780288"></a>
+</p></div><div id="ftn.idp54783488" class="footnote"><p><a href="#idp54783488" class="para"><sup class="para">[53] </sup></a>
Marc Wanamaker, <span class="quote">«<span class="quote">The First Studios,</span>»</span> <em class="citetitle">The Silents
Majority</em>, arkivert på <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #12</a>.
-</p></div><div id="ftn.idp7791616" class="footnote"><p><a href="#idp7791616" class="para"><sup class="para">[54] </sup></a>
+</p></div><div id="ftn.idp54807392" class="footnote"><p><a href="#idp54807392" class="para"><sup class="para">[54] </sup></a>
Endre og slå sammen lovforslag om å respektere opphavsretten: Høring om
S. 6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59,
1. sess. (1906) (uttalelse til senator Alfred B. Kittredge fra Sør-Dakota,
formann), gjengitt i <em class="citetitle">Legislative History of the 1909 Copyright
Act</em>, E. Fulton Brylawski og Abe Goldman, red. (South
-Hackensack, N.J.: Rothman Reprints, 1976). <a class="indexterm" name="idp7793008"></a>
-</p></div><div id="ftn.idp7796000" class="footnote"><p><a href="#idp7796000" class="para"><sup class="para">[55] </sup></a>
+Hackensack, N.J.: Rothman Reprints, 1976). <a class="indexterm" name="idp54808784"></a>
+</p></div><div id="ftn.idp54812752" class="footnote"><p><a href="#idp54812752" class="para"><sup class="para">[55] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra
Nathan Burkan, advokat for the Music Publishers Association).
-</p></div><div id="ftn.idp7797568" class="footnote"><p><a href="#idp7797568" class="para"><sup class="para">[56] </sup></a>
+</p></div><div id="ftn.idp54814320" class="footnote"><p><a href="#idp54814320" class="para"><sup class="para">[56] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra
Nathan Burkan, advokat for the Music Publishers Association).
-</p></div><div id="ftn.idp7799056" class="footnote"><p><a href="#idp7799056" class="para"><sup class="para">[57] </sup></a>
+</p></div><div id="ftn.idp54815808" class="footnote"><p><a href="#idp54815808" class="para"><sup class="para">[57] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra
John Philip Sousa, komponist).
-</p></div><div id="ftn.idp7809744" class="footnote"><p><a href="#idp7809744" class="para"><sup class="para">[58] </sup></a>
+</p></div><div id="ftn.idp54827472" class="footnote"><p><a href="#idp54827472" class="para"><sup class="para">[58] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 283–84
(uttalelse fra Albert Walker, representant for the Auto-Music Perforating
Company of New York).
-</p></div><div id="ftn.idp7812368" class="footnote"><p><a href="#idp7812368" class="para"><sup class="para">[59] </sup></a>
+</p></div><div id="ftn.idp54830096" class="footnote"><p><a href="#idp54830096" class="para"><sup class="para">[59] </sup></a>
To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt
innlegg fra Philip Mauro, sjefspatentrådgiver for the American Graphophone
Company Association).
-</p></div><div id="ftn.idp7759760" class="footnote"><p><a href="#idp7759760" class="para"><sup class="para">[60] </sup></a>
+</p></div><div id="ftn.idp54828112" class="footnote"><p><a href="#idp54828112" class="para"><sup class="para">[60] </sup></a>
<em class="citetitle">Legislative History of the 1909 Copyright Act</em>, E.
Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman
Reprints, 1976).
-</p></div><div id="ftn.idp7834352" class="footnote"><p><a href="#idp7834352" class="para"><sup class="para">[61] </sup></a>
+</p></div><div id="ftn.idp54852080" class="footnote"><p><a href="#idp54852080" class="para"><sup class="para">[61] </sup></a>
Endring av åndsverkloven: Rapport som følger H.R. 2512, House Committee on
the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967).
Jeg er takknemlig til Glenn Brown for å ha gjort meg oppmerksom på denne
-rapporten.</p></div><div id="ftn.idp7845968" class="footnote"><p><a href="#idp7845968" class="para"><sup class="para">[62] </sup></a>
+rapporten.</p></div><div id="ftn.idp54863696" class="footnote"><p><a href="#idp54863696" class="para"><sup class="para">[62] </sup></a>
Se 17 <em class="citetitle">United States Code</em>, seksjon 106 og 110. I
begynnelsen skrev noen plateselskaper <span class="quote">«<span class="quote">Ikke lisensiert for
Cir. 1940). Se også Randal C. Picker, <span class="quote">«<span class="quote">From Edison to the Broadcast
Flag: Mechanisms of Consent and Refusal and the Propertization of
Copyright,</span>»</span> <em class="citetitle">University of Chicago Law Review</em>
-70 (2003): 281. <a class="indexterm" name="idp7849504"></a> <a class="indexterm" name="idp7850512"></a>
-</p></div><div id="ftn.idp7872656" class="footnote"><p><a href="#idp7872656" class="para"><sup class="para">[63] </sup></a>
+70 (2003): 281. <a class="indexterm" name="idp54867232"></a> <a class="indexterm" name="idp54868240"></a>
+</p></div><div id="ftn.idp54892928" class="footnote"><p><a href="#idp54892928" class="para"><sup class="para">[63] </sup></a>
-Endring i åndsverkloven — Kabel-TV: Høring om S. 1006 foran
+Endring i åndsverkloven – Kabel-TV: Høring om S. 1006 foran
underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on
the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde,
-styreleder i den føderale kommunikasjonskommisjonen.<a class="indexterm" name="idp7869008"></a>
-</p></div><div id="ftn.idp7875808" class="footnote"><p><a href="#idp7875808" class="para"><sup class="para">[64] </sup></a>
+styreleder i den føderale kommunikasjonskommisjonen.<a class="indexterm" name="idp54889280"></a>
+</p></div><div id="ftn.idp54896080" class="footnote"><p><a href="#idp54896080" class="para"><sup class="para">[64] </sup></a>
-Endring i åndsverkloven — Kabel-TV, 116 (uttalelse fra Douglas
+Endring i åndsverkloven – Kabel-TV, 116 (uttalelse fra Douglas
A. Anello, sjefsjuristen i Nasjonalforeningen for kringkastere).
-</p></div><div id="ftn.idp7877520" class="footnote"><p><a href="#idp7877520" class="para"><sup class="para">[65] </sup></a>
+</p></div><div id="ftn.idp54897792" class="footnote"><p><a href="#idp54897792" class="para"><sup class="para">[65] </sup></a>
-Endring i åndsverkloven — Kabel-TV, 126 (uttalelse fra Ernest
+Endring i åndsverkloven – Kabel-TV, 126 (uttalelse fra Ernest
W. Jennes, sjefsjurist ved Association of Maximum Service Telecasters,
Inc.).
-</p></div><div id="ftn.idp7880176" class="footnote"><p><a href="#idp7880176" class="para"><sup class="para">[66] </sup></a>
+</p></div><div id="ftn.idp54900448" class="footnote"><p><a href="#idp54900448" class="para"><sup class="para">[66] </sup></a>
-Endring i åndsverkloven — Kabel-TV, 169 (felles uttalelse fra Arthur
+Endring i åndsverkloven – Kabel-TV, 169 (felles uttalelse fra Arthur
B. Krim, president i United Artists Corp. og John Sinn, president i United
Artists Television Inc.).
-</p></div><div id="ftn.idp7883200" class="footnote"><p><a href="#idp7883200" class="para"><sup class="para">[67] </sup></a>
+</p></div><div id="ftn.idp54903472" class="footnote"><p><a href="#idp54903472" class="para"><sup class="para">[67] </sup></a>
-Copyright Law Revision — CATV, 209 (uttalelse fra Charlton Heston,
-president i Screen Actors Guild). <a class="indexterm" name="idp7883712"></a>
-</p></div><div id="ftn.idp7739264" class="footnote"><p><a href="#idp7739264" class="para"><sup class="para">[68] </sup></a>
+Copyright Law Revision – CATV, 209 (uttalelse fra Charlton Heston,
+president i Screen Actors Guild). <a class="indexterm" name="idp54903984"></a>
+</p></div><div id="ftn.idp54746896" class="footnote"><p><a href="#idp54746896" class="para"><sup class="para">[68] </sup></a>
-Copyright Law Revision — CATV, 216 (uttalelse fra Edwin M. Zimmerman,
-fungerende assisterende justisminister). <a class="indexterm" name="idp7887744"></a>
-</p></div><div id="ftn.idp7887616" class="footnote"><p><a href="#idp7887616" class="para"><sup class="para">[69] </sup></a>
+Copyright Law Revision – CATV, 216 (uttalelse fra Edwin M. Zimmerman,
+fungerende assisterende justisminister). <a class="indexterm" name="idp54908016"></a>
+</p></div><div id="ftn.idp54907888" class="footnote"><p><a href="#idp54907888" class="para"><sup class="para">[69] </sup></a>
Se for eksempel National Music Publisher's Association, <em class="citetitle">The
-Engine of Free Expression: Copyright on the Internet — The Myth of
+Engine of Free Expression: Copyright on the Internet – The Myth of
Free Information</em>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #13</a>. <span class="quote">«<span class="quote">Trusselen fra
-piratvirksomhet — bruken av noen andres kreative verk uten tillatelse
-eller kompensasjon — har vokst med Internett.</span>»</span>
+piratvirksomhet – bruken av noen andres kreative verk uten tillatelse
+eller kompensasjon – har vokst med Internett.</span>»</span>
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="piracy"></a>Kapittel fem: <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></h2></div></div></div><p>
Det røves opphavsrettsbeskyttet materiale. Massevis. Og denne
piratvirksomheten antar mange former. Den mest betydningsfulle er
mer tvetydig enn direkte kopiering, og lovverket bør ta hensyn til denne
tvetydigheten, slik det ofte har gjort tidligere.
-</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-i"></a>5.1. Piratvirksomhet I</h2></div></div></div><a class="indexterm" name="idp
7905936"></a><a class="indexterm" name="idxcdsforeign"></a><p>
+</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-i"></a>5.1. Piratvirksomhet I</h2></div></div></div><a class="indexterm" name="idp
54926208"></a><a class="indexterm" name="idxcdsforeign"></a><p>
Over hele verden, men spesielt i Asia og Øst-Europa, er det selskaper som
ikke gjør annet enn å ta andre folks opphavsrettsbeskyttede innhold,
-kopierer det og selger det — alt uten tillatelse fra
+kopierer det og selger det – alt uten tillatelse fra
opphavsrettseieren. Musikkindustrien estimerer at de taper rundt 4,6
-milliarder dollar hvert år på fysisk piratvirksomhet <a href="#ftn.idp7886624" class="footnote" name="idp7886624"><sup class="footnote">[70]</sup></a> (det blir ca. en av tre CD-er solgt på
+milliarder dollar hvert år på fysisk piratvirksomhet <a href="#ftn.idp54906896" class="footnote" name="idp54906896"><sup class="footnote">[70]</sup></a> (det blir ca. en av tre CD-er solgt på
verdensbasis). MPAA estimerer at de taper 3 milliarder dollar på
verdensbasis på piratvirksomhet.
</p><p>
Men likevel, hvis et land skal behandles som selvstendig, da er landets
lover landets lover, uavhengig av deres kilde. De internasjonale lovene som
disse landene lever etter gir dem noen muligheter til å slippe unna byrden
-til immaterielle rettighetslover.<a href="#ftn.idp7917232" class="footnote" name="idp7917232"><sup class="footnote">[71]</sup></a> Etter
+til immaterielle rettighetslover.<a href="#ftn.idp54937504" class="footnote" name="idp54937504"><sup class="footnote">[71]</sup></a> Etter
mitt syn burde flere utviklingsland utnytte den muligheten, men når de ikke
gjør det, bør deres lover likevel respekteres. Og i følge lovene i disse
landene, er piratvirksomhet galt.
-</p><a class="indexterm" name="idp
7921424"></a><p>
+</p><a class="indexterm" name="idp
54941696"></a><p>
Alternativt, så kan vi forsøke å unnskylde denne piratvirksomheten ved å
legge merke til at det uansett ikke skader industrien. Kineserne, som får
tilgang til amerikanske CD-er for 50 cent pr. utgave, er ikke folk som ville
kjøpt disse CD-ene for 15 dollar per utgave. Så ingen har egentlig noe
-mindre penger enn de ellers ville hatt.<a href="#ftn.idp7923072" class="footnote" name="idp7923072"><sup class="footnote">[72]</sup></a>
+mindre penger enn de ellers ville hatt.<a href="#ftn.idp54943344" class="footnote" name="idp54943344"><sup class="footnote">[72]</sup></a>
</p><p>
Dette er ofte riktig (selv om jeg har venner som har kjøpt flere tusen
piratkopierte DVD-er, og som helt klart har nok penger til å betale for
fra når du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD
som kan selges. Fysikken til røving av det uhåndgripelige er forskjellig
fra fysikken til røving av det håndgripelige.
-</p><a class="indexterm" name="idp
7928704"></a><p>
+</p><a class="indexterm" name="idp
54948976"></a><p>
Dette er likevel et veldig dårlig argument. For selv om opphavsretten er en
eiendomsrett av en veldig spesiell type, så <span class="emphasis"><em>er</em></span> det en
det systemet er skikkelig balansert opp mot teknologien på et gitt
tidspunkt, så er det galt å ta eiendom uten tillatelse fra eiendomseieren.
Det er nøyaktig hva <span class="quote">«<span class="quote">eiendom</span>»</span> betyr.
-</p><a class="indexterm" name="idp
7933168"></a><a class="indexterm" name="idp7933920"></a><a class="indexterm" name="idp7934928"></a><a class="indexterm" name="idp7935808"></a><a class="indexterm" name="idp7936560"></a><a class="indexterm" name="idp7937312"></a><a class="indexterm" name="idp7938320"></a><a class="indexterm" name="idp7939072"></a><a class="indexterm" name="idp7940080"></a><p>
+</p><a class="indexterm" name="idp
54953440"></a><a class="indexterm" name="idp54954192"></a><a class="indexterm" name="idp54955200"></a><a class="indexterm" name="idp54956336"></a><a class="indexterm" name="idp54957216"></a><a class="indexterm" name="idp54957968"></a><a class="indexterm" name="idp54958720"></a><a class="indexterm" name="idp54959728"></a><a class="indexterm" name="idp54960480"></a><a class="indexterm" name="idp54961488"></a><p>
Til slutt kan vi forsøke å unnskylde denne piratvirksomheten med argumentet
om at piratvirksomheten faktisk hjelper opphavsrettseieren. Når kineserne
<span class="quote">«<span class="quote">stjeler</span>»</span> Windows, så gjør det kineserne avhengig av
brukte det fritt tilgjengelige operativsystemet GNU/Linux, så ville disse
kinesiske brukerne ikke til slutt kjøpe Microsoft. Uten piratvirksomheten
ville dermed Microsoft tape.
-</p><a class="indexterm" name="idp
7943552"></a><p>
+</p><a class="indexterm" name="idp
54964960"></a><p>
Det er også noe sant i dette argumentet. Å gjøre folk avhengig er en god
strategi. Mange selskaper praktiserer det. Noen gjør det godt på grunn av
det. Juss-studenter, for eksempel, får gratis tilgang til de to største
studentene vil bli så vant til deres tjenester at de vil ønske å bruke deres
tjeneste, og ikke konkurrentens når de blir advokater (og må betale høy
abonnementsavgift).
-</p><a class="indexterm" name="idp
7945584"></a><a class="indexterm" name="idp7946336"></a><a class="indexterm" name="idp7947088"></a><a class="indexterm" name="idp7947840"></a><p>
+</p><a class="indexterm" name="idp
54966992"></a><a class="indexterm" name="idp54967744"></a><a class="indexterm" name="idp54968496"></a><a class="indexterm" name="idp54969248"></a><p>
Likevel er ikke dette argumentet spesielt overbevisende. Vi gir ikke
alkoholikeren et forsvar når han stjeler sin første øl, kun på grunn av at
det vil gjøre det mer sannsynlig at han vil betale for de tre neste. I
bort sine produkter. Hvis Microsoft frykter konkurransen fra GNU/Linux, så
kan Microsoft gi bort produktet sitt, slik de for eksempel gjorde med
Internet Explorer for å bekjempe Netscape. En eiendomsrett betyr å la
-eiendomseieren ha retten til å si hvem som får tilgang til hva — i
+eiendomseieren ha retten til å si hvem som får tilgang til hva – i
hvert fall vanligvis. Og hvis loven balanserer skikkelig rettighetene til
opphavsrettighetseieren med rettighetene for tilgang, så er det å bryte
loven fortsatt galt.
Nøkkelen til <span class="quote">«<span class="quote">piratvirksomheten</span>»</span>, som loven tar sikte på å
skvise, er den bruken som <span class="quote">«<span class="quote">robber forfatteren for
-profitten.</span>»</span><a href="#ftn.idp7959856" class="footnote" name="idp7959856"><sup class="footnote">[73]</sup></a> Dette betyr vi må
+profitten.</span>»</span><a href="#ftn.idp54981264" class="footnote" name="idp54981264"><sup class="footnote">[73]</sup></a> Dette betyr vi må
avgjøre hvorvidt og hvor mye p2p-deling skader før vi vet hvor sterkt loven
bør søke å enten hindre det, eller finne et alternativ for å sikre
forfatteren sin profitt.
</p><p>
-<a class="indexterm" name="idp7962176"></a> <a class="indexterm" name="idp7962928"></a> <a class="indexterm" name="idxnapster"></a> Peer-to-peer-deling ble
-gjort berømt av Napster. Men oppfinnerne av Napster-teknologien hadde ikke
-gjort noen store teknologiske nyskapninger. Som ethvert stort steg i
-nyskapningen på Internett (og, kan det argumenteres for, utenfor
-Internett<a class="indexterm" name="idp7965424"></a>) hadde Shawn Fanning og hans
-ansatte ganske enkelt satt sammen deler som hadde blitt utviklet uavhengig
-av hverandre.
+<a class="indexterm" name="idp54983584"></a> <a class="indexterm" name="idp54984336"></a> <a class="indexterm" name="idp54985344"></a> <a class="indexterm" name="idxnapster"></a> Peer-to-peer-deling ble gjort berømt av Napster.
+Men oppfinnerne av Napster-teknologien hadde ikke gjort noen store
+teknologiske nyskapninger. Som ethvert stort steg i nyskapningen på
+Internett (og, kan det argumenteres for, utenfor Internett<a href="#ftn.idp54987840" class="footnote" name="idp54987840"><sup class="footnote">[74]</sup></a>) hadde Shawn Fanning og hans ansatte ganske enkelt
+satt sammen deler som hadde blitt utviklet uavhengig av hverandre.
</p><p>
-<a class="indexterm" name="idp7966688"></a> <a class="indexterm" name="idp7967440"></a> <a class="indexterm" name="idp7968448"></a> Resultatet var en
+<a class="indexterm" name="idp54992256"></a> <a class="indexterm" name="idp54993008"></a> <a class="indexterm" name="idp54994016"></a> Resultatet var en
eksplosjon. Etter lansering i juli 1999, samlet Napster over 10 millioner
brukere i løpet av ni måneder. Etter atten måneder var det nesten 80
-millioner registrerte brukere av systemet.<a class="indexterm" name="idp7969888"></a> Rettsaker skjøt Napster raskt ned, men andre tjenester dukket opp
+millioner registrerte brukere av systemet.<a class="indexterm" name="idp54995456"></a> Rettsaker skjøt Napster raskt ned, men andre tjenester dukket opp
for å overta plassen. (Kazaa er for tiden den mest populære p2p-tjenesten.
Den skryter av over 100 millioner medlemmer.) Disse tjenestene har en
anderledes arkitektur selv om de ikke er veldig forskjellige i funksjon:
Hver av dem gjør det mulig for brukerne å gjøre innhold tilgjengelig til et
ubegrenset antall andre brukere. Med et p2p-system kan du dele dine
-favorittsanger med dine beste venner — eller dine 20 000 beste
+favorittsanger med dine beste venner – eller dine 20 000 beste
venner.
-</p><a class="indexterm" name="idp
7949664"></a><p>
+</p><a class="indexterm" name="idp
54990864"></a><p>
Ifølge en rekke estimater har en stor andel av amerikanere testet
fildelingsteknologi. En studie fra Ipsos-Insight i september 2002 estimerte
-at 60 millioner amerikanere har lastet ned musikk — 28 prosent av
-amerikanerne over 12 år.<a href="#ftn.idp7971280" class="footnote" name="idp7971280"><sup class="footnote">[74]</sup></a> En
+at 60 millioner amerikanere har lastet ned musikk – 28 prosent av
+amerikanerne over 12 år.<a href="#ftn.idp54996848" class="footnote" name="idp54996848"><sup class="footnote">[75]</sup></a> En
spørreundersøkelse fra NPD-gruppen sitert i <em class="citetitle">The New York
Times</em> estimerte at 43 millioner innbyggere brukte
-fildelingsnettverk for å utveksle innhold i mai 2003.<a href="#ftn.idp7975600" class="footnote" name="idp7975600"><sup class="footnote">[75]</sup></a> De aller fleste av dem er ikke unger. Uansett hva
+fildelingsnettverk for å utveksle innhold i mai 2003.<a href="#ftn.idp55001168" class="footnote" name="idp55001168"><sup class="footnote">[76]</sup></a> De aller fleste av dem er ikke unger. Uansett hva
de egentlige tallene er, en massiv mengde innhold blir <span class="quote">«<span class="quote">tatt</span>»</span>
på disse nettverkene. Enkelheten og den lave kostnaden til
fildelingsnettverkene har inspirert millioner til å nyte musikk på måter de
Noe av denne nytelsen involverer brudd på opphavsretten. Noe av den gjør
det ikke. Og selv for den delen som teknisk sett er brudd på opphavsretten,
er det å beregne den faktiske skaden som er påført opphavsrettseierne mer
-komplisert enn en skulle tro. Vurder — litt mer nøye enn de
-polariserte stemmene i denne debatten vanligvis gjør — de ulike typer
+komplisert enn en skulle tro. Vurder – litt mer nøye enn de
+polariserte stemmene i denne debatten vanligvis gjør – de ulike typer
deling som fildeling muliggjør, og hva slags skader de innebærer.
-</p><p>
+</p><a class="indexterm" name="idxpeertopeerppfilesharingfourtypesof"></a><a class="indexterm" name="idp55006656"></a><p>
Fildelerne deler ulike typer innhold. Vi kan dele disse ulike typene inn i
fire typer.
-</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="idp
7981440"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="idp
55009648"></a><p>
Det er noen som bruker delingsnettverk som erstatning for å kjøpe innhold.
innhold som var tilgjengelig. For innhold som ikke blir solgt, så er dette
fortsatt teknisk sett brudd på opphavsretten, selv om det på grunn av at
opphavsrettseieren ikke lenger selger innholdet, så er den økonomiske skaden
-null — den samme skaden som inntreffer når jeg selger min samling med
+null – den samme skaden som inntreffer når jeg selger min samling med
45-rpm grammofonplater fra 1960-tallet til en lokal samler.
</p></li><li class="listitem"><p>
Til slutt er det mange som bruker delingsnettverk for å få tilgang til
innhold som ikke er opphavsrettsbeskyttet, eller der opphavsrettseieren
ønsker å gi det bort.
-</p></li></ol></div><p>
+</p></li></ol></div><a class="indexterm" name="idp55017600"></a><p>
Hvordan balanserer disse ulike delingstypene?
</p><p>
La oss starte med noen enkle, men viktige poeng. Fra lovens perspektiv er
det kun type-D-deling som helt klart er lovlig. Fra et økonomisk perspektiv
-er det kun type-A-deling som helt klart forårsaker skade.<a href="#ftn.idp7990480" class="footnote" name="idp7990480"><sup class="footnote">[76]</sup></a> Type-B-deling er ulovlig men gir klare fordeler.
+er det kun type-A-deling som helt klart forårsaker skade.<a href="#ftn.idp55019664" class="footnote" name="idp55019664"><sup class="footnote">[77]</sup></a> Type-B-deling er ulovlig men gir klare fordeler.
Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til
musikk er bra), og ufarlig for artistene (siden verket ellers ikke er
tilgjengelig). Så det er vanskelig å avgjøre hvordan deling kommer ut
-totalt sett — og helt klart mye vanskeligere enn den gjeldende
+totalt sett – og helt klart mye vanskeligere enn den gjeldende
retorikken rundt temaet gir inntrykk av.
</p><p>
Hvorvidt deling er skadelig totalt sett, er veldig avhengig av hvor skadelig
for platebransjen å skylde på teknologi for all nedgang i salg. Historien
til kassettopptak er et godt eksempel. Som det ble formulert i en studie av
Cap Gemini Ernst & Young: <span class="quote">«<span class="quote">I stedet for å utforske denne nye
-populære teknologien, sloss selskapene imot den.</span>»</span><a href="#ftn.idp7997264" class="footnote" name="idp7997264"><sup class="footnote">[77]</sup></a> Selskapene påsto at hvert album som ble tatt opp på
+populære teknologien, sloss selskapene imot den.</span>»</span><a href="#ftn.idp55026448" class="footnote" name="idp55026448"><sup class="footnote">[78]</sup></a> Selskapene påsto at hvert album som ble tatt opp på
kassett, var et album som ikke ble solgt, og da platesalget falt med 11,4
prosent i 1981, påsto industrien at dets poeng var bevist. Teknologien var
problemet, og forbud eller regulering av teknologien var svaret.
-</p><a class="indexterm" name="idp
8001968"></a><p>
+</p><a class="indexterm" name="idp
55031824"></a><p>
Ikke lenge etterpå, og før kongressen fikk muligheten til å innføre
reguleringer, ble MTV lansert, og industrien fikk et
rekordoppsving. <span class="quote">«<span class="quote">Til slutt,</span>»</span> konkluderte Cap Gemini, <span class="quote">«<span class="quote">var
ikke <span class="quote">‘<span class="quote">krisen</span>’</span> … forårsaket av de som tok opp på kassett
-— som ikke [tok slutt etter at MTV dukket opp] — men hadde i
+– som ikke [tok slutt etter at MTV dukket opp] – men hadde i
stor grad vært resultatet av en stagnasjon i musikknyskapningen hos de store
-selskapene.</span>»</span><a href="#ftn.idp7924288" class="footnote" name="idp7924288"><sup class="footnote">[78]</sup></a>
-</p><a class="indexterm" name="idp
8006368"></a><p>
+selskapene.</span>»</span><a href="#ftn.idp54944560" class="footnote" name="idp54944560"><sup class="footnote">[79]</sup></a>
+</p><a class="indexterm" name="idp
55036224"></a><p>
Men det at industrien har tatt feil før, betyr ikke at de tar feil i dag.
For å evaluere den virkelige trusselen som p2p-deling representerer for
-industrien spesielt, og samfunnet generelt — eller i hvert fall det
+industrien spesielt, og samfunnet generelt – eller i hvert fall det
samfunnet som arvet tradisjonen som ga oss filmindustrien, plateindustrien,
-radioindustrien, kabel-TV og videospilleren — så er ikke spørsmålet
+radioindustrien, kabel-TV og videospilleren – så er ikke spørsmålet
kun om type-A-deling er skadelig. Spørsmålet er også
<span class="emphasis"><em>hvor</em></span> skadelig type-A-deling er, og hvor nyttige de
andre typene deling er.
</p><p>
I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882
millioner til 803 millioner enheter, og inntektene hadde falt 6,7
-prosent.<a href="#ftn.idp8013968" class="footnote" name="idp8013968"><sup class="footnote">[79]</sup></a> Dette bekrefter en trend fra
+prosent.<a href="#ftn.idp55043824" class="footnote" name="idp55043824"><sup class="footnote">[80]</sup></a> Dette bekrefter en trend fra
de siste årene. RIAA skylder på piratvirksomhet over Internett for denne
trenden, selv om det er mange andre årsaker som kan forklare denne
reduksjonen. SoundScan rapporterte for eksempel om en reduksjon på over 20
uten tvil årsaken til noe av nedgangen i salget. Stigende priser kan også
ha bidratt til noe av tapet. <span class="quote">«<span class="quote">Fra 1999 til 201 steg den
gjennomsnittlige prisen for en CD med 7,2 prosent, fra 13,04 dollar til
-14,19 dollar.</span>»</span><a href="#ftn.idp8019056" class="footnote" name="idp8019056"><sup class="footnote">[80]</sup></a> Konkurranse fra
+14,19 dollar.</span>»</span><a href="#ftn.idp55048912" class="footnote" name="idp55048912"><sup class="footnote">[81]</sup></a> Konkurranse fra
andre typer media kan også forklare noe av nedgangen. Som Jane Black i
<em class="citetitle">BusinessWeek</em> kommenterer, <span class="quote">«<span class="quote">Lydsporet for filmen
<em class="citetitle">High Fidelity</em> har en listepris på 19,98 dollar. Du
-kan få hele filmen [på DVD] for 19,99 dollar.</span>»</span><a href="#ftn.idp8023328" class="footnote" name="idp8023328"><sup class="footnote">[81]</sup></a>
+kan få hele filmen [på DVD] for 19,99 dollar.</span>»</span><a href="#ftn.idp55053184" class="footnote" name="idp55053184"><sup class="footnote">[82]</sup></a>
</p><p>
Det er for mange ulike ting som skjer samtidig til å forklare disse tallene
med sikkerhet, men en konklusjon er uunngåelig: Musikkindustrien spør
stadig, <span class="quote">«<span class="quote">Hva er forskjellen mellom å laste ned en sang, og å stjele en
-CD?</span>»</span> — men deres egne tall avslører forskjellen. Hvis jeg
+CD?</span>»</span> – men deres egne tall avslører forskjellen. Hvis jeg
stjeler en CD, så er det en mindre CD å selge. Hvert eneste som blir tatt
er et tapt salg. Men basert på tallene som RIAA gjør tilgjengelig, så er
det helt klart at det samme ikke er sant for nedlastinger. Hvis hver
-nedlasting var et tapt salg — hvis hver bruk av Kazaa <span class="quote">«<span class="quote">robbet
-forfatteren for profitten</span>»</span> — da skulle industrien vært påført
+nedlasting var et tapt salg – hvis hver bruk av Kazaa <span class="quote">«<span class="quote">robbet
+forfatteren for profitten</span>»</span> – da skulle industrien vært påført
100 prosent reduksjon i salg i fjor, ikke en 7 prosents nedgang. Hvis 2,6
ganger antallet solgte CD-er ble lastet ned gratis, og salgsinntektene kun
ble redusert med 6,7 prosent, så er det en stor forskjell mellom å
<span class="quote">«<span class="quote">laste ned en sang og å stjele en CD.</span>»</span>
-</p><a class="indexterm" name="idp
8028528"></a><p>
-Dette er skadene — påståtte og muligens overdrevende, men la oss anta
+</p><a class="indexterm" name="idp
55058384"></a><p>
+Dette er skadene – påståtte og muligens overdrevende, men la oss anta
at de er reelle. Hva er fordelene? Fildeling påfører muligens kostnader
for plateindustrien. Hva slags verdi gir det i tillegg til disse
kostnadene?
</p><p>
-En fordel er type-C-deling — å gjøre innhold tilgjengelig som teknisk
+En fordel er type-C-deling – å gjøre innhold tilgjengelig som teknisk
sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt
tilgjengelig. Dette er ikke en liten kategori med innhold. Det er millioner
-av spor som ikke lenger er kommersielt tilgjengelig.<a href="#ftn.idp8029760" class="footnote" name="idp8029760"><sup class="footnote">[82]</sup></a> Og mens det kan tenkes at noe av dette innholdet
+av spor som ikke lenger er kommersielt tilgjengelig.<a href="#ftn.idp55059616" class="footnote" name="idp55059616"><sup class="footnote">[83]</sup></a> Og mens det kan tenkes at noe av dette innholdet
ikke er tilgjengelig fordi artisten som laget innholdet ikke ønsker at det
blir gjort tilgjengelig, så er det meste av dette utilgjengelig kun fordi
forlaget eller distributøren har bestemt at det ikke lenger gir økonomisk
mening <span class="emphasis"><em>for selskapet</em></span> å gjøre det tilgjengelig.
-</p><a class="indexterm" name="idp
8034576"></a><p>
-I den virkelige verden — lenge før Internett — hadde markedet et
+</p><a class="indexterm" name="idp
55064432"></a><a class="indexterm" name="idp55065440"></a><p>
+I den virkelige verden – lenge før Internett – hadde markedet et
enkelt svar på dette problemet: bruktbok- og bruktplatebutikker. Det er
-tusenvis av butikker for brukte bøker og plater i Amerika i dag.<a href="#ftn.idp8035840" class="footnote" name="idp8035840"><sup class="footnote">[83]</sup></a> Disse butikkene kjøper innhold fra eierne, og
+tusenvis av butikker for brukte bøker og plater i Amerika i dag.<a href="#ftn.idp55066448" class="footnote" name="idp55066448"><sup class="footnote">[84]</sup></a> Disse butikkene kjøper innhold fra eierne, og
selger så videre innholdet de kjøpte. Og ifølge amerikansk åndsverklov, når
de kjøper og selger dette innholdet, <span class="emphasis"><em>selv om innholdet fortsatt er
vernet av åndsverkloven</em></span>, så får ikke opphavsrettseieren et
tjener penger på innholdet de selger, men på samme måte som med
kabel-TV-selskapene før lovbestemt lisensiering, må de ikke betale
opphavsrettseierene for innholdet de selger.
-</p><a class="indexterm" name="idp
8042720"></a><a class="indexterm" name="idp8043728"></a><a class="indexterm" name="idxinternetbookson"></a><p>
+</p><a class="indexterm" name="idp
55073328"></a><a class="indexterm" name="idp55074336"></a><a class="indexterm" name="idxinternetbookson"></a><p>
Type-C-deling har dermed veldig mye til felles med bruktbok- og
bruktplatebutikker. Det er naturligvis også veldig forskjellig, fordi
personen som gjør innhold tilgjengelig, ikke tjener penger på å gjøre
bruktbokhandlere. Eller sagt på en annen måte, hvis du tror type-C-deling
burde vært stoppet, mener du også at biblioteker og bruktbokhandler også
burde vært stengt?
-</p><a class="indexterm" name="idxbooksfreeonline1"></a><a class="indexterm" name="idp
8050720"></a><a class="indexterm" name="idp8051472"></a><p>
+</p><a class="indexterm" name="idxbooksfreeonline1"></a><a class="indexterm" name="idp
55081328"></a><a class="indexterm" name="idp55082080"></a><p>
Til slutt, og kanskje mest viktig, gjør fildelingsnettverk type-D-deling
-mulig — delingen av innhold som opphavsrettseierne ønsker å få delt,
+mulig – delingen av innhold som opphavsrettseierne ønsker å få delt,
eller der det ikke er verdt etter åndsverkloven. Denne delingen er klart
til fordel for forfattere og samfunnet. Science fiction-forfatteren Cory
Doctorow, for eksempel, utga sin første roman, <em class="citetitle">Down and Out in
den. Doctorows innhold er type-D-innhold. Hvis delingsnettverkene gjør det
mulig å spre verket hans, så kommer både han og samfunnet bedre ut. (Faktisk
så kommer de mye bedre ut: det er en god bok!)
-</p><a class="indexterm" name="idp
8055536"></a><p>
+</p><a class="indexterm" name="idp
55086144"></a><p>
Det samme gjelder for allemannseide (public domain) verk: Denne delingen
gagner samfunnet uten noen juridisk skade mot forfattere i det hele
tatt. Hvis innsatsen for å løse problemet med type-A-deling ødelegger
<span class="quote">«<span class="quote">Dette er hvor mye vi har tapt,</span>»</span> så må vi også spørre oss
<span class="quote">«<span class="quote">hvor mye har samfunnet fått igjen fra p2p-deling? Hva gjør oss mer
effektive? Hva er innholdet som ellers ville være utilgjengelig?</span>»</span>
-</p><a class="indexterm" name="idp
8059120"></a><p>
+</p><a class="indexterm" name="idp
55089728"></a><p>
For til forskjell fra piratvirksomheten jeg beskrev i første del av dette
kapittelet, er mye av <span class="quote">«<span class="quote">piratvirksomheten</span>»</span> som fildeling gjør
mulig klart lovlig og bra. Og i likhet med piratvirksomheten jeg beskrev i
</p><p>
<span class="quote">«<span class="quote">Men er ikke krigen bare en krig mot ulovlig deling? Er ikke
angrepsmålet bare det du kaller type-A-deling?</span>»</span>
-</p><p>
+</p><a class="indexterm" name="idxcopyrightinfringementlawsuitszerotolerancein"></a><a class="indexterm" name="idxnapsterinfringingmaterialblockedby"></a><a class="indexterm" name="idxpeertopeerppfilesharinginfringementprotectionsin"></a><p>
En skulle tro det. Og vi bør håpe på det. Men så langt er det ikke
tilfelle. Effekten som krigen som påstås å kun være mot type-A-deling har
blitt kjent langt utover den klassen med deling. Det er åpenbart fra
utviklet teknologi som ville blokkere for 99,4 prosent av identifisert
opphavsrettsbrytende materiale, fortalte regionsdomstolen advokatene til
Napster at 99,4 prosent var ikke godt nok. Napster måtte få
-opphavsrettsbruddene <span class="quote">«<span class="quote">ned til null.</span>»</span><a href="#ftn.idp8064848" class="footnote" name="idp8064848"><sup class="footnote">[84]</sup></a>
-</p><p>
+opphavsrettsbruddene <span class="quote">«<span class="quote">ned til null.</span>»</span><a href="#ftn.idp55099920" class="footnote" name="idp55099920"><sup class="footnote">[85]</sup></a>
+</p><a class="indexterm" name="idp55102512"></a><a class="indexterm" name="idp55103488"></a><p>
Hvis 99,4 prosent ikke er godt nok, så er dette en krig mot
fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd. Det er ikke
mulig å sikre at et p2p-system brukes 100 prosent av tiden i henhold til
p2p, selv for de fullstendig lovlige og fordelaktige bruksområdene som de
tjener, kun for å sikre at det ikke eksisterer brudd på opphavsretten
forårsaket av p2p.
-</p><p>
+</p><a class="indexterm" name="idp55105536"></a><p>
Nulltoleranse har ikke vært vår historie. Det har ikke gitt oss
innholdsindustrien som vi kjenner i dag. Historien til amerikansk lovgiving
har vært en prosess om balanse. Etter hvert som nye teknologier endret
møte den nye teknologien. I denne justeringen har loven forsøkt å sikre
legitime rettigheter til skaperne mens den beskytter nyskapning. Noen
ganger har det gitt mer rettigheter til skaperne, og noen ganger mindre.
-</p><a class="indexterm" name="idp
8069664"></a><a class="indexterm" name="idp8070672"></a><a class="indexterm" name="idxcongressusoncopyrightlaws2"></a><a class="indexterm" name="idxcongressusonrecordingindustry2"></a><a class="indexterm" name="idxcopyrightlawonmusicrecordings2"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin2"></a><a class="indexterm" name="idp8077376"></a><a class="indexterm" name="idp8078384"></a><a class="indexterm" name="idp8079392"></a><a class="indexterm" name="idp8080400"></a><a class="indexterm" name="idp8081408"></a><a class="indexterm" name="idp8082160"></a><p>
+</p><a class="indexterm" name="idp
55107568"></a><a class="indexterm" name="idp55108576"></a><a class="indexterm" name="idxcongressusoncopyrightlaws2"></a><a class="indexterm" name="idxcongressusonrecordingindustry2"></a><a class="indexterm" name="idxcopyrightlawonmusicrecordings2"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin2"></a><a class="indexterm" name="idp55115280"></a><a class="indexterm" name="idp55116368"></a><a class="indexterm" name="idp55117376"></a><a class="indexterm" name="idp55118384"></a><a class="indexterm" name="idp55119392"></a><a class="indexterm" name="idp55120144"></a><p>
Dermed, slik vi har sett, når <span class="quote">«<span class="quote">mekanisk reproduksjon</span>»</span> truet
interessene til komponister, balanserte kongressen rettighetene til
komponistene mot interessene til plateindustrien. Den ga rettigheter til
Kongressen med å gi kringkasterne rett til betaling, men på et nivå fastsatt
av loven. De ga på samme måte kabel-TV-selskapene rett til innholdet, så
lenge de betalte den lovbestemte prisen.
-</p><a class="indexterm" name="idp
8087536"></a><p>
+</p><a class="indexterm" name="idp
55125600"></a><a class="indexterm" name="idp55126576"></a><p>
Dette kompromisset, på samme måte som kompromisset som påvirket plater og
-automatiske piano, oppnådde to mål — faktisk de to sentrale målene i
+automatiske piano, oppnådde to mål – faktisk de to sentrale målene i
enhver opphavsrettslovgiving. For det første, sikret loven at nye
oppfinnere ville ha friheten til å utvikle nye måter å levere innhold på.
For det andre, sikret loven at opphavsrettsinnehaverne ville få betalt for
subsidiering til kabel-TV. Dermed valgte Kongressen en sti som ville sikre
<span class="emphasis"><em>kompensasjon</em></span> uten å gi fortiden (kringkasterne)
kontroll over fremtiden (kabel-TV).
-</p><a class="indexterm" name="idp
8090704"></a><a class="indexterm" name="idp8091568"></a><a class="indexterm" name="idp8092544"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></a><p>
+</p><a class="indexterm" name="idp
55129776"></a><a class="indexterm" name="idp55130640"></a><a class="indexterm" name="idp55131616"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></a><a class="indexterm" name="idxsonybetamaxtechnologydevelopedby"></a><p>
Samme år som Kongressen valgte denne balansen, gikk to store produsenter og
distributører av filminnhold til sak mot en annen teknologi, Det var
Betamax, video-spilleren og -opptakeren som Sony hadde produsert. Disneys og
opphavsrettsbeskyttede filmer og programmer. Sony hadde derfor fordel av
opphavsrettsbruddene til sine kunder, og skulle derfor, påsto Disney og
Universal, være delvis ansvarlig for disse bruddene.
-</p><a class="indexterm" name="idp
8098128"></a><p>
+</p><a class="indexterm" name="idp
55138688"></a><p>
Det er noe i påstandene til Disney og Universal. Sony valgte å utforme sin
maskin slik at det var veldig enkelt å ta opp TV-programmer. De kunne ha
utformet systemet sitt for å minimere muligheten for opphavsrettsbrudd. Det
gjorde de ikke, og på grunn av dette ville Disney og Universal holde dem
ansvarlig for arkitekturen de valgte.
-</p><a class="indexterm" name="idxcongressusoncopyrightlaws3"></a><a class="indexterm" name="idp
8102896"></a><p>
+</p><a class="indexterm" name="idxcongressusoncopyrightlaws3"></a><a class="indexterm" name="idp
55143456"></a><a class="indexterm" name="idxvalentijackonvcrtechnology"></a><p>
MPAA-presidenten Jack Valenti ble studioenes mest synlige
forkjemper. Valenti kalte videospillerne for <span class="quote">«<span class="quote">båndormer</span>»</span>
(engelsk: tapeworm). Han advarte om at <span class="quote">«<span class="quote">når det er 20, 30, 40
millioner av disse videospillerne i landet, vil vi bli invadert av millioner
av <span class="quote">‘<span class="quote">båndormer</span>’</span> som spiser i vei i hjertet og essensen til den
mest verdifulle eiendelen som opphavsrettseieren har, hans
-opphavsrett.</span>»</span><a href="#ftn.idp8105664" class="footnote" name="idp8105664"><sup class="footnote">[85]</sup></a> <span class="quote">«<span class="quote">En må ikke
+opphavsrett.</span>»</span><a href="#ftn.idp55147712" class="footnote" name="idp55147712"><sup class="footnote">[86]</sup></a> <span class="quote">«<span class="quote">En må ikke
være opplært i sofistikert markedsføring eller kreativ vurdering,</span>»</span>
fortalte han Kongressen, <span class="quote">«<span class="quote">for å forstå ødeleggelsen av
etter-kino-markedet forårsaket av de hundrevis av millioner opptak som vil
seriøst påvirke fremtiden til det kreative miljøet i dette landet. Det er
ganske enkelt et spørsmål om grunnleggende økonomi og enkel sunn
-fornuft.</span>»</span><a href="#ftn.idp8108304" class="footnote" name="idp8108304"><sup class="footnote">[86]</sup></a> Og ganske riktig,
+fornuft.</span>»</span><a href="#ftn.idp55150352" class="footnote" name="idp55150352"><sup class="footnote">[87]</sup></a> Og ganske riktig,
viser senere spørreundersøkelser, 45 prosent av videospillereierne hadde
-filmbiblioteker som inneholdt ti filmer eller mer.<a href="#ftn.idp8109456" class="footnote" name="idp8109456"><sup class="footnote">[87]</sup></a> — en bruk som retten senere ville avgjøre
+filmbiblioteker som inneholdt ti filmer eller mer.<a href="#ftn.idp55151504" class="footnote" name="idp55151504"><sup class="footnote">[88]</sup></a> – en bruk som retten senere ville avgjøre
ikke var <span class="quote">«<span class="quote">rimelig.</span>»</span> Ved å <span class="quote">«<span class="quote">tillate videospillereierne å
kopiere fritt ved hjelp av et unntak fra brudd på opphavsrettsloven uten å
lage en mekanisme for å kompensere opphavsrettseierne,</span>»</span> forklarte
Valenti, så ville Kongressen <span class="quote">«<span class="quote">ta fra eierne selve essensen i sin
eiendom: den eksklusive retten til å kontrollere hvem som kan bruke verkene
deres, det vil si, hvem som kan kopiere dem, og dermed nyte godt at deres
-reproduksjon.</span>»</span><a href="#ftn.idp8112992" class="footnote" name="idp8112992"><sup class="footnote">[88]</sup></a>
-</p><a class="indexterm" name="idp
8114000"></a><p>
+reproduksjon.</span>»</span><a href="#ftn.idp55155040" class="footnote" name="idp55155040"><sup class="footnote">[89]</sup></a>
+</p><a class="indexterm" name="idp
55156048"></a><a class="indexterm" name="idp55157024"></a><p>
Det tok åtte år før denne saken ble avgjort av Høyesterett. I mellomtiden
-hadde den niende ankekrets, som har Hollywood i sin jurisdiksjon — det
+hadde den niende ankekrets, som har Hollywood i sin jurisdiksjon – det
den ledende dommeren Alex Kozinski, som er medlem i den domstolen, omtaler
-som <span class="quote">«<span class="quote">Hollywood-kretsen</span>»</span> — funnet at Sony måtte holdes
+som <span class="quote">«<span class="quote">Hollywood-kretsen</span>»</span> – funnet at Sony måtte holdes
ansvarlig for de opphavsrettsbruddene som ble gjort mulig med deres
maskiner. Ifølge regelen til niende ankekrets var denne kjente teknologien
-— som Jack Valenti hadde omtalt som <span class="quote">«<span class="quote">Boston-kveleren for
+– som Jack Valenti hadde omtalt som <span class="quote">«<span class="quote">Boston-kveleren for
amerikansk filmindustri</span>»</span> (verre enn dette, det var en
<span class="emphasis"><em>japansk</em></span> Boston-kveler for amerikansk filmindustri)
-— en ulovlig teknologi.<a href="#ftn.idp8115536" class="footnote" name="idp8115536"><sup class="footnote">[89]</sup></a>
-<a class="indexterm" name="idp8118544"></a>
-</p><p>
+– en ulovlig teknologi.<a href="#ftn.idp55158560" class="footnote" name="idp55158560"><sup class="footnote">[90]</sup></a>
+<a class="indexterm" name="idp55161568"></a>
+</p><a class="indexterm" name="idp55162448"></a><p>
Men Høyesterett gjorde om avgjørelsen til niende ankekrets. Og i sin
avgjørelse formulerte domstolen klart sin forståelse av når og om domstoler
opphavsrettsbeskyttet materiale. Kongressen har den konstitusjonelle
autoriteten og institusjonsevnen til å ta fullt hensyn til de forskjellige
sammensetningene av konkurrerende interesser som uunngåelig blir involvert
-av slik ny teknologi.<a href="#ftn.idp8121632" class="footnote" name="idp8121632"><sup class="footnote">[90]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8123424"></a><p>
+av slik ny teknologi.<a href="#ftn.idp55165632" class="footnote" name="idp55165632"><sup class="footnote">[91]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
55167424"></a><p>
Kongressen ble bedt om å svare på avgjørelsen fra Høyesterett. Men på samme
måte som med appellen fra plateartistene om radiokringkastinger, ignorerte
Kongressen denne forespørselen. Kongressen var overbevist om at amerikansk
film fikk nok, på tross av at det her ble <span class="quote">«<span class="quote">tatt.</span>»</span> Hvis vi
samler disse saken, trer et mønster frem:
-</p><div class="informaltable"><a name="t1"></a><table border="1"><colgroup><col><col><col><col></colgroup><thead><tr><th align="left">Tilfelle</th><th align="left">Hvems verdi ble <span class="quote">«<span class="quote">røvet</span>»</span></th><th align="left">Responsen til domstolene</th><th align="left">Responsen til Kongressen</th></tr></thead><tbody><tr><td align="left">Innspillinger</td><td align="left">Komponister</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Radio</td><td align="left">Plateartister</td><td align="left">N/A</td><td align="left">Ingenting</td></tr><tr><td align="left">Kabel-TV</td><td align="left">Kringkastere</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Video-spiller / -opptaker</td><td align="left">Filmskapere</td><td align="left">Ingen beskyttelse</td><td align="left">Ingenting</td></tr></tbody></table></div><a class="indexterm" name="idp
8137984"></a><p>
+</p><div class="informaltable"><a name="t1"></a><table border="1"><colgroup><col><col><col><col></colgroup><thead><tr><th align="left">Tilfelle</th><th align="left">Hvems verdi ble <span class="quote">«<span class="quote">røvet</span>»</span></th><th align="left">Responsen til domstolene</th><th align="left">Responsen til Kongressen</th></tr></thead><tbody><tr><td align="left">Innspillinger</td><td align="left">Komponister</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Radio</td><td align="left">Plateartister</td><td align="left">N/A</td><td align="left">Ingenting</td></tr><tr><td align="left">Kabel-TV</td><td align="left">Kringkastere</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Video-spiller / -opptaker</td><td align="left">Filmskapere</td><td align="left">Ingen beskyttelse</td><td align="left">Ingenting</td></tr></tbody></table></div><a class="indexterm" name="idp
55181984"></a><p>
I hvert tilfelle gjennom vår historie har ny teknologi endret hvordan
-innhold ble distribuert.<a href="#ftn.idp8139424" class="footnote" name="idp8139424"><sup class="footnote">[91]</sup></a> I hvert
+innhold ble distribuert.<a href="#ftn.idp55183424" class="footnote" name="idp55183424"><sup class="footnote">[92]</sup></a> I hvert
tilfelle, gjennom hele vår historie, har den endringen ført til at noen ble
<span class="quote">«<span class="quote">gratispassasjer</span>»</span> på noen andres verk.
</p><p>
I hvert tilfelle tillot Kongressen noe ny teknologi å ha fordel av innhold
laget tidligere. Den balanserte interessene som sto på spill.
-</p><a class="indexterm" name="idp
8148272"></a><p>
+</p><a class="indexterm" name="idp
55193008"></a><p>
Når du tenker over disse eksemplene, og de andre eksemplene som utgjør de
første fire kapitlene i denne delen, så gir denne balansen mening. Var Walt
Disney en pirat? Ville doujinshi være bedre hvis skaperne måtte be om
millioner dollar i erstatning? Ville det ha vært bedre om Edison hadde
kontrollert all film? Burde ethvert coverband måtte hyre inn en advokat for
å få tillatelse til å spille inn en sang?
-</p><a class="indexterm" name="idp
8150752"></a><p>
+</p><a class="indexterm" name="idp
55195488"></a><p>
Vi kunne svart ja på hvert av disse spørsmålene, men vår tradisjon har svart
nei. I vår tradisjon, slik Høyesterett uttalte, har opphavsretten
<span class="quote">«<span class="quote">aldri gitt opphavsrettseieren fullstendig kontroll over all mulig
-bruk av hans verk.</span>»</span><a href="#ftn.idp8152688" class="footnote" name="idp8152688"><sup class="footnote">[92]</sup></a> I stedet har
+bruk av hans verk.</span>»</span><a href="#ftn.idp55197424" class="footnote" name="idp55197424"><sup class="footnote">[93]</sup></a> I stedet har
de spesifikke bruksområder som loven regulerer vært definert ved å balansere
de goder som kommer fra å dele ut en eksklusiv rettighet mot ulempene en
slik eksklusiv rettighet skaper. Og denne balanseringen har historisk vært
Utviklet videre så kan de gjøre nettverkene mye mer effektive. Likevel kan
disse <span class="quote">«<span class="quote">potensielle fordelene for folket,</span>»</span> som John Schwartz
skriver i <em class="citetitle">The New York Times</em>, <span class="quote">«<span class="quote">bli forsinket av
-p2p-kampen.</span>»</span><a href="#ftn.idp8159328" class="footnote" name="idp8159328"><sup class="footnote">[93]</sup></a>
+p2p-kampen.</span>»</span><a href="#ftn.idp55204064" class="footnote" name="idp55204064"><sup class="footnote">[94]</sup></a>
</p><p>
<span class="strong"><strong>Men når noen</strong></span> begynner å snakke om
<span class="quote">«<span class="quote">balanse,</span>»</span> kommer opphavsrettskrigerne med et annet argument.
<span class="quote">«<span class="quote">Det er <span class="emphasis"><em>vår eiendom</em></span>,</span>»</span> insisterer krigerne,
<span class="quote">«<span class="quote">og den bør være beskyttet på samme måte som all annen eiendom er
beskyttet.</span>»</span>
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7886624" class="footnote"><p><a href="#idp7886624" class="para"><sup class="para">[70] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp54906896" class="footnote"><p><a href="#idp54906896" class="para"><sup class="para">[70] </sup></a>
Se IFPI (International Federation of the Phonographic Industry),
juli 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#14</a>. Se også Ben Hunt, <span class="quote">«<span class="quote">Companies Warned on Music Piracy
Risk,</span>»</span> <em class="citetitle">Financial Times</em>, 14. februar 2003, 11.
-</p></div><div id="ftn.idp7917232" class="footnote"><p><a href="#idp7917232" class="para"><sup class="para">[71] </sup></a>
+</p></div><div id="ftn.idp54937504" class="footnote"><p><a href="#idp54937504" class="para"><sup class="para">[71] </sup></a>
Se Peter Drahos og John Braithwaite, Information Feudalism: <em class="citetitle">Who
Owns the Knowledge Economy?</em> (New York: The New Press, 2003),
tillatelse fra patentinnehaveren. Utviklingsland kan være i stand til å
bruke dette til å få fordelene fra utenlandske patenter til lavere priser.
Dette er en lovende strategi for utviklingsland innenfor
-TRIPS-rammeverket. <a class="indexterm" name="idp7810384"></a> <a class="indexterm" name="idp7920016"></a>
-</p></div><div id="ftn.idp7923072" class="footnote"><p><a href="#idp7923072" class="para"><sup class="para">[72] </sup></a>
+TRIPS-rammeverket. <a class="indexterm" name="idp54929072"></a> <a class="indexterm" name="idp54940288"></a>
+</p></div><div id="ftn.idp54943344" class="footnote"><p><a href="#idp54943344" class="para"><sup class="para">[72] </sup></a>
For en analyse av den økonomiske effekten av kopieringsteknologi, se Stan
Liebowitz, <em class="citetitle">Rethinking the Network Economy</em> (New York:
av piratvirksomhet på opphavsrettsinnehaverens mulighet til å nyte godt av
verdien av verket være neglisjerbart. Et åpenbart tilfelle er der individet
som tar nyter godt av piratvirksomheten ikke ville ha kjøpt originalen selv
-om piratvirksomhet ikke var en mulighet.</span>»</span> Ibid., 149. <a class="indexterm" name="idp7925040"></a>
-</p></div><div id="ftn.idp7959856" class="footnote"><p><a href="#idp7959856" class="para"><sup class="para">[73] </sup></a>
+om piratvirksomhet ikke var en mulighet.</span>»</span> Ibid., 149. <a class="indexterm" name="idp54945312"></a>
+</p></div><div id="ftn.idp54981264" class="footnote"><p><a href="#idp54981264" class="para"><sup class="para">[73] </sup></a>
<em class="citetitle">Bach</em> v. <em class="citetitle">Longman</em>, 98
Eng. Rep. 1274 (1777).
-</p></div><div id="ftn.idp7971280" class="footnote"><p><a href="#idp7971280" class="para"><sup class="para">[74] </sup></a>
+</p></div><div id="ftn.idp54987840" class="footnote"><p><a href="#idp54987840" class="para"><sup class="para">[74] </sup></a>
+
+<a class="indexterm" name="idp54988224"></a> Se Clayton M. Christensen,
+<em class="citetitle">The Innovator's Dilemma: The Revolutionary National Bestseller
+That Changed the Way We Do Business</em> (New York: HarperBusiness,
+2000). Professor Christensen undersøker hvorfor selskaper som gir opphav
+til og dominerer et produktområde ofte ikke er i stand til å komme opp med
+de mest kreative, paradigmeskiftende måtene å bruke deres egne produkter
+på. Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter
+sammen eksisterende teknologi på nyskapende måter. For en diskusjon om
+Christensens idéer, se Lawrence Lessig, <em class="citetitle">Future</em>,
+89–92, 139. <a class="indexterm" name="idp54971072"></a>
+</p></div><div id="ftn.idp54996848" class="footnote"><p><a href="#idp54996848" class="para"><sup class="para">[75] </sup></a>
Distribution</em> (september 2002), som rapporterer at 28 prosent av
amerikanere eldre enn tolv år hadde lastet musikk ned fra Internett og 30
prosent hadde lyttet til digitale musikkfiler lagret på sine datamaskiner.
-</p></div><div id="ftn.idp7975600" class="footnote"><p><a href="#idp7975600" class="para"><sup class="para">[75] </sup></a>
+</p></div><div id="ftn.idp55001168" class="footnote"><p><a href="#idp55001168" class="para"><sup class="para">[76] </sup></a>
Amy Harmon, <span class="quote">«<span class="quote">Industry Offers a Carrot in Online Music Fight,</span>»</span>
<em class="citetitle">New York Times</em>, 6. juni 2003, A1.
-</p></div><div id="ftn.idp7990480" class="footnote"><p><a href="#idp7990480" class="para"><sup class="para">[76] </sup></a>
+</p></div><div id="ftn.idp55019664" class="footnote"><p><a href="#idp55019664" class="para"><sup class="para">[77] </sup></a>
Se Liebowitz, <em class="citetitle">Rethinking the Network Economy</em>,
-148–49. <a class="indexterm" name="idp7924032"></a>
-</p></div><div id="ftn.idp7997264" class="footnote"><p><a href="#idp7997264" class="para"><sup class="para">[77] </sup></a>
-
-<a class="indexterm" name="idp7997648"></a> Se Cap Gemini Ernst & Young,
-<em class="citetitle">Technology Evolution and the Music Industry's Business Model
-Crisis</em> (2003), 3. Denne rapporten beskriver musikkindustriens
-innsats for å stigmatisere den voksende praksis med å ta opp på kassett på
-1970-tallet, inkludert en reklamekampanje med en kasse-formet hodeskalle og
-uttrykket <span class="quote">«<span class="quote">Home taping is killing music.</span>»</span> På det tidspunktet
-som digitale lydkassetter ble en trussel, utførte the Office of Technical
-Assessment en spørreundersøkelse om forbrukeroppførsel. I 1988 hadde 40
-prosent av forbrukerne eldre enn ti tatt opp musikk på et kassettformat.
-U.S. Congress, Office of Technology Assessment, <em class="citetitle">Copyright and
-Home Copying: Technology Challenges the Law</em>, OTA-CIT-422
-(Washington, D.C.: U.S. Government Printing Office, oktober 1989),
-145–56. </p></div><div id="ftn.idp7924288" class="footnote"><p><a href="#idp7924288" class="para"><sup class="para">[78] </sup></a>
+148–49. <a class="indexterm" name="idp55015600"></a>
+</p></div><div id="ftn.idp55026448" class="footnote"><p><a href="#idp55026448" class="para"><sup class="para">[78] </sup></a>
+
+<a class="indexterm" name="idp55026832"></a> <a class="indexterm" name="idp55027840"></a> Se Cap Gemini Ernst & Young, <em class="citetitle">Technology Evolution
+and the Music Industry's Business Model Crisis</em> (2003), 3. Denne
+rapporten beskriver musikkindustriens innsats for å stigmatisere den
+voksende praksis med å ta opp på kassett på 1970-tallet, inkludert en
+reklamekampanje med en kasse-formet hodeskalle og uttrykket <span class="quote">«<span class="quote">Home
+taping is killing music.</span>»</span> På det tidspunktet som digitale
+lydkassetter ble en trussel, utførte the Office of Technical Assessment en
+spørreundersøkelse om forbrukeroppførsel. I 1988 hadde 40 prosent av
+forbrukerne eldre enn ti tatt opp musikk på et kassettformat. U.S.
+Congress, Office of Technology Assessment, <em class="citetitle">Copyright and Home
+Copying: Technology Challenges the Law</em>, OTA-CIT-422 (Washington,
+D.C.: U.S. Government Printing Office, oktober 1989), 145–56. </p></div><div id="ftn.idp54944560" class="footnote"><p><a href="#idp54944560" class="para"><sup class="para">[79] </sup></a>
U.S. Congress, <em class="citetitle">Copyright and Home Copying</em>, 4.
-</p></div><div id="ftn.idp8013968" class="footnote"><p><a href="#idp8013968" class="para"><sup class="para">[79] </sup></a>
+</p></div><div id="ftn.idp55043824" class="footnote"><p><a href="#idp55043824" class="para"><sup class="para">[80] </sup></a>
Se Foreningen for musikkindustri i USA, <em class="citetitle">2002 Yearend
utsendingene). Musikkindustrien på verdensbasis har gått ned fra å være en
39 milliarder dollars industri i 2000 til å bli en 32 milliarder dollars
industri i 2002 (basert på US dollarverdi for utsendinger.</span>»</span>
-</p></div><div id="ftn.idp8019056" class="footnote"><p><a href="#idp8019056" class="para"><sup class="para">[80] </sup></a>
+</p></div><div id="ftn.idp55048912" class="footnote"><p><a href="#idp55048912" class="para"><sup class="para">[81] </sup></a>
Jane Black, <span class="quote">«<span class="quote">Big Music's Broken Record,</span>»</span> BusinessWeek online,
-13. februar 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #17</a>. <a class="indexterm" name="idp8020912"></a>
-</p></div><div id="ftn.idp8023328" class="footnote"><p><a href="#idp8023328" class="para"><sup class="para">[81] </sup></a>
+13. februar 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #17</a>. <a class="indexterm" name="idp55050768"></a>
+</p></div><div id="ftn.idp55053184" class="footnote"><p><a href="#idp55053184" class="para"><sup class="para">[82] </sup></a>
ibid.
-</p></div><div id="ftn.idp8029760" class="footnote"><p><a href="#idp8029760" class="para"><sup class="para">[82] </sup></a>
+</p></div><div id="ftn.idp55059616" class="footnote"><p><a href="#idp55059616" class="para"><sup class="para">[83] </sup></a>
Et estimat forteller at 75 prosent av musikken gitt ut av de store
plateselskapene ikke lenger trykkes opp. Se Online Entertainment and
-Copyright Law — Coming Soon to a Digital Device Near You: Høring foran
+Copyright Law – Coming Soon to a Digital Device Near You: Høring foran
the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001)
(forberedt innlegg av the Future of Music Coalition), tilgjengelig fra
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #18</a>.
-</p></div><div id="ftn.idp8035840" class="footnote"><p><a href="#idp8035840" class="para"><sup class="para">[83] </sup></a>
+</p></div><div id="ftn.idp55066448" class="footnote"><p><a href="#idp55066448" class="para"><sup class="para">[84] </sup></a>
-<a class="indexterm" name="idp8037024"></a> Mens det ikke finnes noen gode
+<a class="indexterm" name="idp55067632"></a> Mens det ikke finnes noen gode
estimater over antallet bruktplatebutikker, så var det i 2002 7 7198
bruktbokhandler i USA, en økning på 20 prosent siden 1993. Se Book Hunter
Press, <em class="citetitle">The Quiet Revolution: The Expansion of the Used Book
Recording Merchandisers, <span class="quote">«<span class="quote">2002 Annual Survey Results,</span>»</span>
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#20</a>.
-</p></div><div id="ftn.idp8064848" class="footnote"><p><a href="#idp8064848" class="para"><sup class="para">[84] </sup></a>
+</p></div><div id="ftn.idp55099920" class="footnote"><p><a href="#idp55099920" class="para"><sup class="para">[85] </sup></a>
Se referat fra forhandlingene, I Re: Napster Copyright Litigation side 34-35
#21</a>. For en oppsummering av søksmålet og dets effekt på Napster, se
Joseph Menn, <em class="citetitle">All the Rave: The Rise and Fall of Shawn Fanning's
Napster</em> (New York: Crown Business, 2003), 269–82.
-</p></div><div id="ftn.idp8105664" class="footnote"><p><a href="#idp8105664" class="para"><sup class="para">[85] </sup></a>
+</p></div><div id="ftn.idp55147712" class="footnote"><p><a href="#idp55147712" class="para"><sup class="para">[86] </sup></a>
Copyright Infringements (Audio and Video Recorders): høring om S. 1758 foran
the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459
(1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association
of America, Inc.).
-</p></div><div id="ftn.idp8108304" class="footnote"><p><a href="#idp8108304" class="para"><sup class="para">[86] </sup></a>
+</p></div><div id="ftn.idp55150352" class="footnote"><p><a href="#idp55150352" class="para"><sup class="para">[87] </sup></a>
Copyright Infringements (Audio and Video Recorders), 475.
-</p></div><div id="ftn.idp8109456" class="footnote"><p><a href="#idp8109456" class="para"><sup class="para">[87] </sup></a>
+</p></div><div id="ftn.idp55151504" class="footnote"><p><a href="#idp55151504" class="para"><sup class="para">[88] </sup></a>
<em class="citetitle">Universal City Studios, Inc</em>. mot <em class="citetitle">Sony
Corp. of America</em>, 480 F. Supp. 429, (C.D. Cal., 1979).
-</p></div><div id="ftn.idp8112992" class="footnote"><p><a href="#idp8112992" class="para"><sup class="para">[88] </sup></a>
+</p></div><div id="ftn.idp55155040" class="footnote"><p><a href="#idp55155040" class="para"><sup class="para">[89] </sup></a>
Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra
Jack Valenti).
-</p></div><div id="ftn.idp8115536" class="footnote"><p><a href="#idp8115536" class="para"><sup class="para">[89] </sup></a>
+</p></div><div id="ftn.idp55158560" class="footnote"><p><a href="#idp55158560" class="para"><sup class="para">[90] </sup></a>
<em class="citetitle">Universal City Studios, Inc</em>. mot <em class="citetitle">Sony
Corp. of America</em>, 659 F. 2d 963 (9th Cir. 1981).
-</p></div><div id="ftn.idp8121632" class="footnote"><p><a href="#idp8121632" class="para"><sup class="para">[90] </sup></a>
+</p></div><div id="ftn.idp55165632" class="footnote"><p><a href="#idp55165632" class="para"><sup class="para">[91] </sup></a>
<em class="citetitle">Sony Corp. of America</em> mot <em class="citetitle">Universal City
Studios, Inc</em>., 464 U.S. 417, 431 (1984).
-</p></div><div id="ftn.idp8139424" class="footnote"><p><a href="#idp8139424" class="para"><sup class="para">[91] </sup></a>
-
-Dette er de viktigste forekomstene i vår historie, men det er også andre
-tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT)
-regulert av Kongressen for å minimere risikoen for piratkopiering.
-Medisinen som Kongressen valgte, påførte en belastning for DAT-produsenter,
-ved å legge en skatt på kassettsalg og ved å kontrollere DAT-teknologien. Se
-Audio Home Recording Act fra 1992 (overskrift 17 i <em class="citetitle">United States
-Code</em>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17
-U.S.C. §1001. Igjen eliminerte heller ikke denne regulereringen muligheten
-for gratispassasjerer slik jeg har beskrevet. Se Lessig
-<em class="citetitle">Future</em>, 71. Se også Picker, <span class="quote">«<span class="quote">From Edison to the
-Broadcast Flag,</span>»</span> <em class="citetitle">University of Chicago Law
-Review</em> 70 (2003): 293–96. <a class="indexterm" name="idp8067184"></a> <a class="indexterm" name="idp8143456"></a>
-</p></div><div id="ftn.idp8152688" class="footnote"><p><a href="#idp8152688" class="para"><sup class="para">[92] </sup></a>
+</p></div><div id="ftn.idp55183424" class="footnote"><p><a href="#idp55183424" class="para"><sup class="para">[92] </sup></a>
+<a class="indexterm" name="idp55183808"></a> Dette er de viktigste forekomstene i
+vår historie, men det er også andre tilfeller. For eksempel var teknologien
+til digitale lydkasetter (DAT) regulert av Kongressen for å minimere
+risikoen for piratkopiering. Medisinen som Kongressen valgte, påførte en
+belastning for DAT-produsenter, ved å legge en skatt på kassettsalg og ved å
+kontrollere DAT-teknologien. Se Audio Home Recording Act fra 1992
+(overskrift 17 i <em class="citetitle">United States Code</em>),
+Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S.C. §1001. Igjen
+eliminerte heller ikke denne regulereringen muligheten for gratispassasjerer
+slik jeg har beskrevet. Se Lessig <em class="citetitle">Future</em>, 71. Se
+også Picker, <span class="quote">«<span class="quote">From Edison to the Broadcast Flag,</span>»</span>
+<em class="citetitle">University of Chicago Law Review</em> 70 (2003):
+293–96. <a class="indexterm" name="idp55159952"></a> <a class="indexterm" name="idp55188192"></a>
+</p></div><div id="ftn.idp55197424" class="footnote"><p><a href="#idp55197424" class="para"><sup class="para">[93] </sup></a>
<em class="citetitle">Sony Corp. of America</em> mot <em class="citetitle">Universal City
Studios, Inc</em>., 464 U.S. 417, (1984).
-</p></div><div id="ftn.idp8159328" class="footnote"><p><a href="#idp8159328" class="para"><sup class="para">[93] </sup></a>
+</p></div><div id="ftn.idp55204064" class="footnote"><p><a href="#idp55204064" class="para"><sup class="para">[94] </sup></a>
John Schwartz, <span class="quote">«<span class="quote">New Economy: The Attack on Peer-to-Peer Software
tar et hagebord som du plasserte bak huset ditt. Jeg tar en ting,
hagebordet, og etter at jeg har tatt det, har ikke du det. Men hva tar jeg
når jeg tar den gode <span class="emphasis"><em>idéen</em></span> som du hadde om å plassere
-hagebordet i bakhagen — ved å for eksempel dra til butikken Sears,
+hagebordet i bakhagen – ved å for eksempel dra til butikken Sears,
kjøpe et bord, og plassere det i min egen bakhage? Hva er tingen jeg tar da?
-</p><a class="indexterm" name="idp
8173072"></a><p>
+</p><a class="indexterm" name="idp
55217808"></a><p>
Poenget er ikke bare om hvorvidt hagebord og idéer er ting, selv om det er
-en viktig forskjell. Poenget er i stedet at i det vanlige
-tilfelle—faktisk i praktisk talt ethvert tilfelle unntatt en begrenset
-rekke med unntak — er idéer som er sluppet ut i verden frie. Jeg tar
-ingenting fra deg når jeg kopierer måten du kler deg — selv om det
-ville se sært ut hvis jeg gjorde det hver dag, og spesielt sært hvis du er
-en kvinne. I stedet, som Thomas Jefferson sa (og det er spesielt sant når
-jeg kopierer hvordan noen andre kler seg), <span class="quote">«<span class="quote">Den som mottar en idé fra
-meg, får selv informasjon uten å ta noe fra meg, på samme måte som den som
-tenner sitt lys fra min veike får lys uten å forlate meg i
-mørket.</span>»</span><a href="#ftn.idp8174208" class="footnote" name="idp8174208"><sup class="footnote">[94]</sup></a>
-</p><a class="indexterm" name="idp8177504"></a><p>
+en viktig forskjell. Poenget er i stedet at i det vanlige tilfelle –
+faktisk i praktisk talt ethvert tilfelle unntatt en begrenset rekke med
+unntak – er idéer som er sluppet ut i verden frie. Jeg tar ingenting
+fra deg når jeg kopierer måten du kler deg – selv om det ville se sært
+ut hvis jeg gjorde det hver dag, og spesielt sært hvis du er en kvinne. I
+stedet, som Thomas Jefferson sa (og det er spesielt sant når jeg kopierer
+hvordan noen andre kler seg), <span class="quote">«<span class="quote">Den som mottar en idé fra meg, får selv
+informasjon uten å ta noe fra meg, på samme måte som den som tenner sitt lys
+fra min veike får lys uten å forlate meg i mørket.</span>»</span><a href="#ftn.idp55220736" class="footnote" name="idp55220736"><sup class="footnote">[95]</sup></a>
+</p><a class="indexterm" name="idp55222368"></a><p>
Unntakene til fri bruk er idéer og uttrykk innenfor dekningsområdet til
loven om patent og opphavsrett, og noen få andre områder som jeg ikke vil
diskutere her. Her sier lovverket at du ikke kan ta min idé eller uttrykk
uten min tillatelse: Lovverket gjør det immaterielle til eiendom.
</p><p>
Men hvordan lovverket gjør det, og i hvilken utstrekning, og i hvilken form
-— detaljene, med andre ord — betyr noe. For å få en god
+– detaljene, med andre ord – betyr noe. For å få en god
forståelse om hvordan denne praksis om å gjøre det immaterielle om til
eiendom vokste frem, trenger vi å plassere slik <span class="quote">«<span class="quote">eiendom</span>»</span> i sin
-rette sammenheng.<a href="#ftn.idp8180864" class="footnote" name="idp8180864"><sup class="footnote">[95]</sup></a>
+rette sammenheng.<a href="#ftn.idp55225728" class="footnote" name="idp55225728"><sup class="footnote">[96]</sup></a>
</p><p>
Min strategi for å gjøre dette er den samme som min strategi i den
foregående del. Jeg presenterer fire historier som bidrar til å plassere
<span class="quote">«<span class="quote">opphavsrettsbeskyttet materiale er eiendom</span>»</span> i sammenheng.
Hvor kom idéen fra? Hva er dens begrensninger? Hvordan fungerer dette i
praksis? Etter disse historiene vil betydningen til dette sanne utsagnet
-— <span class="quote">«<span class="quote">opphavsrettsbeskyttet materiale er eiendom</span>»</span> —
+– <span class="quote">«<span class="quote">opphavsrettsbeskyttet materiale er eiendom</span>»</span> –
bli litt mer klart, og dets implikasjoner vil bli avslørt som ganske
forskjellig fra implikasjonene som opphavsrettskrigerne vil at vi skal
forstå.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8174208" class="footnote"><p><a href="#idp8174208" class="para"><sup class="para">[94] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp55220736" class="footnote"><p><a href="#idp55220736" class="para"><sup class="para">[95] </sup></a>
Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i
<em class="citetitle">The Writings of Thomas Jefferson</em>, vol. 6 (Andrew
A. Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34.
-</p></div><div id="ftn.idp8180864" class="footnote"><p><a href="#idp8180864" class="para"><sup class="para">[95] </sup></a>
+</p></div><div id="ftn.idp55225728" class="footnote"><p><a href="#idp55225728" class="para"><sup class="para">[96] </sup></a>
Slik de juridiske realistene lærte bort amerikansk lov, var alle
materielt. Se Adam Mossoff, <span class="quote">«<span class="quote">What Is Property? Putting the Pieces
Back Together,</span>»</span> <em class="citetitle">Arizona Law Review</em> 45 (2003):
373, 429 n. 241.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="founders"></a>Kapittel seks: Grunnleggerne</h2></div></div></div><a class="indexterm" name="idxbooksenglishcopyrightlawdevelopedfor"></a><a class="indexterm" name="idxcopyrightlawdevelopmentof"></a><a class="indexterm" name="idxcopyrightlawenglish"></a><a class="indexterm" name="idxenglandcopyrightlawsdevelopedin"></a><a class="indexterm" name="idxunitedkingdomhistoryofcopyrightlawin"></a><a class="indexterm" name="idp
8193984"></a><a class="indexterm" name="idp8194736"></a><a class="indexterm" name="idp8195488"></a><a class="indexterm" name="idxromeoandjulietshakespeare"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="founders"></a>Kapittel seks: Grunnleggerne</h2></div></div></div><a class="indexterm" name="idxbooksenglishcopyrightlawdevelopedfor"></a><a class="indexterm" name="idxcopyrightlawdevelopmentof"></a><a class="indexterm" name="idxcopyrightlawenglish"></a><a class="indexterm" name="idxenglandcopyrightlawsdevelopedin"></a><a class="indexterm" name="idxunitedkingdomhistoryofcopyrightlawin"></a><a class="indexterm" name="idp
55238832"></a><a class="indexterm" name="idp55239584"></a><a class="indexterm" name="idp55240336"></a><a class="indexterm" name="idxromeoandjulietshakespeare"></a><p>
<span class="strong"><strong>William Shakespeare</strong></span> skrev
<em class="citetitle">Romeo og Julie</em> i 1595. Skuespillet ble først utgitt i
1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han
kilden. Jeg overhørte en gang noen som kommentere Kenneth Branaghs utgave av
Henry V: <span class="quote">«<span class="quote">Jeg likte det, men Shakespeare er så full av
klisjeer.</span>»</span>
-</p><a class="indexterm" name="idp
8200048"></a><a class="indexterm" name="idxtonsonjacob"></a><p>
+</p><a class="indexterm" name="idp
55244896"></a><a class="indexterm" name="idxtonsonjacob"></a><p>
I 1774, nesten 180 år etter at <em class="citetitle">Romeo og Julie</em> ble
skrevet, mente mange at <span class="quote">«<span class="quote">opphavsretten</span>»</span> kun tilhørte én eneste
-utgiver i London, John Tonson. <a href="#ftn.idp8203520" class="footnote" name="idp8203520"><sup class="footnote">[96]</sup></a> Tonson
-var den mest fremstående av en liten gruppe utgivere kalt <span class="quote">«<span class="quote">the
-Conger</span>»</span><a href="#ftn.idp8208384" class="footnote" name="idp8208384"><sup class="footnote">[97]</sup></a>, som kontrollerte
+utgiver i London, John Tonson. <a href="#ftn.idp55248368" class="footnote" name="idp55248368"><sup class="footnote">[97]</sup></a> Tonson
+var den mest fremstående av en liten gruppe utgivere kalt <span class="quote">«<span class="quote">The
+Conger</span>»</span><a href="#ftn.idp55253232" class="footnote" name="idp55253232"><sup class="footnote">[98]</sup></a>, som kontrollerte
boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde
en evigvarende enerett over <span class="quote">«<span class="quote">kopier</span>»</span> av bøker de hadde fått av
forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere
eksemplarer av disse bøkene. Slik ble prisen på klassiske bøker holdt oppe;
alle konkurrenter som lagde bedre eller billigere utgaver, ble fjernet.
-</p><a class="indexterm" name="idp
8210800"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp8213040"></a><a class="indexterm" name="idp8214048"></a><p>
+</p><a class="indexterm" name="idp
55255648"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp55257888"></a><a class="indexterm" name="idp55258896"></a><p>
Men altså, det er noe spennende med året 1774 for alle som vet litt om
opphavsrettslovgivning. Det mest kjente året for opphavsrett er 1710, da det
britiske parlamentet vedtok den første loven. Denne loven er kjent som
<span class="quote">«<span class="quote">Statute of Anne</span>»</span>, og sa at alle publiserte verk skulle være
beskyttet i fjorten år, en periode som kunne fornyes én gang dersom
forfatteren ennå levde, og at alle verk publisert i eller før 1710 skulle ha
-en ekstraperiode på 22 tilleggsår.<a href="#ftn.idp8216384" class="footnote" name="idp8216384"><sup class="footnote">[98]</sup></a> På
+en ekstraperiode på 22 tilleggsår.<a href="#ftn.idp55261232" class="footnote" name="idp55261232"><sup class="footnote">[99]</sup></a> På
grunn av denne loven, så skulle <em class="citetitle">Romeo og Julie</em> ha
falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over
verket i 1774?
-</p><a class="indexterm" name="idp
8219472"></a><a class="indexterm" name="idp8220448"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp8222912"></a><a class="indexterm" name="idp8223664"></a><p>
+</p><a class="indexterm" name="idp
55264320"></a><a class="indexterm" name="idp55265296"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp55267760"></a><a class="indexterm" name="idp55268512"></a><p>
Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva
-opphavsrett innebar — faktisk hadde ingen i verden det. På den tiden
+opphavsrett innebar – faktisk hadde ingen i verden det. På den tiden
da engelskmennene vedtok <span class="quote">«<span class="quote">Statute of Anne,</span>»</span> var det ingen annen
lovgivning om opphavsrett. Den siste loven som regulerte utgivere var
lisensieringsloven av 1662, utløpt i 1695. At loven ga utgiverne monopol
over publiseringen, noe som gjorde det enklere for kronen å kontrollere hva
ble publisert. Men etter at det har utløpt, var det ingen positiv lov som sa
at utgiverne hadde en eksklusiv rett til å trykke bøker.
-</p><a class="indexterm" name="idp
8226528"></a><a class="indexterm" name="idp8227392"></a><p>
+</p><a class="indexterm" name="idp
55271376"></a><a class="indexterm" name="idp55272240"></a><p>
At det ikke fantes noen <span class="emphasis"><em>positiv</em></span> lov, betydde ikke at
det ikke fantes noen lov. Den angloamerikanske juridiske tradisjon ser både
til lover skapt av det lovgivende statsorgan, og til lover (prejudikater)
skapt av domstolene for å bestemme hvordan folket skal oppføre seg. Vi
-kaller politikernes lover for positiv lov og vi kaller lovene fra dommerne
-sedvanerett. Sedvaneretten angir bakgrunnen for de lovgivendes lovgivning;
+kaller politikernes lover for positiv lov, og vi kaller lovene fra dommerne
+rettspraksis. Rettspraksis angir bakgrunnen for de lovgivendes lovgivning;
vedtatte lover vil vanligvis overstyre bakgrunnen kun hvis det vedtas en lov
for å erstatte den. Så det egentlige spørsmålet etter at
-lisensieringslovene hadde utløpt, var om sedvanerett beskyttet en
+lisensieringslovene hadde utløpt, var om rettspraksis beskyttet en
opphavsrett uavhengig av eventuell positiv lov.
-</p><a class="indexterm" name="idp
8229712"></a><a class="indexterm" name="idp8230688"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp8232672"></a><a class="indexterm" name="idxstatuteofanne"></a><p>
+</p><a class="indexterm" name="idp
55274672"></a><a class="indexterm" name="idp55275536"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp55277520"></a><a class="indexterm" name="idxstatuteofanne"></a><p>
Dette spørsmålet var viktig for utgiverne eller <span class="quote">«<span class="quote">bokselgere,</span>»</span>
som de ble kalt, fordi det var økende konkurranse fra utenlandske utgivere,
retten skulle vare. Etter dette gikk trykkeretten bort, og verket falt i det
fri og kunne trykkes av hvem som helst. Det var i hvert fall det lovgiverne
hadde tenkt.
-</p><a class="indexterm" name="idp
8240576"></a><p>
+</p><a class="indexterm" name="idp
55285424"></a><p>
Men nå det mest interessante med dette: Hvorfor ville Parlamentet begrense
trykkeretten? Spørsmålet er ikke hvorfor de bestemte seg for denne perioden,
men hvorfor ville de begrense retten <span class="emphasis"><em>i det hele tatt?</em></span>
-</p><a class="indexterm" name="idp
8242720"></a><a class="indexterm" name="idp8243696"></a><a class="indexterm" name="idp8244448"></a><p>
+</p><a class="indexterm" name="idp
55287568"></a><a class="indexterm" name="idp55288544"></a><a class="indexterm" name="idp55289296"></a><p>
Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt
krav. Ta <em class="citetitle">Romeo og Julie</em> som et eksempel: Skuespillet
ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til
Shakespeares verk uten hans, eller hans arvingers, tillatelse? Hvilke
begrunnelser finnes for å tillate at noen <span class="quote">«<span class="quote">stjeler</span>»</span>
Shakespeares verk?
-</p><a class="indexterm" name="idp
8247344"></a><p>
+</p><a class="indexterm" name="idp
55292192"></a><p>
Svaret er todelt. Først må vi se på noe spesielt med oppfatningen av
opphavsrett som fantes på tidspunktet da <span class="quote">«<span class="quote">Statute of Anne</span>»</span> ble
vedtatt. Deretter må vi se på noe spesielt med bokhandlerne.
-</p><a class="indexterm" name="idp
8249264"></a><p>
+</p><a class="indexterm" name="idp
55294112"></a><p>
-Først om opphavsretten / kopiretten. I de siste tre hundre år har vi kommet
+Først om opphavsretten/kopiretten. I de siste tre hundre år har vi kommet
til å bruke begrepet <span class="quote">«<span class="quote">kopirett</span>»</span> i stadig videre forstand. Men i
1710 var det ikke så mye et konsept som det var en bestemt
rett. Opphavsretten ble født som et svært spesifikt sett med begrensninger:
retten en stor samling av restriksjoner på andres frihet: den gir
forfatteren eksklusiv rett til å kopiere, eksklusiv rett til å distribuere,
eksklusiv rett til å fremføre, og så videre.
-</p><a class="indexterm" name="idp
8253584"></a><a class="indexterm" name="idp8254336"></a><p>
+</p><a class="indexterm" name="idp
55298416"></a><a class="indexterm" name="idp55299168"></a><p>
Så selv om f.eks. opphavsretten til Shakespeares verk var evigvarende,
betydde det ifølge den opprinnelige betydningen av begrepet at ingen kunne
trykke Shakespeares verk uten tillatelse fra Shakespeares arvinger. Den
ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne
fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt
lov til å lage filmer. <span class="quote">«<span class="quote">Kopiretten</span>»</span> var bare en eksklusiv rett
-til å trykke — ikke noe mindre, selvfølgelig, men heller ikke mer.
-</p><a class="indexterm" name="idp
8256784"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp8258768"></a><p>
+til å trykke – ikke noe mindre, selvfølgelig, men heller ikke mer.
+</p><a class="indexterm" name="idp
55301616"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp55303600"></a><p>
Selv denne begrensede retten ble møtt med skepsis av britene. De hadde hatt
en lang og stygg erfaring med <span class="quote">«<span class="quote">eksklusive rettigheter,</span>»</span>
spesielt <span class="quote">«<span class="quote">enerett</span>»</span> gitt av kongen. Engelskmennene hadde
utkjempet en borgerkrig delvis mot kongens praksis med å dele ut monopoler
-— spesielt monopoler for verk som allerede eksisterte. Kong Henrik
+– spesielt monopoler for verk som allerede eksisterte. Kong Henrik
VIII hadde gitt patent på å trykke Bibelen og monopol til Darcy for å lage
spillkort. Det engelske parlament begynte å kjempe tilbake mot denne makten
hos kongen. I 1656 ble <span class="quote">«<span class="quote">Statute of Monopolis</span>»</span> vedtatt for å
er mitt monopol, og jeg skal ha det for alltid.</span>»</span>) Staten ville
beskytte eneretten, men bare så lenge det gavnet samfunnet. Britene så
skadene særinteressene kunne skape; de vedtok en lov for å stoppe dem.
-</p><a class="indexterm" name="idp
8264624"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp8266608"></a><a class="indexterm" name="idxcopyrightdurationof3"></a><p>
+</p><a class="indexterm" name="idp
55309456"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp55311440"></a><a class="indexterm" name="idxcopyrightdurationof3"></a><p>
Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et
monopol. Det var også et monopol som bokhandlerne hadde. En bokhandler høres
grei og ufarlig ut for oss, men slik var det ikke i syttenhundretallets
-England. Medlemmene i <span class="quote">«<span class="quote">the Conger</span>»</span> ble av flere og flere sett
-på som monopolister av verste sort — et verktøy for kongens
+England. Medlemmene i <span class="quote">«<span class="quote">The Conger</span>»</span> ble av flere og flere sett
+på som monopolister av verste sort – et verktøy for kongens
undertrykkelse, de solgte Englands frihet mot å være garantert en
monopolinntekt. Men monopolistene ble kvast kritisert: Milton beskrev dem
som <span class="quote">«<span class="quote">gamle patentholdere og monopolister i bokhandlerkunsten</span>»</span>;
de var <span class="quote">«<span class="quote">menn som derfor ikke hadde et ærlig arbeide hvor utdanning er
-nødvendig.</span>»</span><a href="#ftn.idp8271424" class="footnote" name="idp8271424"><sup class="footnote">[99]</sup></a>
-</p><a class="indexterm" name="idp
8272960"></a><a class="indexterm" name="idp8273712"></a><p>
+nødvendig.</span>»</span><a href="#ftn.idp55316256" class="footnote" name="idp55316256"><sup class="footnote">[100]</sup></a>
+</p><a class="indexterm" name="idp
55317792"></a><a class="indexterm" name="idp55318544"></a><p>
Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap,
var til skade for selve spredningen, men på dette tidspunktet viste
Opplysningstiden viktigheten av utdannelse og kunnskap for alle. Idéen om
lovforslaget blir vedtatt, vil effekten være: at et evig monopol blir skapt,
et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for
forfatterne, men en stor avgift for folket; og alt dette kun for å øke
-bokhandlernes personlige rikdom.<a href="#ftn.idp8284592" class="footnote" name="idp8284592"><sup class="footnote">[100]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8287072"></a><a class="indexterm" name="idp8288048"></a><a class="indexterm" name="idp8289024"></a><a class="indexterm" name="idp8289776"></a><a class="indexterm" name="idp8290784"></a><p>
+bokhandlernes personlige rikdom.<a href="#ftn.idp55329424" class="footnote" name="idp55329424"><sup class="footnote">[101]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
55331904"></a><a class="indexterm" name="idp55332880"></a><a class="indexterm" name="idp55333856"></a><a class="indexterm" name="idp55334608"></a><a class="indexterm" name="idp55335616"></a><p>
Etter å ha mislyktes i Parlamentet, gikk utgiverne til domstolene i en serie
med saker. Deres argument var enkelt og direkte: <span class="quote">«<span class="quote">Statute of
Anne</span>»</span> ga forfatterne en viss beskyttelse gjennom positiv lov, men
denne beskyttelsen var ikke ment som en erstatning for felles lov. I stedet
-var de ment å supplere felles lov. Ifølge sedvanerett var det galt å ta en
+var de ment å supplere felles lov. Ifølge rettspraksis var det galt å ta en
annen persons kreative eiendom og bruke den uten hans
tillatelse. <span class="quote">«<span class="quote">Statute of Anne,</span>»</span> hevdet bokhandlere, endret ikke
dette faktum. Derfor betydde ikke det at beskyttelsen gitt av <span class="quote">«<span class="quote">Statute
-of Anne</span>»</span> utløp, at beskyttelsen fra sedvaneretten utløp: Ifølge
-sedvaneretten hadde de rett til å forby publiseringen av en bok, selv om
+of Anne</span>»</span> utløp, at beskyttelsen fra rettspraksis utløp: Ifølge
+rettspraksis hadde de rett til å forby publiseringen av en bok, selv om
<span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa at de var falt i det fri. Dette, mente de,
var den eneste måten å beskytte forfatterne.
-</p><a class="indexterm" name="idp
8294912"></a><p>
+</p><a class="indexterm" name="idp
55339728"></a><p>
Dette var et snedig argument, og hadde støtte fra flere av datidens ledende
jurister. Det viste også en utrolig frekkhet. Inntil da, som jussprofessor
Raymond Pattetson formulerte det, <span class="quote">«<span class="quote">var utgiverne … like
-bekymret for forfatterne som en gjeter for sine lam.</span>»</span><a href="#ftn.idp8004304" class="footnote" name="idp8004304"><sup class="footnote">[101]</sup></a> Bokselgerne brydde seg ikke det spor om
+bekymret for forfatterne som en gjeter for sine lam.</span>»</span><a href="#ftn.idp55034160" class="footnote" name="idp55034160"><sup class="footnote">[102]</sup></a> Bokselgerne brydde seg ikke det spor om
forfatternes rettigheter. Deres bekymring var den monopolprofitten
forfatterens verk ga.
-</p><a class="indexterm" name="idxdonaldsonalexander"></a><a class="indexterm" name="idp
8301536"></a><a class="indexterm" name="idxscottishpublishers"></a><p>
+</p><a class="indexterm" name="idxdonaldsonalexander"></a><a class="indexterm" name="idp
55346352"></a><a class="indexterm" name="idxscottishpublishers"></a><p>
Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne
-kampen var den skotske bokselgeren Alexander Donaldson.<a href="#ftn.idp8303920" class="footnote" name="idp8303920"><sup class="footnote">[102]</sup></a>
-</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp
8307664"></a><a class="indexterm" name="idp8308416"></a><p>
-Donaldson var en fremmed for Londons <span class="quote">«<span class="quote">the Conger.</span>»</span> Han startet
+kampen var den skotske bokselgeren Alexander Donaldson.<a href="#ftn.idp55348736" class="footnote" name="idp55348736"><sup class="footnote">[103]</sup></a>
+</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp
55352480"></a><a class="indexterm" name="idp55353232"></a><p>
+Donaldson var en fremmed for Londons <span class="quote">«<span class="quote">The Conger.</span>»</span> Han startet
sin karriere i Edinburgh i 1750. Hans forretningsidé var billige kopier av
standardverk falt i det fri, i hvert fall fri ifølge <span class="quote">«<span class="quote">Statute of
-Anne.</span>»</span><a href="#ftn.idp8310368" class="footnote" name="idp8310368"><sup class="footnote">[103]</sup></a> Donaldsons forlag vokste
+Anne.</span>»</span><a href="#ftn.idp55355184" class="footnote" name="idp55355184"><sup class="footnote">[104]</sup></a> Donaldsons forlag vokste
og ble <span class="quote">«<span class="quote">et sentrum for litterære skotter.</span>»</span> <span class="quote">«<span class="quote">Blant
dem,</span>»</span> skriver professor Mark Rose, var <span class="quote">«<span class="quote">den unge James Boswell
som, sammen med sin venn Andrew Erskine, publiserte en hel antologi av
-skotsk samtidspoesi sammen med Donaldson.</span>»</span><a href="#ftn.idp8313440" class="footnote" name="idp8313440"><sup class="footnote">[104]</sup></a>
+skotsk samtidspoesi sammen med Donaldson.</span>»</span><a href="#ftn.idp55358256" class="footnote" name="idp55358256"><sup class="footnote">[105]</sup></a>
</p><a class="indexterm" name="idxcommonlaw"></a><p>
Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så
flyttet han butikken til London. Her solgte han billige utgaver av <span class="quote">«<span class="quote">de
-mest populære, engelske bøker, i kamp mot sedvanerettens rett til litterær
-eiendom.</span>»</span> <a href="#ftn.idp8316960" class="footnote" name="idp8316960"><sup class="footnote">[105]</sup></a> Bøkene hans var
-mellom 30 prosent og 50 prosent billigere enn <span class="quote">«<span class="quote">the Conger</span>»</span>s, og
+mest populære, engelske bøker, i kamp mot rettspraksisens rett til litterær
+eiendom.</span>»</span> <a href="#ftn.idp55361776" class="footnote" name="idp55361776"><sup class="footnote">[106]</sup></a> Bøkene hans var
+mellom 30 prosent og 50 prosent billigere enn <span class="quote">«<span class="quote">The Conger</span>»</span>s, og
han baserte sin rett til å konkurrere på at bøkene, takket være
<span class="quote">«<span class="quote">Statute of Anne,</span>»</span> var falt i det fri.
-</p><a class="indexterm" name="idp
8320064"></a><a class="indexterm" name="idxmillarvtaylor"></a><p>
+</p><a class="indexterm" name="idp
55364880"></a><a class="indexterm" name="idxmillarvtaylor"></a><p>
Londons bokselgere begynte straks å slå ned mot <span class="quote">«<span class="quote">pirater</span>»</span> som
Donaldson. Flere tiltak var vellykket, den viktigste var den tidlig seieren
i kampen mellom <em class="citetitle">Millar</em> og
<em class="citetitle">Taylor</em>.
-</p><a class="indexterm" name="idp
8324032"></a><a class="indexterm" name="idp8325008"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp8328704"></a><a class="indexterm" name="idp8329456"></a><p>
+</p><a class="indexterm" name="idp
55368848"></a><a class="indexterm" name="idp55369824"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp55373520"></a><a class="indexterm" name="idp55374272"></a><p>
Millar var en bokhandler som i 1729 hadde kjøpt opp rettighetene til James
Thomsons dikt <span class="quote">«<span class="quote">The Seasons.</span>»</span> Millar hadde da full beskyttelse
gjennom <span class="quote">«<span class="quote">Statute of Anne,</span>»</span> men etter at denne beskyttelsen var
utløpt, begynte Robert Taylor å trykke en konkurrerende utgave. Millar gikk
-til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva
-<span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa.<a href="#ftn.idp8332208" class="footnote" name="idp8332208"><sup class="footnote">[106]</sup></a>
+til sak, og hevdet han hadde en evig rett gjennom rettspraksis, uansett hva
+<span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa.<a href="#ftn.idp55377024" class="footnote" name="idp55377024"><sup class="footnote">[107]</sup></a>
</p><a class="indexterm" name="idxmansfieldwilliammurraylord2"></a><p>
Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av
de største dommere i engelsk historie, Lord Mansfield, enig med
bokhandlerne. Uansett hvilken beskyttelse <span class="quote">«<span class="quote">Statute of Anne</span>»</span> gav
bokhandlerne, så sa han at den ikke fortrengte noe fra
-sedvaneretten. Spørsmålet var hvorvidt sedvaneretten beskyttet forfatterne
-mot <span class="quote">«<span class="quote">pirater.</span>»</span> Mansfield svar var ja: Sedvaneretten nektet
-Taylor å reprodusere Thomsons dikt uten Millars tillatelse. Slik gav
-sedvaneretten bokselgerne en evig publiseringsrett til bøker solgt til dem.
-</p><a class="indexterm" name="idp
8337456"></a><a class="indexterm" name="idp8338432"></a><a class="indexterm" name="idp8339408"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
+rettspraksis. Spørsmålet var hvorvidt rettspraksis beskyttet forfatterne mot
+<span class="quote">«<span class="quote">pirater.</span>»</span> Mansfield svar var ja: Rettspraksis nektet Taylor å
+reprodusere Thomsons dikt uten Millars tillatelse. Slik gav rettspraksis
+bokselgerne en evig publiseringsrett til bøker solgt til dem.
+</p><a class="indexterm" name="idp
55382272"></a><a class="indexterm" name="idp55383248"></a><a class="indexterm" name="idp55384224"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
-Ser man på det som et spørsmål innen abstrakt jus — dersom man
+Ser man på det som et spørsmål innen abstrakt jus – dersom man
resonnerer som om rettferdighet bare var logisk deduksjon fra de første bud
-— kunne Mansfields konklusjon gitt mening. Men den overså det
+– kunne Mansfields konklusjon gitt mening. Men den overså det
Parlamentet hadde kjempet for i 1710: Hvordan man på best mulig vis kunne
innskrenke utgivernes monopolmakt. Parlamentets strategi hadde vært å kjøpe
fred gjennom å tilby en beskyttelsesperiode også for eksisterende verk, men
perioden måtte være så kort at kulturen ble utsatt for konkurranse innen
rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under
kongen, inn i en fri og åpen kultur.
-</p><a class="indexterm" name="idp
8342128"></a><a class="indexterm" name="idxdonaldsonalexander2"></a><a class="indexterm" name="idxscottishpublishers2"></a><p>
+</p><a class="indexterm" name="idp
55388224"></a><a class="indexterm" name="idxdonaldsonalexander2"></a><a class="indexterm" name="idxscottishpublishers2"></a><p>
Kampen for å forsvare <span class="quote">«<span class="quote">Statute of Anne</span>»</span>s begrensninger sluttet
uansett ikke der, for nå kommer Donaldson.
-</p><a class="indexterm" name="idp
8347648"></a><a class="indexterm" name="idp8348400"></a><a class="indexterm" name="idxhouseoflords"></a><a class="indexterm" name="idxsupremecourtushouseoflordsvs"></a><p>
+</p><a class="indexterm" name="idp
55392592"></a><a class="indexterm" name="idp55393344"></a><a class="indexterm" name="idxhouseoflords"></a><a class="indexterm" name="idxsupremecourtushouseoflordsvs"></a><p>
Millar døde kort tid etter sin seier. Dødsboet hans solgte rettighetene over
Thomsons dikt til et syndikat av utgivere, deriblant Thomas
-Beckett.<a href="#ftn.idp8352448" class="footnote" name="idp8352448"><sup class="footnote">[107]</sup></a> Da ga Donaldson ut en
+Beckett.<a href="#ftn.idp55397392" class="footnote" name="idp55397392"><sup class="footnote">[108]</sup></a> Da ga Donaldson ut en
uautorisert utgave av Thomsons verk. Etter avgjørelsen i
<em class="citetitle">Millar</em>-saken, fikk Beckett en forføyning mot
Donaldson. Donaldson tok saken inn for Overhuset, som da fungerte som en
slags Høyesterett. I februar 1774 hadde dette organet muligheten til å tolke
Parlamentets mening med utløpsdatoen fra seksti år tidligere.
-</p><a class="indexterm" name="idp
8354432"></a><a class="indexterm" name="idp8355408"></a><a class="indexterm" name="idxdonaldsonvbeckett"></a><a class="indexterm" name="idxcommonlaw2"></a><p>
+</p><a class="indexterm" name="idp
55399376"></a><a class="indexterm" name="idp55400352"></a><a class="indexterm" name="idxdonaldsonvbeckett"></a><a class="indexterm" name="idxcommonlaw2"></a><p>
På en måte som de færreste rettsaker gjør, fikk rettsaken
<em class="citetitle">Donaldson</em> mot <em class="citetitle">Beckett</em> enorm
oppmerksomhet over hele Storbritannia. Donaldsons advokater mente at
-uavhengig av hvilke rettigheter som eksisterte i henhold til sedvaneretten,
+uavhengig av hvilke rettigheter som eksisterte i henhold til rettspraksis,
så var disse fortrengt av <span class="quote">«<span class="quote">Statute of Anne.</span>»</span> Etter at
<span class="quote">«<span class="quote">Statute of Anne</span>»</span> var blitt vedtatt, skulle den eneste lovlige
beskyttelse for trykkerett komme derfra. Og derfor, argumenterte de, ville
verk som hadde vært beskyttet, ikke lenger være beskyttet når vernetiden
spesifisert i <span class="quote">«<span class="quote">Statute of Anne</span>»</span> utløp.
-</p><a class="indexterm" name="idp
8362128"></a><p>
+</p><a class="indexterm" name="idp
55407056"></a><p>
Overhuset var en merkelig institusjon. Juridiske spørsmål ble presentert for
huset, og ble først stemt over av <span class="quote">«<span class="quote">jusslorder,</span>»</span> medlemmer av en
spesiell rettslig gruppe som fungerte nesten slik som justitiariusene i vår
Høyesterett. Deretter, etter at <span class="quote">«<span class="quote">jusslordene</span>»</span> hadde stemt,
stemte resten av Overhuset.
-</p><a class="indexterm" name="idp
8364768"></a><a class="indexterm" name="idxcopyrightinperpetuity3"></a><a class="indexterm" name="idxpublicdomainenglishlegalestablishmentof"></a><p>
+</p><a class="indexterm" name="idp
55409696"></a><a class="indexterm" name="idxcopyrightinperpetuity3"></a><a class="indexterm" name="idxpublicdomainenglishlegalestablishmentof"></a><p>
-Rapportene om jusslordene stemmer er uenige. På enkelte punkter ser det ut
+Rapportene om jusslordenes stemmer er uenige. På enkelte punkter ser det ut
som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om
hvordan resten av Overhuset stemte. Med en majoritet på to mot en (22 mot
11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man
-hadde tolket sedvaneretten, var nå opphavsretten begrenset til en periode,
-og etter denne ville verket falle i det fri.
-</p><a class="indexterm" name="idp
8370064"></a><a class="indexterm" name="idp8370816"></a><a class="indexterm" name="idp8371568"></a><a class="indexterm" name="idp8372320"></a><a class="indexterm" name="idp8373072"></a><p>
+hadde tolket rettspraksis, var nå opphavsretten begrenset til en periode, og
+etter denne ville verket falle i det fri.
+</p><a class="indexterm" name="idp
55415008"></a><a class="indexterm" name="idp55415760"></a><a class="indexterm" name="idp55416512"></a><a class="indexterm" name="idp55417264"></a><a class="indexterm" name="idp55418016"></a><p>
<span class="quote">«<span class="quote">Å falle i det fri.</span>»</span> Før rettssaken
<em class="citetitle">Donaldson</em> mot <em class="citetitle">Beckett</em> var det
ingen klar oppfatning om hva å falle i det fri innebar. Før 1774 var det jo
en allmenn oppfatning om at kopiretten var evigvarende. Men etter 1774 ble
allemannseiet født. For første gang i angloamerikansk historie var den
lovlige beskyttelsen av et verk utgått, og de største verk i engelsk
-historie — inkludert Shakespeare, Bacon, Milton, Johnson og Bunyan
-— var frie.
-</p><a class="indexterm" name="idp
8375632"></a><a class="indexterm" name="idp8376736"></a><a class="indexterm" name="idp8377712"></a><a class="indexterm" name="idp8378688"></a><a class="indexterm" name="idp8379664"></a><a class="indexterm" name="idp8380640"></a><p>
+historie – inkludert Shakespeare, Bacon, Milton, Johnson og Bunyan
+– var frie.
+</p><a class="indexterm" name="idp
55420576"></a><a class="indexterm" name="idp55421680"></a><a class="indexterm" name="idp55422656"></a><a class="indexterm" name="idp55423632"></a><a class="indexterm" name="idp55424608"></a><a class="indexterm" name="idp55425584"></a><p>
Vi kan knapt forestille oss det, men denne avgjørelsen fra Overhuset fyrte
opp under en svært populær og politisk reaksjon. I Skottland, hvor de fleste
piratutgiverne hadde holdt til, ble avgjørelsen feiret i gatene. Som
noen gang fått slik oppmerksomhet fra folket, og ingen sak som har blitt
prøvet i Overhuset har interessert så mange enkeltmennesker.</span>»</span>
<span class="quote">«<span class="quote">Stor glede i Edinburgh etter seieren over litterær eiendom:
-bålbrenning og pynting med lys.</span>»</span><a href="#ftn.idp8383680" class="footnote" name="idp8383680"><sup class="footnote">[108]</sup></a>
-</p><a class="indexterm" name="idp
8384576"></a><p>
+bålbrenning og pynting med lys.</span>»</span><a href="#ftn.idp55428624" class="footnote" name="idp55428624"><sup class="footnote">[109]</sup></a>
+</p><a class="indexterm" name="idp
55429520"></a><p>
I London, i hvert fall blant utgiverne, var reaksjonen like sterk, men i
motsatt retning. <em class="citetitle">Morning Chronicle</em> skrev:
</p><div class="blockquote"><blockquote class="blockquote"><p>
redusert til ingenting. Bokselgerne i London og Westminster, mange av dem
har solgt hus og eiendom for å kjøpe kopirettigheter, er med ett ruinerte,
og mange som gjennom mange år har opparbeidet kompetanse for å brødfø
-familien, sitter nå uten en shilling til sine.<a href="#ftn.idp8296800" class="footnote" name="idp8296800"><sup class="footnote">[109]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8388832"></a><a class="indexterm" name="idp8389584"></a><p>
+familien, sitter nå uten en shilling til sine.<a href="#ftn.idp55341616" class="footnote" name="idp55341616"><sup class="footnote">[110]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
55433696"></a><a class="indexterm" name="idp55434448"></a><p>
<span class="quote">«<span class="quote">Ruinert</span>»</span> er en overdrivelse. Men det er ingen overdrivelse å
i betydningen at kulturen og dens vekst ikke lenger var kontrollert av en
liten gruppe utgivere. Som alle frie markeder, ville dette markedet vokse og
utvikle seg etter tilbud og etterspørsel. Den engelske kulturen ble nå
-formet slik flertallet av Englands lesere ville at det skulle formes —
+formet slik flertallet av Englands lesere ville at det skulle formes –
gjennom valget av hva de kjøpte og skrev, gjennom valget av memer (idéer) de
gjentok og beundret. Valg i en <span class="emphasis"><em>konkurrerende
sammenheng</em></span>, ikke der hvor valgene var om hvilken kultur som
skulle være tilgjengelig for folket, og hvor deres tilgang til den ble styrt
av noen få, på tross av flertallets ønsker.
-</p><a class="indexterm" name="idp
8395216"></a><a class="indexterm" name="idp8396192"></a><p>
+</p><a class="indexterm" name="idp
55440080"></a><a class="indexterm" name="idp55441056"></a><p>
Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og
holdt stand mot utgivernes krav. I en verden hvor Parlamentet er lett å
påvirke, vil den frie kultur være mindre beskyttet.
-</p><a class="indexterm" name="idp8397744"></a><a class="indexterm" name="idp8398720"></a><a class="indexterm" name="idp8399696"></a><a class="indexterm" name="idp8400672"></a><a class="indexterm" name="idp8401648"></a><a class="indexterm" name="idp8402624"></a><a class="indexterm" name="idp8403600"></a><a class="indexterm" name="idp8404576"></a><a class="indexterm" name="idp8405552"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8203520" class="footnote"><p><a href="#idp8203520" class="para"><sup class="para">[96] </sup></a>
+</p><a class="indexterm" name="idp55442608"></a><a class="indexterm" name="idp55443584"></a><a class="indexterm" name="idp55444560"></a><a class="indexterm" name="idp55445536"></a><a class="indexterm" name="idp55446512"></a><a class="indexterm" name="idp55447488"></a><a class="indexterm" name="idp55448464"></a><a class="indexterm" name="idp55449440"></a><a class="indexterm" name="idp55450416"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp55248368" class="footnote"><p><a href="#idp55248368" class="para"><sup class="para">[97] </sup></a>
-<a class="indexterm" name="idp8203904"></a> <a class="indexterm" name="idp8204912"></a> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets
+<a class="indexterm" name="idp55248752"></a> <a class="indexterm" name="idp55249760"></a> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets
litterære storheter, spesielt John Dryden, og for hans kjekke <span class="quote">«<span class="quote">ferdige
versjoner</span>»</span> av klassiske verk. I tillegg til <em class="citetitle">Romeo og
Julie</em>, utga han en utrolig rekke liste av verk som ennå er
hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben
Jonson, John Milton, og John Dryden. Se Keith Walker: <span class="quote">«<span class="quote">Jacob Tonson,
Bookseller,</span>»</span> <em class="citetitle">American Scholar</em> 61:3 (1992):
-424-31.
-</p></div><div id="ftn.idp8208384" class="footnote"><p><a href="#idp8208384" class="para"><sup class="para">[97] </sup></a>
+424–31.
+</p></div><div id="ftn.idp55253232" class="footnote"><p><a href="#idp55253232" class="para"><sup class="para">[98] </sup></a>
Lyman Ray Patterson, <em class="citetitle">Copyright in Historical
Perspective</em> (Nashville: Vanderbilt University Press, 1968),
151–52.
-</p></div><div id="ftn.idp8216384" class="footnote"><p><a href="#idp8216384" class="para"><sup class="para">[98] </sup></a>
+</p></div><div id="ftn.idp55261232" class="footnote"><p><a href="#idp55261232" class="para"><sup class="para">[99] </sup></a>
-<a class="indexterm" name="idp8216768"></a> Som Siva Vaidhyanathan så pent
+<a class="indexterm" name="idp55261616"></a> Som Siva Vaidhyanathan så pent
argumenterer, er det feilaktige å kalle dette en <span class="quote">«<span class="quote">åndsverklov.</span>»</span>
Se Vaidhyanathan, <em class="citetitle">Copyrights and Copywrongs</em>, 40.
-</p></div><div id="ftn.idp8271424" class="footnote"><p><a href="#idp8271424" class="para"><sup class="para">[99] </sup></a>
+</p></div><div id="ftn.idp55316256" class="footnote"><p><a href="#idp55316256" class="para"><sup class="para">[100] </sup></a>
Philip Wittenberg, <em class="citetitle">The Protection and Marketing of Literary
Property</em> (New York: J. Messner, Inc., 1937), 31.
-</p></div><div id="ftn.idp8284592" class="footnote"><p><a href="#idp8284592" class="para"><sup class="para">[100] </sup></a>
+</p></div><div id="ftn.idp55329424" class="footnote"><p><a href="#idp55329424" class="para"><sup class="para">[101] </sup></a>
A Letter to a Member of Parliament concerning the Bill now depending in the
Copies, during the Times therein mentioned (London, 1735), in Brief Amici
Curiae of Tyler T. Ochoa et al., 8, <em class="citetitle">Eldred</em>
v. <em class="citetitle">Ashcroft</em>, 537 U.S. 186 (2003) (No. 01-618).
-</p></div><div id="ftn.idp8004304" class="footnote"><p><a href="#idp8004304" class="para"><sup class="para">[101] </sup></a>
+</p></div><div id="ftn.idp55034160" class="footnote"><p><a href="#idp55034160" class="para"><sup class="para">[102] </sup></a>
-<a class="indexterm" name="idp8297280"></a> <a class="indexterm" name="idp8298288"></a> Lyman Ray Patterson, <span class="quote">«<span class="quote">Free Speech, Copyright, and Fair
+<a class="indexterm" name="idp55342096"></a> <a class="indexterm" name="idp55343104"></a> Lyman Ray Patterson, <span class="quote">«<span class="quote">Free Speech, Copyright, and Fair
Use,</span>»</span> <em class="citetitle">Vanderbilt Law Review</em> 40 (1987): 28. For
en fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48.
-</p></div><div id="ftn.idp8303920" class="footnote"><p><a href="#idp8303920" class="para"><sup class="para">[102] </sup></a>
+</p></div><div id="ftn.idp55348736" class="footnote"><p><a href="#idp55348736" class="para"><sup class="para">[103] </sup></a>
For en fascinerende fremstilling, se David Saunders, <em class="citetitle">Authorship
and Copyright</em> (London: Routledge, 1992), 62–69.
-</p></div><div id="ftn.idp8310368" class="footnote"><p><a href="#idp8310368" class="para"><sup class="para">[103] </sup></a>
+</p></div><div id="ftn.idp55355184" class="footnote"><p><a href="#idp55355184" class="para"><sup class="para">[104] </sup></a>
Mark Rose, <em class="citetitle">Authors and Owners</em> (Cambridge: Harvard
-University Press, 1993), 92. <a class="indexterm" name="idp8311136"></a>
-</p></div><div id="ftn.idp8313440" class="footnote"><p><a href="#idp8313440" class="para"><sup class="para">[104] </sup></a>
+University Press, 1993), 92. <a class="indexterm" name="idp55355952"></a>
+</p></div><div id="ftn.idp55358256" class="footnote"><p><a href="#idp55358256" class="para"><sup class="para">[105] </sup></a>
Ibid., 93.
-</p></div><div id="ftn.idp8316960" class="footnote"><p><a href="#idp8316960" class="para"><sup class="para">[105] </sup></a>
+</p></div><div id="ftn.idp55361776" class="footnote"><p><a href="#idp55361776" class="para"><sup class="para">[106] </sup></a>
-<a class="indexterm" name="idp8317344"></a> Lyman Ray Patterson,
+<a class="indexterm" name="idp55362160"></a> Lyman Ray Patterson,
<em class="citetitle">Copyright in Historical Perspective</em>, 167 (der Borwell
blir sitert).
-</p></div><div id="ftn.idp8332208" class="footnote"><p><a href="#idp8332208" class="para"><sup class="para">[106] </sup></a>
+</p></div><div id="ftn.idp55377024" class="footnote"><p><a href="#idp55377024" class="para"><sup class="para">[107] </sup></a>
Howard B. Abrams, <span class="quote">«<span class="quote">The Historic Foundation of American Copyright Law:
Exploding the Myth of Common Law Copyright,</span>»</span> <em class="citetitle">Wayne Law
Review</em> 29 (1983): 1152.
-</p></div><div id="ftn.idp8352448" class="footnote"><p><a href="#idp8352448" class="para"><sup class="para">[107] </sup></a>
+</p></div><div id="ftn.idp55397392" class="footnote"><p><a href="#idp55397392" class="para"><sup class="para">[108] </sup></a>
Ibid., 1156.
-</p></div><div id="ftn.idp8383680" class="footnote"><p><a href="#idp8383680" class="para"><sup class="para">[108] </sup></a>
+</p></div><div id="ftn.idp55428624" class="footnote"><p><a href="#idp55428624" class="para"><sup class="para">[109] </sup></a>
Rose, 97.
-</p></div><div id="ftn.idp8296800" class="footnote"><p><a href="#idp8296800" class="para"><sup class="para">[109] </sup></a>
+</p></div><div id="ftn.idp55341616" class="footnote"><p><a href="#idp55341616" class="para"><sup class="para">[110] </sup></a>
ibid.
</p><p>
Else arbeidet med en dokumentarfilm hvor jeg også var involvert. I en pause
fortalte han meg om hvordan det kunne være å skape film i dagens Amerika.
-</p><a class="indexterm" name="idxwagnerrichard"></a><a class="indexterm" name="idp
8418560"></a><p>
+</p><a class="indexterm" name="idxwagnerrichard"></a><a class="indexterm" name="idp
55463424"></a><p>
I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var på
scenearbeidere ved San Francisco Opera. Scenearbeiderne er et spesielt
morsomt og fargerikt innslag i en opera. I løpet av forestillingen oppholder
forestillingen pågikk, mens scenearbeiderne spilte Dam og operakompaniet
spilte Wagner, gikk <em class="citetitle">The Simpsons</em>. Slik Else så det,
så hjalp dette tegnefilminnslaget å få med seg det spesielle med scenen.
-</p><a class="indexterm" name="idp
8423312"></a><a class="indexterm" name="idp8424288"></a><p>
+</p><a class="indexterm" name="idp
55468176"></a><a class="indexterm" name="idp55469152"></a><p>
Så, noen år senere, da han endelig hadde fått ordnet den siste
finansieringen, ville Else skaffe rettigheter til å bruke disse få sekundene
med <em class="citetitle">The Simpson</em>. For disse få sekundene var selvsagt
klipp i hjørnet i bakgrunnen i ett rom i filmen. Matt Groening hadde
allerede gitt sin tillatelse, sa Else. Han ville bare få det avklart med
Fox.
-</p><a class="indexterm" name="idp
8433296"></a><p>
+</p><a class="indexterm" name="idp
55478160"></a><p>
Deretter, fortalte Else: <span class="quote">«<span class="quote">skjedde to ting. Først oppdaget vi …
-at Matt Groening ikke eide sitt eget verk — i hvert fall at noen [hos
+at Matt Groening ikke eide sitt eget verk – i hvert fall at noen [hos
Fox] trodde at han ikke eide sitt eget verk.</span>»</span> Som det andre krevde
Fox <span class="quote">«<span class="quote">ti tusen dollar i lisensavgift for disse fire og et halvt
sekundene med … fullstendig tilfeldig <em class="citetitle">Simpson</em>
som var i et hjørne i ett opptak.</span>»</span>
-</p><a class="indexterm" name="idp
8436192"></a><a class="indexterm" name="idp8437168"></a><a class="indexterm" name="idxherrerarebecca"></a><p>
+</p><a class="indexterm" name="idp
55481056"></a><a class="indexterm" name="idp55482032"></a><a class="indexterm" name="idxherrerarebecca"></a><p>
Else var sikker på at det var en feil. Han fikk tak i noen som han trodde
var nestleder for lisensiering, Rebecca Herrera. Han forklarte for henne at
<span class="quote">«<span class="quote">det må være en feil her … Vi ber deg om en utdanningssats på
dette.</span>»</span> Og du hadde fått utdanningssats, fortalte Herrera. Kort tid
etter ringte Else igjen for å få dette bekreftet.
-</p><a class="indexterm" name="idp
8440864"></a><p>
+</p><a class="indexterm" name="idp
55485728"></a><p>
<span class="quote">«<span class="quote">Jeg måtte være sikker på at jeg hadde riktige opplysninger foran
meg,</span>»</span> sa han. <span class="quote">«<span class="quote">Ja, du har riktige opplysninger,</span>»</span> sa
Herrera Else med å si <span class="quote">«<span class="quote">Og om du siterer meg, vil du høre fra våre
advokater.</span>»</span> En av Herreras assistenter fortalte Else at <span class="quote">«<span class="quote">De
bryr seg ikke i det hele tatt. Alt de vil ha er pengene.</span>»</span>
-</p><a class="indexterm" name="idp
8445008"></a><a class="indexterm" name="idp8445984"></a><a class="indexterm" name="idp8446736"></a><p>
+</p><a class="indexterm" name="idp
55489872"></a><a class="indexterm" name="idp55490848"></a><a class="indexterm" name="idp55491600"></a><p>
Men Else hadde ikke penger til å kjøpe lisens for klippet. Så å gjenskape
denne delen av virkeligheten lå langt utenfor hans budsjett. Så like før
dokumentaren skulle slippes, redigerte Else inn et annet klipp på
dollar. Det er hans rett ifølge loven.
</p><p>
Men når jurister hører denne historien om Jon Else og Fox, så er deres
-første tanke <span class="quote">«<span class="quote">rimelig bruk.</span>»</span><a href="#ftn.idp8456752" class="footnote" name="idp8456752"><sup class="footnote">[110]</sup></a> Elses bruk av 4,5 sekunder med et indirekte klipp av en
+første tanke <span class="quote">«<span class="quote">rimelig bruk.</span>»</span><a href="#ftn.idp55501616" class="footnote" name="idp55501616"><sup class="footnote">[111]</sup></a> Elses bruk av 4,5 sekunder med et indirekte klipp av en
<em class="citetitle">Simpsons</em>-episode er et klart eksempel på rimelig bruk
-av <em class="citetitle">The Simpsons</em> — og rimelig bruk krever ingen
+av <em class="citetitle">The Simpsons</em> – og rimelig bruk krever ingen
tillatelse fra noen.
-</p><a class="indexterm" name="idp
8460000"></a><a class="indexterm" name="idp8460976"></a><p>
+</p><a class="indexterm" name="idp
55504864"></a><a class="indexterm" name="idp55505840"></a><p>
Så jeg spurte Else om hvorfor han ikke bare stolte på <span class="quote">«<span class="quote">rimelig
kringkaste dokumentarer. Jeg tvilte aldri på at dette helt klart var
<span class="quote">«<span class="quote">åpenbart rimelig bruk,</span>»</span> men jeg kunne ikke stole på konseptet
på noen konkret måte. Og dette er grunnen:
-</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><a class="indexterm" name="idp
8467984"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><a class="indexterm" name="idp
55512848"></a><p>
Før våre filmer kan kringkastes, krever TV-nettverket at vi kjøper en
alle scener i filmen. De har et smalt syn på <span class="quote">«<span class="quote">rimelig bruk,</span>»</span> og
å påstå at noe er nettopp dette kan forsinke, og i verste fall stoppe,
prosessen.
-</p></li><li class="listitem"><a class="indexterm" name="idxfoxfilmcompany3"></a><a class="indexterm" name="idp
8472560"></a><a class="indexterm" name="idp8473312"></a><a class="indexterm" name="idp8474064"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idxfoxfilmcompany3"></a><a class="indexterm" name="idp
55517744"></a><a class="indexterm" name="idp55518560"></a><a class="indexterm" name="idp55519376"></a><p>
Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste (i
alt ville koke ned til hvem som hadde flest jurister og dypeste lommer, jeg
eller dem.
-</p><a class="indexterm" name="idp
8480048"></a></li><li class="listitem"><p>
+</p><a class="indexterm" name="idp
55525744"></a></li><li class="listitem"><p>
Spørsmålet om rimelig bruk dukker som regel opp helt mot slutten av
prosjektet, når vi nærmer oss siste frist, og er tomme for penger.
-</p></li></ol></div></blockquote></div><a class="indexterm" name="idp
8482480"></a><p>
+</p></li></ol></div></blockquote></div><a class="indexterm" name="idp
55528512"></a><p>
I teorien betyr rimelig bruk at du ikke trenger tillatelse. Teorien støtter
derfor den frie kultur, og jobber mot tillatelseskulturen, men i praksis
fungerer <span class="quote">«<span class="quote">rimelig bruk</span>»</span> helt annerledes. De uklare linjene i
syttenhundretallsrøtter. Loven som skulle beskytte utgiverne mot urettferdig
piratkonkurranse, hadde utviklet seg til et sverd som slo ned på enhver
bruk, omformende eller ikke.
-</p><a class="indexterm" name="idp8485936"></a><a class="indexterm" name="idp8486912"></a><a class="indexterm" name="idp8487888"></a><a class="indexterm" name="idp8488864"></a><a class="indexterm" name="idp8489840"></a><a class="indexterm" name="idp8490816"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8456752" class="footnote"><p><a href="#idp8456752" class="para"><sup class="para">[110] </sup></a>
+</p><a class="indexterm" name="idp55532240"></a><a class="indexterm" name="idp55533568"></a><a class="indexterm" name="idp55534768"></a><a class="indexterm" name="idp55536080"></a><a class="indexterm" name="idp55537408"></a><a class="indexterm" name="idp55538752"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp55501616" class="footnote"><p><a href="#idp55501616" class="para"><sup class="para">[111] </sup></a>
Ønsker du å lese en flott redegjørelse om hvordan dette er <span class="quote">«<span class="quote">rimelig
A. Posner og William F. Patry, <span class="quote">«<span class="quote">Fair Use and Statutory Reform in the
Wake of <em class="citetitle">Eldred</em> </span>»</span> (utkast arkivert hos
forfatteren), University of Chicago Law School, 5. august 2003.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="transformers"></a>Kapittel åtte: Omformerne</h2></div></div></div><a class="indexterm" name="idp
8493296"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp8495280"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="transformers"></a>Kapittel åtte: Omformerne</h2></div></div></div><a class="indexterm" name="idp
55541904"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp55544192"></a><p>
<span class="strong"><strong>I 1993</strong></span> arbeidet Alex Alben som jurist hos
Starwave Inc. Starwave var et innovativt firma grunnlagt av Paul Allen, som
også hadde vært med som grunnlegger av Microsoft. Starwaves mål var å
forsket Starwave på ny teknologi for å levere underholdning uten nettverk.
</p><a class="indexterm" name="idxartistsretrospective"></a><a class="indexterm" name="idxcdroms"></a><p>
Alben var veldig interessert i ny teknologi. Han var fascinert av det
-voksende markedet for CD-ROM-teknologi — ikke for å distribuere film,
+voksende markedet for CD-ROM-teknologi – ikke for å distribuere film,
men for å gjøre ting med filmen som før ville vært svært vanskelig. I 1993
lanserte han idéen om å utvikle et produkt for å vise tilbakeblikk på
-verkene til en bestemt kunstner. Den første skuespilleren som ble valgt, var
-Clint Eastwood. Idéen var å vise alle Eastwoods verk, sammen med klipp fra
-filmene hans og intervjuer med personer som hadde vært viktige i hans
+verkene til bestemte skuespillere. Den første skuespilleren som ble valgt,
+var Clint Eastwood. Idéen var å vise alle Eastwoods verk, sammen med klipp
+fra filmene hans og intervjuer med personer som hadde vært viktige i hans
karriere.
</p><p>
På den tiden hadde Eastwood laget over femti filmer, både som skuespiller og
Alben svarte, <span class="quote">«<span class="quote">Tja, vi må innhente tillatelse fra alle som opptrer i
disse filmene, for musikken og for alt annet som er i disse
filmklippene.</span>»</span> Slade svarte <span class="quote">«<span class="quote">Flott! Gjør
-det.</span>»</span><a href="#ftn.idp8508128" class="footnote" name="idp8508128"><sup class="footnote">[111]</sup></a>
+det.</span>»</span><a href="#ftn.idp55558064" class="footnote" name="idp55558064"><sup class="footnote">[112]</sup></a>
</p><p>
Problemet var at verken Alben eller Slade forstod hva det innebar å innhente
disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav på
-royalties for bruk av sitt opptak. Men CD-ROM hadde ikke vært spesifisert i
-skuespillernes kontrakter, så ingen visste helt hva Starwave skulle gjøre.
+kompensasjon for bruk av sitt opptak. Men CD-ROM hadde ikke vært spesifisert
+i skuespillernes kontrakter, så ingen visste helt hva Starwave skulle gjøre.
</p><p>
Jeg spurte Alben om hvordan han løste problemet. Med en tydelig stolthet som
overskygget hvor bisarr historien var, så fortalte han hva de gjorde:
Vi bestemte at det ville være rettferdig hvis vi tilbød dem en
dagsspillersats for retten til å bruke klippet. Vi snakker tross alt om et
klipp på under et minutt, men satsen for å bruke klippet på CD-ROM lå på den
-tiden på 600 dollar. Så vi måtte identifisere personene — noen var
+tiden på 600 dollar. Så vi måtte identifisere personene – noen var
vanskelig å identifisere, siden det ofte er vanskelig å vite hvem som er
skuespilleren og hvem som er stuntmannen i Eastwoods filmer. Og deretter
samlet vi oss en gjeng og begynte å ringe rundt.
-</p></blockquote></div><a class="indexterm" name="idp
8515968"></a><p>
-Noen skuespillere var glade for å kunne hjelpe — Donald Sutherland
+</p></blockquote></div><a class="indexterm" name="idp
55566288"></a><p>
+Noen skuespillere var glade for å kunne hjelpe – Donald Sutherland
fulgte for eksempel opp saken personlig for å sørge for at alt var
greit. Andre brydde seg mest om pengene. Alben kunne spørre <span class="quote">«<span class="quote">Hei, kan
jeg betale deg 600 dollar, eller hvis du var i to filmer, 1200
Det var gått ett <span class="emphasis"><em>år</em></span> <span class="quote">«<span class="quote">og selv da var vi ikke sikre
på om alt var helt klart.</span>»</span>
</p><p>
-Alben er stolt av arbeidet sitt. Prosjektet var det første av sitt slag, og
+Alben er stolt av verket sitt. Prosjektet var det første av sitt slag, og
første gang han hadde hørt om et team som hadde tatt på seg så mye arbeid
for å gi ut en samling av tidligere arbeider.
</p><div class="blockquote"><blockquote class="blockquote"><p>
Og produktet ble uten tvil særdeles godt. Eastwood elsket det, og det solgte
veldig bra.
-</p><a class="indexterm" name="idp
8525424"></a><p>
+</p><a class="indexterm" name="idp
55575952"></a><p>
Jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt år
bare å få orden på rettigheter. Alben hadde gjort det hele svært effektivt,
men som Peter Drucker så berømmelig har sagt, <span class="quote">«<span class="quote">Det er ikke noe som er
-så ubrukelig å gjøre effektivt enn det som egentlig ikke gjøres i det hele
-tatt.</span>»</span><a href="#ftn.idp8527328" class="footnote" name="idp8527328"><sup class="footnote">[112]</sup></a> Var det noe fornuft i at
-det var slik et nytt verk skulle skapes, spurte jeg Alben.
+så ubrukelig å gjøre effektivt enn det som egentlig ikke burde gjøres i det
+hele tatt.</span>»</span><a href="#ftn.idp55577904" class="footnote" name="idp55577904"><sup class="footnote">[113]</sup></a> Var det noe fornuft
+i at det var slik et nytt verk skulle skapes, spurte jeg Alben.
</p><p>
For, som han innrømmet, <span class="quote">«<span class="quote">veldig få … har tid og ressurser, og
viljen til å gjøre dette,</span>»</span> og dermed blir veldig få slike verk noen
</p><div class="blockquote"><blockquote class="blockquote"><p>
Absolutt. Jeg tror at hvis det fantes en form for lisensieringsmekanisme
-— hvor du ikke risikerte å bli offer for forglemmelser eller
-problematiske ekskoner — ville man kanskje ha sett mange flere av
+– hvor du ikke risikerte å bli offer for forglemmelser eller
+problematiske ekskoner – ville man kanskje ha sett mange flere av
denne typen verk, rett og slett fordi det ikke ville sett så
skrekkinngytende ut å sette sammen et tilbakeblikk på noens karriere, og å
bruke mange media-illustrasjoner fra vedkommendes karriere. Du ville kunne
gjennomsnittlig webdesigner ikke kan drømme om. Så hvis det tok ham et år,
hvor lang tid ville det ta noen andre? Hvor mye kreativitet får aldri form
på grunn av kostnadene rundt å kartlegge og skaffe rettigheter?
-</p><a class="indexterm" name="idp
8537776"></a><a class="indexterm" name="idp8538640"></a><p>
+</p><a class="indexterm" name="idp
55588768"></a><a class="indexterm" name="idp55589904"></a><p>
Disse kostnadene er byrdene fra en form for regulering. Vi kan prøve å ta på
oss hatten til en republikaner, og bli sinte et øyeblikk. Staten styrer
disse rettighetenes omfang, og omfanget bestemmer hvor mye det vil koste å
seg, er meningen borte. I hvert fall så burde en veltrenet,
reguleringsfiendtlig republikaner se på rettighetene og spørre <span class="quote">«<span class="quote">Gir
det mening nå?</span>»</span>
-</p><a class="indexterm" name="idp
8541136"></a><p>
+</p><a class="indexterm" name="idp
55592784"></a><p>
Jeg har sett glimt av gjenkjennelse på dette punktet, men bare noen få
ganger. Første gang var på en konferanse for føderale dommere i
tjuende århundret, rammet inn rundt idéen om en episode i TV-serien
<em class="citetitle">60 Minutes</em>. Utførelsen var perfekt, ned til seksti
minutter stoppeklokke. Dommerne elsket hvert minutt av den.
-</p><a class="indexterm" name="idp
8544736"></a><p>
-Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer,
-kanskje den ledende opphavsrettsakademiker og utøver i nasjonen. Han hadde
-en forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med
+</p><a class="indexterm" name="idp
55596816"></a><p>
+Da lysene kom på, kikket jeg over til min medpaneldeltaker, David Nimmer,
+kanskje den ledende opphavsrettsakademiker og -utøver i nasjonen. Han hadde
+et forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med
over 250 godt underholdte dommere. Med en illevarslende tone, begynte han
sin tale med et spørsmål: <span class="quote">«<span class="quote">Vet dere hvor mange føderale lover som
nettopp ble brutt i dette rommet?</span>»</span>
</p><p>
-<a class="indexterm" name="idp8547328"></a> <a class="indexterm" name="idp8548080"></a> <a class="indexterm" name="idp8548832"></a> <a class="indexterm" name="idp8549840"></a> <a class="indexterm" name="idp8550592"></a> Og selvsagt
+<a class="indexterm" name="idp55599472"></a> <a class="indexterm" name="idp55600288"></a> <a class="indexterm" name="idp55601104"></a> <a class="indexterm" name="idp55602208"></a> <a class="indexterm" name="idp55603024"></a> Og selvsagt
hadde ikke disse to briljante talentene gjort hva Alben hadde gjort. De
hadde ikke ordnet alle rettighetene til klippene de brukte. Rent teknisk
hadde de brutt loven. Men ingen kom til å straffeforfølge disse to (selv om
-de viste den for 250 dommere og en gjeng føderale marshaller. Men Nimmer
-hadde et viktig poeng: Et år før noen hadde hørt ordet Napster, og to år før
-et annet medlem av panelet, David Boies, ville forsvare Napster for den
-niende ankekrets, prøvde Nimmer å få dommerne til å forstå at loven ikke var
-særlig åpen for de nye kapasitetene den nye teknologien ville gi. Teknologi
-betyr at du kan gjøre fantastiske ting enkelt, men du kan ikke nødvendigvis
-gjøre dem enkelt, lovlig.
+de viste den for 250 dommere og en gjeng føderale lovmenn). Men Nimmer hadde
+et viktig poeng: Et år før noen hadde hørt ordet Napster, og to år før et
+annet medlem av panelet, David Boies, ville forsvare Napster for den niende
+ankekrets, prøvde Nimmer å få dommerne til å forstå at loven ikke var særlig
+åpen for de nye kapasitetene den nye teknologien ville muliggjøre. Teknologi
+betyr at du nå kan gjøre fantastiske ting enkelt, men du kan ikke enkelt
+gjøre dem lovlig.
</p><p>
Vi lever i en <span class="quote">«<span class="quote">klipp og lim</span>»</span>-kultur som er muliggjort av dagens
teknologi. Alle som lager presentasjoner vet hvilken særskilt frihet
-Internetts <span class="quote">«<span class="quote">klipp og lim</span>»</span>-arkitektur gir — på et sekund
+Internetts <span class="quote">«<span class="quote">klipp og lim</span>»</span>-arkitektur gir – på et sekund
kan du finne akkurat det bildet du vil ha, og du kan få det inn i
presentasjonen din.
-</p><a class="indexterm" name="idp
8554144"></a><p>
+</p><a class="indexterm" name="idp
55606800"></a><p>
Men presentasjoner er bare en liten start. Ved hjelp av Internett og dets
arkiver, er musikere i stand til å sy sammen nye lydmikser som ingen hadde
Saturday Night Live og Austin Powers). I følge kunngjøringen skulle
DreamWorks og Myers arbeide for å skape en <span class="quote">«<span class="quote">unik
filmskaperavtale.</span>»</span> Under denne avtalen ville DreamWorks <span class="quote">«<span class="quote">få
-rett til å benytte eksisterende filmklipp, skrive nye manus og — med
-hjelp av moderne digitalteknologi — sette inn Myers og andre
+rett til å benytte eksisterende filmklipp, skrive nye manus og – med
+hjelp av moderne digitalteknologi – sette inn Myers og andre
skuespillere i filmene, og slik skape et helt nytt stykke
underholdning.</span>»</span>
</p><p>
kunngjøring følgende: Det er Mike Myers, og kun Mike Myers, som har lov til
å gjøre slikt. All generell frihet til å fortsette å bygge på verdens
filmkultur, en frihet som i andre sammenhenger er en selvfølge, er et
-privilegium forbeholdt de morsomme og berømte — og antakelig rike.
+privilegium forbeholdt de morsomme og berømte – og antakelig rike.
</p><p>
Dette privilegiet er begrenset av to slags grunner: Første grunn er en
fortsettelse av forrige kapittel, vagheten i <span class="quote">«<span class="quote">rimelig bruk.</span>»</span>
jurist til å forsvare dine <span class="quote">«<span class="quote">rimelig bruk</span>»</span>-rettigheter, eller så
betaler du en jurist for å oppspore og ordne med rettighetene du trenger,
slik at du slipper å stole på rimelig bruk. I begge tilfeller er den
-kreative prosessen blitt en prosess med å betale jurister — igjen, et
+kreative prosessen blitt en prosess med å betale jurister – igjen, et
privilegium forbeholdt de få.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8508128" class="footnote"><p><a href="#idp8508128" class="para"><sup class="para">[111] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp55558064" class="footnote"><p><a href="#idp55558064" class="para"><sup class="para">[112] </sup></a>
Teknisk sett var rettighetene som Alben måtte klarere i hovedsak de om
-publisitet — rettigheten en artist har til å kontrollere den
+publisitet – rettigheten en artist har til å kontrollere den
kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster
også <span class="quote">«<span class="quote">ripp, miks, brenn</span>»</span>-kreativiteten slik dette kapittelet
-demonstrerer. <a class="indexterm" name="idp8509664"></a> <a class="indexterm" name="idp8510912"></a>
-</p></div><div id="ftn.idp8527328" class="footnote"><p><a href="#idp8527328" class="para"><sup class="para">[112] </sup></a>
+demonstrerer. <a class="indexterm" name="idp55559696"></a> <a class="indexterm" name="idp55561040"></a>
+</p></div><div id="ftn.idp55577904" class="footnote"><p><a href="#idp55577904" class="para"><sup class="para">[113] </sup></a>
U.S. Department of Commerce Office of Acquisition Management,
<em class="citetitle">Seven Steps to Performance-Based Services
Acquisition</em>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #22</a>.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Kapittel ni: Samlere</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp
8573968"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Kapittel ni: Samlere</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp
55627840"></a><p>
<span class="strong"><strong>I april 1996</strong></span> hadde millioner av
-<span class="quote">«<span class="quote">bot-er</span>»</span> dataprogramkode utformet for å <span class="quote">«<span class="quote">kravle</span>»</span>,
-eller automatisk søke på Internett og kopiere innhold — gått i gang på
-nettet. Side for side kopierte disse botene Internett-basert informasjon
-til et lite sett maskiner plassert i en kjeller i San Franciscos Presidio.
-Da botene var ferdig med hele Internett, startet de på nytt. Igjen og
-igjen, en gang hver andre måneder, tok disse snuttene med kode kopier av
-Internett og lagret dem.
-</p><a class="indexterm" name="idp
8577472"></a><p>
-I oktober 2001 hadde botene samlet mer enn fem år med kopier. Ved en liten
+<span class="quote">«<span class="quote">bot-er</span>»</span> – dataprogramkode utformet for å
+<span class="quote">«<span class="quote">kravle</span>»</span>, eller automatisk søke på Internett og kopiere innhold
+– gått i gang på nettet. Side for side kopierte disse bot-ene
+Internett-basert informasjon til et lite sett maskiner plassert i en kjeller
+i San Franciscos Presidio. Da bot-ene var ferdig med hele Internett,
+startet de på nytt. Igjen og igjen, en gang hver andre måneder, tok disse
+snuttene med kode kopier av Internett og lagret dem.
+</p><a class="indexterm" name="idp
55631584"></a><p>
+I oktober 2001 hadde bot-ene samlet mer enn fem år med kopier. Ved en liten
kunngjøring ved Berkeley, California, ble arkivet som disse kopiene
utgjorde, Internett-arkivet, åpnet for verden. Ved å bruke en teknologi ved
-navn <span class="quote">«<span class="quote">Way Back machine</span>»</span> kan du skrive inn en nettside og se
+navn <span class="quote">«<span class="quote">Way Back Machine</span>»</span> kan du skrive inn en nettside og se
alle dens kopier helt tilbake til 1996, samt se når disse sidene endret seg.
</p><a class="indexterm" name="idxorwellgeorge"></a><p>
Dette er en egenskap ved Internett som Orwell ville satt pris på. I den
Det er det samme med Internett. Hvis du besøker en nettside i dag, så har
du ingen måte å vite om innholdet du leser nå er det samme som innholdet du
leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt
-være helt annerledes. Internett er Orwells bibliotek — kontinuerlig
+være helt annerledes. Internett er Orwells bibliotek – kontinuerlig
oppdatert, uten en pålitelig hukommelse.
-</p><a class="indexterm" name="idp
8583936"></a><a class="indexterm" name="idp8586000"></a><p>
+</p><a class="indexterm" name="idp
55638176"></a><a class="indexterm" name="idp55640240"></a><p>
I hvert fall før Way Back Machine dukket opp. Ved hjelp av Way Back
Machine, og Internett-arkivet som ligger til grunn for denne, så kan du se
hvordan Internett var. Du har mulighet til å se det du husker. Og kanskje
viktigere, så har du mulighet til å finne det du ikke husker, og det andre
-kanskje fortrekker at du glemmer.<a href="#ftn.idp8587712" class="footnote" name="idp8587712"><sup class="footnote">[113]</sup></a>
-</p><a class="indexterm" name="idp
8591376"></a><p>
+kanskje fortrekker at du glemmer.<a href="#ftn.idp55641952" class="footnote" name="idp55641952"><sup class="footnote">[114]</sup></a>
+</p><a class="indexterm" name="idp
55646560"></a><p>
<span class="strong"><strong>Vi tar det</strong></span> for gitt at vi kan gå tilbake
å se det vi husker å ha lest. Tenk for eksempel på aviser. Hvis du ønsker å
-studenere reaksjonene i lokalavisen din om raseopprørene i Watts i 1965,
-eller til vannkanonen til Bull Connor i 1963, så kan du gå til ditt lokale
+studere reaksjonene i lokalavisen din om raseopprørene i Watts i 1965, eller
+om vannkanonen til Bull Connor i 1963, så kan du gå til ditt lokale
bibliotek og se i avisene. Disse artiklene finnes sannsynligvis på
microfiche. Hvis du er heldig, så eksisterer de også på papir. Uansett, så
står du fritt til, ved å bruke et bibliotek, å gå tilbake for å huske
-— ikke bare det som er behagelig å huske, men å huske slikt som er nær
+– ikke bare det som er behagelig å huske, men å huske slikt som er nær
sannheten.
</p><p>
Det sies at de som ikke husker historien, er dømt til å gjenta den. Det er
reformere samfunnet, så blir det viktigere og viktigere å bevare det i en
eller annen historisk form. Det er helt sært å tenke på at vi har masse
arkiver med aviser fra små tettsteder rundt om i hele verden, men det finnes
-bare en kopi av Internett — den som blir oppbevart av
+bare en kopi av Internett – den som blir oppbevart av
Internett-arkivet.
-</p><p>
+</p><a class="indexterm" name="idxkahlebrewster"></a><p>
Brewster Kahle er stifter av Internett-arkivet. Han var en svært vellykket
Internett-entreprenør etter at han hadde vært en vellykket dataforsker. På
1990-tallet bestemte Kahle seg for at han hadde hatt nok suksess som
kunnskap. Internett-arkivet var bare det første av prosjektene til denne
Internett-filantropen. I desember 2002 hadde arkivet over ti milliarder
sider, og det vokste med omtrent en milliard sider i måneden.
-</p><a class="indexterm" name="idp
8598384"></a><a class="indexterm" name="idp8599136"></a><a class="indexterm" name="idp8599888"></a><a class="indexterm" name="idp8600704"></a><a class="indexterm" name="idp8601520"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
+</p><a class="indexterm" name="idp
55655056"></a><a class="indexterm" name="idp55655872"></a><a class="indexterm" name="idp55656688"></a><a class="indexterm" name="idp55657504"></a><a class="indexterm" name="idp55658320"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
Way Back Machine er det største arkivet over menneskelig kunnskap i
menneskehetens historie. Ved slutten av 2002 inneholdt det <span class="quote">«<span class="quote">to hundre
-og tredve terrabyte med materiale</span>»</span> — og var <span class="quote">«<span class="quote">ti ganger
+og tredve terabyte med materiale</span>»</span> – og var <span class="quote">«<span class="quote">ti ganger
større enn kongressbiblioteket.</span>»</span> Og dette var bare det første av
arkivene som Kahle gikk i gang med å bygge. I tillegg til Internett-arkivet
er Kahle i gang med å konstruere TV-arkivet. TV, viser det seg, er enda mer
flyktig enn Internett. Selv om mye av kulturen i det tjuende århundret ble
til gjennom fjernsyn, så er bare en liten andel av den kulturen tilgjengelig
for dem som vil se det i dag. Tre timer med nyheter blir tatt opp hver
-kveld av Vanderbilt University — takket være et spesifikt unntak i
+kveld av Vanderbilt University – takket være et spesifikt unntak i
opphavsrettsloven. Dette innholdet blir gjort søkbart, og er tilgjengelig
for forskere for en svært lav avgift. <span class="quote">«<span class="quote">Men bortsett fra dette, så er
[TV] nesten fullstendig utilgjengelig,</span>»</span> fortalte Kahle meg.
<span class="quote">«<span class="quote">Hvis du er Barbara Walters, så kan du få tilgang til [arkivene], men
hva hvis du bare er en student?</span>»</span> Som Kahle formulerte det:
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
8608432"></a><a class="indexterm" name="idp8609216"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
55665232"></a><a class="indexterm" name="idp55666016"></a><p>
Husker du da Dan Quayle snakket med Murphy Brown? Husker du den uvirkelige
opplevelsen av samtalen som gikk frem og tilbake mellom en politiker og en
-fiktig TV-karakter? Hvis du var en student som ønsket å studere dette, og
+fiktiv TV-karakter? Hvis du var en student som ønsket å studere dette, og
du ønsket å få tak i den originale samtalen som gikk frem og tilbake mellom
disse to, og <em class="citetitle">60 Minutes</em>-episoden som kom ut etter
dette … så ville det være nesten umulig … Dette materialet
er nesten umulig å finne. …
-</p></blockquote></div><a class="indexterm" name="idp
8612432"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
55669232"></a><p>
Hvorfor er det slik? Hvor er den delen av kulturen vår som er lagret i
aviser tilgjengelige til evig tid, mens den delen som er lagret på videobånd
ikke er det? Hvorfor har vi laget en verden der forskere som forsøker å
biblioteker. Disse kopiene skulle både sikre spredning av kunnskap, og
sikre at det fantes en kopi av verket tilgjengelig når vernetiden utløp,
slik at andre kunne få tilgang til, og kopiere verket.
-</p><a class="indexterm" name="idp
8615536"></a><a class="indexterm" name="idp8616352"></a><p>
+</p><a class="indexterm" name="idp
55672336"></a><a class="indexterm" name="idp55673152"></a><p>
Disse reglene gjaldt også for filmer, men i 1915 gjorde kongressbiblioteket
et unntak for film. Filmer kunne bli opphavsrettsbeskyttet så lenge det ble
gjort slik deponering, men filmskaperne fikk så lov til å låne tilbake de
-deponerte filmene — så lenge de ville uten noe kostnad. Bare i 1915
+deponerte filmene – så lenge de ville uten noe kostnad. Bare i 1915
var det mer enn 5475 filmer deponert og <span class="quote">«<span class="quote">lånt tilbake.</span>»</span> Dermed
var det ikke noe eksemplar i noe bibliotek da vernetiden til filmen utløp.
-Eksemplaret finnes — hvis det finnes i det hele tatt — i
-arkivbiblioteket til filmselskapet.<a href="#ftn.idp8619088" class="footnote" name="idp8619088"><sup class="footnote">[114]</sup></a>
+Eksemplaret finnes – hvis det finnes i det hele tatt – i
+arkivbiblioteket til filmselskapet.<a href="#ftn.idp55675888" class="footnote" name="idp55675888"><sup class="footnote">[115]</sup></a>
</p><p>
Det samme er generelt sett sant også for TV. Fjernsynssendinger var
-opprinnelig ikke opphavsrettsbeskyttet — det fantes ingen måte å ta
+opprinnelig ikke opphavsrettsbeskyttet – det fantes ingen måte å ta
opp sendinger, så det var ikke noe frykt for <span class="quote">«<span class="quote">tyveri.</span>»</span> Men
etter hvert som teknologien gjorde det mulig å ta opp TV-sendinger, baserte
kringkastere seg i større grad på loven. Loven krevde at de laget et
dem, og myndighetene gjorde ikke krav på dem. Innholdet fra denne delen av
amerikansk kultur er i praksis usynlig for alle som kunne tenke seg å se
den.
-</p><a class="indexterm" name="idp
8624160"></a><p>
+</p><a class="indexterm" name="idp
55681024"></a><p>
Kahle ivret etter å rette på dette. Før 11. september 2001 hadde han og
hans allierte begynt å ta opp TV. De valgte tjue stasjoner rundt om i
fra og med 11. oktober 2011 gjorde opptakene fra uka rundt 11. september
fritt tilgjengelig på nettet. Enhver kunne se hvordan nyhetsmeldingene
verden rundt dekket hendelsene disse dagene.
-</p><a class="indexterm" name="idp
8626272"></a><a class="indexterm" name="idp8627056"></a><a class="indexterm" name="idp8628160"></a><a class="indexterm" name="idp8629408"></a><a class="indexterm" name="idp8630512"></a><a class="indexterm" name="idp8631328"></a><a class="indexterm" name="idp8632144"></a><a class="indexterm" name="idp8632960"></a><p>
+</p><a class="indexterm" name="idp
55683056"></a><a class="indexterm" name="idp55683840"></a><a class="indexterm" name="idp55684944"></a><a class="indexterm" name="idp55686192"></a><a class="indexterm" name="idp55687296"></a><a class="indexterm" name="idp55688112"></a><a class="indexterm" name="idp55688928"></a><a class="indexterm" name="idp55689744"></a><p>
Kahle hadde samme idé for film. I samarbeid med Rick Relinger, hvis
filmarkiv inneholder nesten 45 000 <span class="quote">«<span class="quote">flyktige filmer</span>»</span> (i
betydningen filmer som ikke er Hollywood-filmer, filmer som aldri ble
delen av vår kultur. Vil du se et eksemplar av <span class="quote">«<span class="quote">Dukk og skjul
deg</span>»</span>-filmen som gir barn instrukser om hvordan de skal redde seg selv
under et atomangrep? Besøk archive.org, og du kan laste ned filmen på noen
-få minutter — gratis.
+få minutter – gratis.
</p><p>
Nok en gang gir Kahle tilgang til en del av vår kultur som vi ellers ikke
ville fått enkel tilgang til, hvis vi i det hele tatt fikk tilgang. Det er
mulighet til å selge tilgang til det. Målet hans er å sikre konkurranse
rundt tilgang til denne viktige delen av kulturen vår. Ikke i den
kommersielle delen av en kreativ eiendoms liv, men i løpet av den andre
-fasen som all kreativ eiendom har — en ikke-kommersiell fase.
+fasen som all kreativ eiendom har – en ikke-kommersiell fase.
</p><p>
Her er en idé som vi bør kjenne bedre. Hver bit av kreativ eiendom går
fisk, eller fylle bokser med skjøre gaver, eller til å bygge et arkiv med
kunnskap om vår historie. Dette er den andre fasen, der innholdet fortsatt
kan informere selv om informasjonen ikke lenger blir solgt.
-</p><a class="indexterm" name="idp
8641696"></a><p>
+</p><a class="indexterm" name="idp
55698480"></a><p>
Det samme har alltid vært tilfelle for bøker. En bok blir utsolgt fra
-forlaget svært raskt (i dag skjer det i snitt etter et år<a href="#ftn.idp8643232" class="footnote" name="idp8643232"><sup class="footnote">[115]</sup></a>). Etter at den er utsolgt fra forlaget, kan den
+forlaget svært raskt (i dag skjer det i snitt etter et år<a href="#ftn.idp55700016" class="footnote" name="idp55700016"><sup class="footnote">[116]</sup></a>). Etter at den er utsolgt fra forlaget, kan den
selges i bruktbokhandler uten at opphavsrettsinnehaveren får noe. Den kan
også oppbevares i biblioteker, hvor mange får mulighet til å lese boken,
helt gratis. Bruktbokhandler og biblioteker er dermed den andre fasen til en
til kulturen.
</p><p>
Likevel gjelder i stadig mindre grad antagelsen om en stabil annen fase for
-kreativ eiendom de viktigste komponentene som utgjør populærkulturen i det
-tjuende og tjueførste århundre. For disse — TV, filmer, musikk,
-radio, Internett — finnes det ingen garanti for en annen fase. For
+kreativ eiendom hos de viktigste komponentene som utgjør populærkulturen i
+det tjuende og tjueførste århundre. For disse – TV, filmer, musikk,
+radio, Internett – finnes det ingen garanti for en annen fase. For
denne typen kultur, er det som om vi har byttet ut biblioteker med Barnes
& Noble-supermarkeder. Med denne kulturen er det ingenting annet
tilgjengelig enn det som et visst begrenset marked etterspør. Ut over det
før. Folk som Brewster Kahle har drømt om det opp igjennom historien, men
vi er for første gang ved et punkt der denne drømmen er mulig. Som Kahle
beskriver det:
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
8653552"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
55710288"></a><a class="indexterm" name="idp55711392"></a><a class="indexterm" name="idp55712496"></a><a class="indexterm" name="idp55713616"></a><a class="indexterm" name="idp55714720"></a><p>
Det ser ut til at det finnes omtrent to til tre millioner opptak av musikk,
totalt gjennom hele historien. Det er utgitt omtrent hundre tusen
kinofilmer, … og omtrent en til to millioner filmer [distribuert] i
tingene som menneskeheten ville være mest stolt av. Helt der oppe med
biblioteket i Alexandria, plassere en mann på månen, og oppfinnelsen av
trykkpressen.
-</p></blockquote></div><a class="indexterm" name="idp
8656736"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
55717904"></a><p>
Kahle er ikke den eneste bibliotekaren. Internett-arkivet er ikke det
eneste arkivet, men Kahle og Internett-arkivet antyder hva fremtiden for
det for å forstå den. Andre for å kritisere den. Noen vil bruke den, slik
Walt Disney gjorde, for å gjenskape fortiden for fremtiden. Disse
teknologiene har lovnaden om noe som hadde blitt umulig å tenke seg i store
-deler av vår fortid — en fremtid <span class="emphasis"><em>for</em></span> vår
+deler av vår fortid – en fremtid <span class="emphasis"><em>for</em></span> vår
fortid. Teknologien til digital kunst kan gjøre drømmen om biblioteket i
Alexandria virkelig igjen.
</p><p>
<span class="quote">«<span class="quote">bibliotek</span>»</span> kan virke, så er <span class="quote">«<span class="quote">innholdet</span>»</span> som er
samlet i disse digitale områdene også noens <span class="quote">«<span class="quote">eiendom.</span>»</span> Og
eiendomslover begrenser friheten til folk som Kahle.
-</p><a class="indexterm" name="idp8662800"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8587712" class="footnote"><p><a href="#idp8587712" class="para"><sup class="para">[113] </sup></a>
+</p><a class="indexterm" name="idp55724128"></a><a class="indexterm" name="idp55725440"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp55641952" class="footnote"><p><a href="#idp55641952" class="para"><sup class="para">[114] </sup></a>
-<a class="indexterm" name="idp8588096"></a> <a class="indexterm" name="idp8589200"></a> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det
-hvite hus endrer sine egne pressemeldinger uten varsel. En pressemelding
-fra 13. mai 2003 inneholdt <span class="quote">«<span class="quote">Kampoperasjoner i Irak er over.</span>»</span>
-Det ble senere endret, uten varsel, til <span class="quote">«<span class="quote">Større kampoperasjoner i Irak
-er over.</span>»</span> E-post fra Brewster Kahle, 1. desember 2003.
-</p></div><div id="ftn.idp8619088" class="footnote"><p><a href="#idp8619088" class="para"><sup class="para">[114] </sup></a>
+<a class="indexterm" name="idp55642336"></a> <a class="indexterm" name="idp55643440"></a> <a class="indexterm" name="idp55644256"></a> Fristelsene er dog der
+fortsatt. Brewster Kahle forteller at Det hvite hus endrer sine egne
+pressemeldinger uten varsel. En pressemelding fra 13. mai 2003 inneholdt
+<span class="quote">«<span class="quote">Kampoperasjoner i Irak er over.</span>»</span> Det ble senere endret, uten
+varsel, til <span class="quote">«<span class="quote">Større kampoperasjoner i Irak er over.</span>»</span> E-post
+fra Brewster Kahle, 1. desember 2003.
+</p></div><div id="ftn.idp55675888" class="footnote"><p><a href="#idp55675888" class="para"><sup class="para">[115] </sup></a>
Doug Herrick, <span class="quote">«<span class="quote">Toward a National Film Collection: Motion Pictures at
Quarterly</em> 13 nos. 2–3 (1980): 5; Anthony Slide,
<em class="citetitle">Nitrate Won't Wait: A History of Film Preservation in the United
States</em> (Jefferson, N.C.: McFarland & Co., 1992), 36.
-</p></div><div id="ftn.idp8643232" class="footnote"><p><a href="#idp8643232" class="para"><sup class="para">[115] </sup></a>
+</p></div><div id="ftn.idp55700016" class="footnote"><p><a href="#idp55700016" class="para"><sup class="para">[116] </sup></a>
-<a class="indexterm" name="idp8643616"></a> Dave Barns, <span class="quote">«<span class="quote">Fledgling Career
+<a class="indexterm" name="idp55700400"></a> Dave Barns, <span class="quote">«<span class="quote">Fledgling Career
in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter by
Adopting Business,</span>»</span> <em class="citetitle">Chicago Tribune</em>, 5
september 1997, ved Metro Lake 1L. Av bøker publisert mellom 1927 og 1946
Reese, <span class="quote">«<span class="quote">The First Sale Doctrine in the Era of Digital
Networks,</span>»</span> <em class="citetitle">Boston College Law Review</em> 44
(2003): 593 n. 51.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="property-i"></a>Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></h2></div></div></div><a class="indexterm" name="idp
8666128"></a><a class="indexterm" name="idp8666944"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="property-i"></a>Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></h2></div></div></div><a class="indexterm" name="idp
55728880"></a><a class="indexterm" name="idp55729696"></a><a class="indexterm" name="idxvalentijackbackgroundof"></a><p>
<span class="strong"><strong>Jack Valenti</strong></span> har vært president for
Motion Picture Assication of America siden 1966. Han ankom Washington
-D.C. med Lyndon Johnson-administrasjonen — bokstavelig talt. På det
+D.C. med Lyndon Johnson-administrasjonen – bokstavelig talt. På det
berømte bildet av edsavleggelsen til Johnson på Air Force One etter
snikmordet på president Kennedy befinner Valenti seg i bakgrunnen. I sine
nesten førti år som leder av MPAA har Valenti etablert seg som kanskje den
mest synlige og effektive lobbyisten i Washington.
-</p><a class="indexterm" name="idp
8668864"></a><a class="indexterm" name="idp8670560"></a><a class="indexterm" name="idp8671392"></a><a class="indexterm" name="idp8672224"></a><a class="indexterm" name="idp8673040"></a><a class="indexterm" name="idp8673856"></a><a class="indexterm" name="idp8674672"></a><p>
+</p><a class="indexterm" name="idp
55733552"></a><a class="indexterm" name="idp55735248"></a><a class="indexterm" name="idp55736032"></a><a class="indexterm" name="idp55736848"></a><a class="indexterm" name="idp55737664"></a><a class="indexterm" name="idp55738496"></a><a class="indexterm" name="idp55739312"></a><p>
MPAA er den amerikanske grenen av den internasjonale filmforeningen. Den ble
stiftet i 1922 som en handelsforening hvis mål var å forsvare amerikanske
filmer mot økende kritikk innenlands. Organisasjonen representerer ikke
-bare filmskapere nå, med også produsenter og distributører av underholdning
+bare filmskapere nå, men også produsenter og distributører av underholdning
for TV, video og kabel-TV. Styret er satt sammen av styrelederne og
presidentene i de syv største produsentene og distributørene for film og
TV-programmer i USA: Walt Disney, Sony Pictures Entertainment, MGM,
Valenti er den tredje presidenten i MPAA. Ingen president før ham har hatt
like mye innflytelse over organisasjonen, eller over Washington. Valenti,
som kommer fra Texas, har mestret den viktigste politiske enkeltferdighet
-som trengs av en fra sørstatene — evnen til å fremstå enkel og treg
+som trengs av en fra sørstatene – evnen til å fremstå enkel og treg
mens en skjuler sitt lynraske intellekt. Valenti spiller fortsatt en enkel
og ydmyk mann. Men denne mannen, som har MBA fra Harvard, skrevet fire
bøker, fullført videregående skole i en alder av femten år, og fløyet mer
rettigheter og beskyttelser som alle andre eiendomseiere i
landet</em></span>. Det er det som er saken. Det er det som er spørsmålet.
Og det er fundamentet som hele denne høringen og debatten som følger må
-legge til grunn for saken.<a href="#ftn.idp8682608" class="footnote" name="idp8682608"><sup class="footnote">[116]</sup></a>
+legge til grunn for saken.<a href="#ftn.idp55747248" class="footnote" name="idp55747248"><sup class="footnote">[117]</sup></a>
</p></blockquote></div><p>
Strategien for denne retorikken, som strategien til det meste av Valentis
forbindelse til vår faktiske juridiske tradisjon, selv om subtile påvirkning
fra hans Texas-sjarm sakte har endret definisjonen på denne tradisjonen, i
hvert fall i Washington.
-</p><p>
+</p><a class="indexterm" name="idp55754880"></a><p>
Mens <span class="quote">«<span class="quote">kreativ eiendom</span>»</span> helt klart er <span class="quote">«<span class="quote">eiendom</span>»</span> på
-en nerdete og presis måte som advokater er trent til å forstå,<a href="#ftn.idp8691216" class="footnote" name="idp8691216"><sup class="footnote">[117]</sup></a> så har det aldri vært tilfelle, og det bør det
+en nerdete og presis måte som advokater er trent til å forstå,<a href="#ftn.idp55757584" class="footnote" name="idp55757584"><sup class="footnote">[118]</sup></a> så har det aldri vært tilfelle, og det bør det
heller ikke være, at <span class="quote">«<span class="quote">eiere av kreativ eiendom</span>»</span> har fått
<span class="quote">«<span class="quote">tildelt de samme rettigheter og beskyttelser som alle andre
eiendomseiere.</span>»</span> Faktisk ville det være en radikal og radikalt
</p><p>
Forfatterne av vår Grunnlov elsket <span class="quote">«<span class="quote">eiendom.</span>»</span> Faktisk elsket
de eiendom så sterkt at de bygde inn en viktig forutsetning i Grunnloven.
-Hvis myndigheten tar din eiendom — hvis den kondemnerer huset ditt
-eller eksproprierer et stykke land fra gården din — så er det et krav,
+Hvis myndigheten tar din eiendom – hvis den kondemnerer huset ditt
+eller eksproprierer et stykke land fra gården din – så er det et krav,
ifølge det femte grunnlovstilleggets <span class="quote">«<span class="quote">beslagleggingsavsnitt,</span>»</span>
-at du må få <span class="quote">«<span class="quote">rimelig kompensasjon</span>»</span> hvis noe blir beslaglagt.
-Grunnloven garanterer dermed at eiendom på en måte er ukrenkelig. Den kan
-<span class="emphasis"><em>aldri</em></span> tas fra eiendomseieren med mindre myndighetene
-betaler for det privilegiet.
+at du må få <span class="quote">«<span class="quote">rimelig kompensasjon</span>»</span> for det som blir
+beslaglagt. Grunnloven garanterer dermed at eiendom på en måte er
+ukrenkelig. Den kan <span class="emphasis"><em>aldri</em></span> tas fra eiendomseieren med
+mindre myndighetene betaler for det privilegiet.
</p><p>
Likevel snakker den samme Grunnloven svært annerledes om det Valenti kaller
at kreativ eiendom skulle tildeles de samme rettighetene som all annen
eiendom? Hvorfor krevde de at for kreativ eiendom må det finnes et
allemannseie?
-</p><a class="indexterm" name="idp
8716000"></a><p>
+</p><a class="indexterm" name="idp
55782448"></a><p>
For å besvare dette spørsmålet trenger vi å få litt perspektiv på historien
til disse <span class="quote">«<span class="quote">kreative eiendomsrettene,</span>»</span> og kontrollen de har
muliggjort. Når vi klarere ser hvor forskjellig disse rettighetene har vært
<span class="emphasis"><em>hvorvidt</em></span> artister bør få betalt, men hvorvidt
institusjoner utformet for å sikre at artister får betalt også må
kontrollere hvordan kultur utvikler seg.
-</p><a class="indexterm" name="idxfreeculturefourmodalitiesofconstrainton"></a><a class="indexterm" name="idxregulationfourmodalitiesof"></a><a class="indexterm" name="idxcopyrightlawasexpostregulationmodality"></a><a class="indexterm" name="idxlawasconstraintmodality"></a><p>
+</p><a class="indexterm" name="id
p55787248"></a><a class="indexterm" name="idp55788064"></a><a class="indexterm" name="idxfreeculturefourmodalitiesofconstrainton"></a><a class="indexterm" name="idxregulationfourmodalitiesof"></a><a class="indexterm" name="idxcopyrightlawasexpostregulationmodality"></a><a class="indexterm" name="idxlawasconstraintmodality"></a><p>
spesifikk rettighet eller regulering, spør denne modellen hvordan fire ulike
reguleringsmodaliteter samvirker for å støtte eller svekke rettigheten eller
reguleringen. Jeg representerte det med dette diagrammet:
-</p><div class="figure"><a name="fig-1331"></a><p class="title"><b>Figur 10.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/nb/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8733232"></a><p>
+</p><div class="figure"><a name="fig-1331"></a><p class="title"><b>Figur 10.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/nb/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp55801424"></a><p>
I midten av dette bildet er en regulert prikk: individet eller gruppen som
er målet for reguleringen, eller innehaver av en rettighet. (I hvert
tilfelle gjennom hele denne teksten kan vi beskrive det enten som en
regulering eller som en rettighet. For enkelhets skyld vil jeg kun omtale
-det som en regulering.) Ovalene representerer fire måter som individet
-eller gruppen kan bli regulert på — enten begrenset eller alternativt
-muliggjort. Lovverket er den mest åpenbare begrensningen (i hvert fall for
-advokater). Den begrenser ved å true med straff i ettertid hvis reglene
-blir brutt på forhånd. Dermed, hvis du for eksempel bevisst krenker
-Madonnas opphavsrett ved å kopiere en sang fra hennes siste CD og legge den
-ut på web, så kan du bli straffet med en bot på 150 000 dollar. Boten
-er en <span class="quote">«<span class="quote">ex post</span>»</span> (etter hendelsen) straff for å bryte en
-<span class="quote">«<span class="quote">ex ante</span>»</span> (før hendelsen) regel . Den pålegges av
-staten.<a class="indexterm" name="idp8736192"></a>
-</p><a class="indexterm" name="idp
8737424"></a><p>
+det som en regulering.) Ovalene representerer fire måter for hvordan
+individet eller gruppen kan reguleres – enten begrenset eller
+alternativt muliggjort. Lovverket er den mest åpenbare begrensningen (i
+hvert fall for advokater). Den begrenser ved å true med straff i ettertid
+hvis forhåndsbestemte regler blir brutt. Dermed, hvis du for eksempel
+bevisst krenker Madonnas opphavsrett ved å kopiere en sang fra hennes siste
+CD og legge den ut på nettet, så kan du bli straffet med en bot på
+150 000 dollar. Boten er en <span class="quote">«<span class="quote">ex post</span>»</span> (etter hendelsen)
+straff for å bryte en <span class="quote">«<span class="quote">ex ante</span>»</span> (før hendelsen) regel . Den
+pålegges av staten.<a class="indexterm" name="idp55804400"></a>
+</p><a class="indexterm" name="idp
55805632"></a><p>
Normer er en annen type begrensning. De kan også straffe et individ for å
bryte en regel. Men straffen for normbrudd kommer fra fellesskapet, ikke
(eller ikke bare) fra staten. Det er kanskje ingen lov mot spytting, men
det betyr ikke at du ikke blir straffet hvis du spytter på bakken mens du
-står i en kinokø. Straffen er kanskje ikke veldig streng. Selv om det
-avhenger av fellesskapet, så kan den uten problemer være strengere enn mange
-straffer som påføres av staten. Det som er skillet er ikke hvor alvorlig
-regelen håndheves, men hva som er kilden til håndhevelsen.
+står i en kinokø. Straffen er kanskje ikke veldig streng, men avhengig av
+fellesskapet, så kan den uten problemer være strengere enn mange straffer
+som påføres av staten. Det som er skillet er ikke hvor alvorlig regelen
+håndheves, men hva som er kilden til håndhevelsen.
</p><a class="indexterm" name="idxmarketconstraints"></a><p>
Markedet er en tredje type begrensning. Dets begrensing skjer gjennom
betingelser. Du kan gjøre X hvis du betaler Y, og du vil få betalt M hvis
du gjør N. Disse begrensningene er åpenbart ikke uavhengig av lover og
-normer — det er eiendomsretten som definerer hva som må kjøpes før det
+normer – det er eiendomsretten som definerer hva som må kjøpes før det
skal kunne tas på lovlig vis, og det er normer som sier hva det er greit å
selge. Men gitt et sett med normer og en bakgrunn med eiendoms- og
kontraktslovgiving, så påfører markedet samtidig begrensninger for hvordan
et individ eller en gruppe kan oppføre seg.
-</p><a class="indexterm" name="idp
8741152"></a><p>
-Til slutt og kanskje for øyeblikket det mest mystiske,
-<span class="quote">«<span class="quote">arkitektur</span>»</span> — den fysiske verden slik den oppleves
-— er en begrensning på adferd. En nedrast bro kan begrense din
+</p><a class="indexterm" name="idp
55809312"></a><p>
+Til slutt, og kanskje for øyeblikket det mest mystiske,
+<span class="quote">«<span class="quote">arkitektur</span>»</span> – den fysiske verden slik den oppleves
+– er en begrensning på adferd. En nedrast bro kan begrense din
mulighet til å komme over en elv. Jernbanespor kan begrense et samfunns
mulighet til å holde ved like sitt sosiale liv. På samme måte som med
markedet, påfører ikke arkitektur sine begrensninger via <span class="quote">«<span class="quote">ex
er det gravitasjonsloven som håndhever den begrensningen. Hvis en 500
dollars flybillett står mellom deg og en flytur til New York, så er det
markedet som håndhever den begrensningen.
-</p><a class="indexterm" name="idp
8746800"></a><a class="indexterm" name="idp8748176"></a><a class="indexterm" name="idp8749504"></a><a class="indexterm" name="idxlawasconstraintmodality2"></a><p>
+</p><a class="indexterm" name="idp
55814960"></a><a class="indexterm" name="idp55816336"></a><a class="indexterm" name="idp55817664"></a><a class="indexterm" name="idxlawasconstraintmodality2"></a><p>
påstår ikke at listen er komplett), så er disse fire blant de
viktigste. Eventuelle lovendringer (uansett om den øker kontroll eller øker
frihet) må vurdere hvordan disse fire i særdeleshet virker sammen.
-</p><a class="indexterm" name="idp
8754768"></a><a class="indexterm" name="idp8755568"></a><a class="indexterm" name="idp8756384"></a><a class="indexterm" name="idxdrivingspeedconstraintson"></a><a class="indexterm" name="idxspeedingconstraintson"></a><p>
+</p><a class="indexterm" name="idp
55822928"></a><a class="indexterm" name="idp55823728"></a><a class="indexterm" name="idp55824544"></a><a class="indexterm" name="idxdrivingspeedconstraintson"></a><a class="indexterm" name="idxspeedingconstraintson"></a><p>
Så la oss for eksempel vurdere <span class="quote">«<span class="quote">friheten</span>»</span> til å kjøre fort i
bil. Den friheten er delvis begrenset av lovverket: fartsgrenser som sier
hvor fort du kan kjøre på bestemte steder til bestemte tidspunkt. Det er
Det siste poenget om denne enkle modellen bør også være rimelig klart: Mens
disse fire modalitetene er analytisk uavhengige, så har lovverket en
-spesiell rolle i å påvirke de tre andre.<a href="#ftn.idp8763984" class="footnote" name="idp8763984"><sup class="footnote">[118]</sup></a> Lovverket vil med andre ord noen ganger operere for å øke eller
+spesiell rolle i å påvirke de tre andre.<a href="#ftn.idp55832208" class="footnote" name="idp55832208"><sup class="footnote">[119]</sup></a> Lovverket vil med andre ord noen ganger operere for å øke eller
redusere begrensningene til en bestemt modalitet. Loven kan brukes slik til
å øke skattene på bensin for slik å øke incentivene til å kjøre saktere.
Loven kan brukes til å kreve flere fartsdumper, for slik å gjøre det
vanskeligere å kjøre raskt. Loven kan brukes til å finansiere
reklamekampanjer som stigmatiserer stygg kjøring, eller loven kan brukes til
-å kreve at andre lover blir mer strengere — et føderalt krav som sier
-at delstatene må redusere fartsgrensene — for slik å gjøre det mindre
+å kreve at andre lover blir mer strengere – et føderalt krav som sier
+at delstatene må redusere fartsgrensene – for slik å gjøre det mindre
attraktivt å kjøre fort.
-</p><a class="indexterm" name="idp
8766800"></a><a class="indexterm" name="idp8769568"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figur 10.2. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/nb/1361.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8773040"></a><p>
+</p><a class="indexterm" name="idp
55835808"></a><a class="indexterm" name="idp55838576"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figur 10.2. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="45%"><tr><td align="center"><img src="images/nb/1361.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp55842112"></a><p>
Disse begrensningene kan dermed endre seg, og de kan bli endret. For å
forstå den effektive beskyttelsen til friheten eller beskyttelse for eiendom
på et bestemt tidspunkt, må vi holde rede på disse endringene over tid. En
begrensning påført av en modalitet kan bli fjernet av en annen. En frihet
-muliggjort av en modalitet kan bli tatt bort av en annen.<a href="#ftn.idp8774880" class="footnote" name="idp8774880"><sup class="footnote">[119]</sup></a>
-</p><a class="indexterm" name="idp
8785248"></a><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="hollywood"></a>10.1. Hvorfor Hollywood har rett</h2></div></div></div><a class="indexterm" name="idxcopyrightfourregulatorymodalitieson"></a><p>
+muliggjort av en modalitet kan bli tatt bort av en annen.<a href="#ftn.idp55843952" class="footnote" name="idp55843952"><sup class="footnote">[120]</sup></a>
+</p><a class="indexterm" name="idp
55854528"></a><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="hollywood"></a>10.1. Hvorfor Hollywood har rett</h2></div></div></div><a class="indexterm" name="idxcopyrightfourregulatorymodalitieson"></a><p>
Det mest åpenbare poenget som denne modellen avslører er akkurat hvorfor,
eller hvordan, Hollywood har rett. Opphavsrettskrigerne har kjørt kampanje
mot Kongressen og domstolene for å forsvare opphavsretten. Denne modellen
hjelper oss å forstå hvorfor slik kampanje gir mening.
</p><p>
La oss si at dette er et bilde av opphavsrettens regulering før Internett:
-</p><div class="figure"><a name="fig-1371"></a><p class="title"><b>Figur 10.3. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/nb/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxarchitectureconstrainteffectedthrough"></a><a class="indexterm" name="idp8795088"></a><a class="indexterm" name="idxnormsregulatoryinfluenceof2"></a><p>
+</p><div class="figure"><a name="fig-1371"></a><p class="title"><b>Figur 10.3. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/nb/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxarchitectureconstrainteffectedthrough"></a><a class="indexterm" name="idp55864384"></a><a class="indexterm" name="idxnormsregulatoryinfluenceof2"></a><p>
Det er balanse mellom lovverk, normer, marked og arkitektur. Lovverket
dem som kopierer og deler innhold. Denne straffen er forsterket av
teknologier som gjør det vanskelig å kopiere og dele innhold (arkitektur),
og dyrt å kopiere og dele innhold (marked). Til slutt er disse straffene
-mildnet av normer som vi alle gjenkjenner — et eksempel er barn som
+mildnet av normer som vi alle gjenkjenner – et eksempel er barn som
tar opp andre barns plater. Denne bruken av opphavsrettsbeskyttet materiale
kan det godt hende er brudd på opphavsretten, men normene i vårt samfunn (i
hvert fall før Internett) hadde ikke noe problem med denne form for
opphavsrettsbrudd.
-</p><a class="indexterm" name="idxinternetcopyrightregulatorybalancelostwith"></a><a class="indexterm" name="idp
8801824"></a><a class="indexterm" name="idp8802960"></a><a class="indexterm" name="idp8803776"></a><p>
+</p><a class="indexterm" name="idxinternetcopyrightregulatorybalancelostwith"></a><a class="indexterm" name="idp
55871040"></a><a class="indexterm" name="idp55872176"></a><a class="indexterm" name="idp55872992"></a><p>
Så kommer Internett, eller mer presist, teknologier som MP3-er og
p2p-fildeling. Nå endrer begrensningene fra arkitektur seg dramatisk, og
det samme gjør begrensningene fra markedet. Og etter hvert som både
markedet og arkitekturen roer ned sin regulering av opphavsrett, hoper
normene seg opp. Den glade balansen (i hvert fall for krigerne) i livet før
Internett blir en effektiv anarkistat etter Internett.
-</p><a class="indexterm" name="idp
8805600"></a><a class="indexterm" name="idp8807040"></a><a class="indexterm" name="idp8808368"></a><p>
+</p><a class="indexterm" name="idp
55874816"></a><a class="indexterm" name="idp55876256"></a><a class="indexterm" name="idp55877584"></a><p>
Dermed, som konsekvens, fornuften i, og begrunnelsen for, krigernes
respons. Teknologien er endret, sier krigerne, og effekten av denne
beskyttelsen av opphavsrettseierenes rettigheter har gått tapt. Dette er
Irak etter Saddams fall, men denne gangen er det ingen regjering som
rettferdiggjør ranet som fulgte.
-</p><div class="figure"><a name="fig-1381"></a><p class="title"><b>Figur 10.4. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/nb/1381.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8813184"></a><a class="indexterm" name="idxregulationasestablishmentprotectionism"></a><p>
+</p><div class="figure"><a name="fig-1381"></a><p class="title"><b>Figur 10.4. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/nb/1381.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp55882400"></a><a class="indexterm" name="idxregulationasestablishmentprotectionism"></a><p>
Hverken denne analysen eller konklusjonene som følger av den er nye for
krigerne. Faktisk ble denne blandingen av regulatoriske modaliteter, i en
<span class="quote">«<span class="quote">hvitebok</span>»</span> utarbeidet av handelsdepartementet (og sterkt
markedsføringsteknikker, (3) teknologer burde anstrenge seg for å utvikle
kode som beskyttet opphavsrettsbeskyttet materiale og (4) lærere burde lære
opp unger til å beskytte opphavsretten bedre.
-</p><a class="indexterm" name="idp
8817792"></a><a class="indexterm" name="idp8819168"></a><a class="indexterm" name="idp8820496"></a><a class="indexterm" name="idp8821312"></a><p>
+</p><a class="indexterm" name="idp
55887024"></a><a class="indexterm" name="idp55888336"></a><a class="indexterm" name="idp55889664"></a><a class="indexterm" name="idp55890480"></a><p>
-Denne blandede strategien var akkurat det opphavsretten trengte — hvis
+Denne blandede strategien var akkurat det opphavsretten trengte – hvis
den skulle bevare den bestemte balansen som eksisterte før endringen som ble
-påført av Internett kom. Og det er akkurat det vi bør forvente at
+påført av Internett. Og det er akkurat det vi bør forvente at
innholdsindustrien presser på for. Det er så amerikansk som det kan bli å
anse det lykkelige livet du allerede har som en rettighet, og se til
rettsvesenet for å beskytte det hvis det kommer noe for å endre dette
be om erstatning fra myndighetene når et virus (arkitektur) utsletter
avlingen deres. Fagforeninger nøler ikke med å be myndighetene om
erstatning når import (marked) tar knekken på USAs stålindustri.
-</p><a class="indexterm" name="idp
8824992"></a><a class="indexterm" name="idp8826240"></a><a class="indexterm" name="idp8827632"></a><p>
+</p><a class="indexterm" name="idp
55894144"></a><a class="indexterm" name="idp55895392"></a><a class="indexterm" name="idp55896720"></a><p>
Det er dermed ikke noe galt eller overraskende i innholdsindustriens
kampanje for å beskytte seg selv mot de skadelige konsekvensene av en
teknologisk nyvinning. Jeg ville være den siste personen til å hevde at den
endrede teknologien på Internett ikke har hatt vidtrekkende effekt på
innholdsindustriens måte å gjøre forretninger på, eller som John Seely Brown
beskriver det, dens <span class="quote">«<span class="quote">inntektsarkitektur.</span>»</span>
-</p><a class="indexterm" name="idp
8830032"></a><a class="indexterm" name="idp8830864"></a><a class="indexterm" name="idp8831984"></a><a class="indexterm" name="idp8832800"></a><a class="indexterm" name="idp8833616"></a><a class="indexterm" name="idp8834432"></a><a class="indexterm" name="idp8835248"></a><a class="indexterm" name="idp8836064"></a><p>
+</p><a class="indexterm" name="idp
55899120"></a><a class="indexterm" name="idp55899952"></a><a class="indexterm" name="idp55901072"></a><a class="indexterm" name="idp55901888"></a><a class="indexterm" name="idp55902704"></a><a class="indexterm" name="idp55903520"></a><a class="indexterm" name="idp55904336"></a><a class="indexterm" name="idp55905152"></a><p>
Men bare på grunn av at en bestemt interesse ber om støtte fra myndighetene,
så er det ikke en selvfølge at de bør få slik støtte. Selv om teknologi har
svekket en bestemt måte å drive forretninger, så er det ingen selvfølge at
myndighetene bør gripe inn for å støtte den gamle måten å drive
forretninger. Kodak, for eksempel, har mistet kanskje så mye som 20 prosent
av sitt tradisjonelle filmmarked til den fremvoksende teknologien
-digitalkamera. <a href="#ftn.idp8837792" class="footnote" name="idp8837792"><sup class="footnote">[120]</sup></a> Tror noen at
+digitalkamera. <a href="#ftn.idp55906880" class="footnote" name="idp55906880"><sup class="footnote">[121]</sup></a> Tror noen at
myndighetene bør bannlyse digitalkamera kun for å støtte Kodak? Motorveier
har svekket frakt via jernbanen. Er det noen som mener vi bør bannlyse
vogntog fra veiene <span class="emphasis"><em>med det formål</em></span> å beskytte jernbanen?
noen som tror vi bør regulere fjernkontroller for å styrke kommersielt TV?
(Kanskje ved å begrense dem til å fungere kun en gang i sekundet, eller til
å begrense seg til ti kanalbytter i timen?)
-</p><a class="indexterm" name="idxfreemarkettechnologicalchangesin"></a><a class="indexterm" name="idp
8845024"></a><a class="indexterm" name="idp8845840"></a><a class="indexterm" name="idp8846656"></a><a class="indexterm" name="idp8847760"></a><a class="indexterm" name="idp8848576"></a><a class="indexterm" name="idp8849392"></a><p>
+</p><a class="indexterm" name="idxfreemarkettechnologicalchangesin"></a><a class="indexterm" name="idp
55914048"></a><a class="indexterm" name="idp55914864"></a><a class="indexterm" name="idp55915680"></a><a class="indexterm" name="idp55916784"></a><a class="indexterm" name="idp55917600"></a><a class="indexterm" name="idp55918416"></a><p>
Det åpenbare svaret på disse åpenbart retoriske spørsmålene er nei. I et
fritt samfunn, med et fritt marked, støttet av frie markedsaktører og fri
handel, er ikke myndighetenes rolle å understøtte én bestemt måte å gjøre
forretninger mot andre måter. Deres rolle er ikke å velge vinnere, og
beskytte dem mot tap. Hvis myndighetene gjorde dette generelt, så ville vi
aldri fått noen fremgang. Bill Gates, styrelederen i Microsoft, skrev i
-1991 i et notat som kritiserte programvarepatenter at <span class="quote">«<span class="quote">etablerte
+1991, i et notat som kritiserte programvarepatenter, at <span class="quote">«<span class="quote">etablerte
selskaper har interesse av å ekskludere fremtidige
-konkurrenter.</span>»</span><a href="#ftn.idp8851472" class="footnote" name="idp8851472"><sup class="footnote">[121]</sup></a> Og i forhold til
+konkurrenter.</span>»</span><a href="#ftn.idp55920496" class="footnote" name="idp55920496"><sup class="footnote">[122]</sup></a> Og i forhold til
et nystartet selskap har etablerte selskaper også andre virkemidler. (Tenk
RCA og FM-radio.) En verden hvor konkurrenter med nye idéer må sloss ikke
bare mot markedet, men også mot myndighetene, er en verden hvor konkurrenter
beslutningstagerne å sikre at endringene de skaper som svar til dem som blir
skadet av teknologiske endringer, er endringer som bevarer incentiver og
muligheter for nyskapning og endring.
-</p><a class="indexterm" name="idp
8855056"></a><a class="indexterm" name="idp8856144"></a><a class="indexterm" name="idp8856992"></a><p>
-I sammenheng med lover som regulerer ytringer — hvilket åpenbart
-inkluderer opphavsrettsloven — er plikten enda sterkere. Når
+</p><a class="indexterm" name="idp
55924080"></a><a class="indexterm" name="idp55925168"></a><a class="indexterm" name="idp55926016"></a><p>
+I sammenheng med lover som regulerer ytringer – hvilket åpenbart
+inkluderer opphavsrettsloven – er plikten enda sterkere. Når
industrien klager over teknologier som endrer seg, og ber Kongressen om å
svare på en måte som belaster ytring og kreativitet, bør beslutningstakere
være spesielt skeptiske til forespørselen. Det er alltid en dårlig avtale
første grunnlovstillegg: <span class="quote">«<span class="quote">Kongressen skal ikke vedta noen lov som
… begrenser ytringsfriheten.</span>»</span> Så når Kongressen blir spurt om
å vedta lover som ville <span class="quote">«<span class="quote">begrense</span>»</span> ytringsfriheten, bør den
-vurdere — svært nøye — hvorvidt slik regulering er berettiget.
-</p><a class="indexterm" name="idp
8860832"></a><a class="indexterm" name="idp8861968"></a><p>
+vurdere – svært nøye – hvorvidt slik regulering er berettiget.
+</p><a class="indexterm" name="idp
55929856"></a><a class="indexterm" name="idp55930992"></a><p>
Mitt argument akkurat nå har derimot ingenting med hvorvidt endringene som
blir fremmet av opphavsrettskrigerne er <span class="quote">«<span class="quote">berettiget.</span>»</span> Mitt
</p><p>
Ingen tviler på at det er en god ting å drepe sykdomsbærende skadedyr, eller
å øke avlingene. Og ingen tviler på at arbeidet til Müller var viktig og
-verdifult, og antagelig sparte liv, kanskje millioner av liv.
-</p><a class="indexterm" name="idp
8873968"></a><a class="indexterm" name="idp8874784"></a><a class="indexterm" name="idxenvironmentalism"></a><p>
+verdifullt, og antagelig sparte liv, kanskje millioner av liv.
+</p><a class="indexterm" name="idp
55942880"></a><a class="indexterm" name="idp55943696"></a><a class="indexterm" name="idxenvironmentalism"></a><p>
Men i 1962 publiserte Rachel Carson <em class="citetitle">Silent Spring</em>,
som hevdet at DDT, uansett dets primære fordeler, også hadde utilsiktede
miljømessige konsekvenser. Fugler mistet evnen til å reprodusere seg. Hele
ble angrepet. Eller for å være mer presis, problemene som DDT forårsaket
var verre enn problemene de løste, i hvert fall når en vurderer andre, mer
miljøvennlige måter å løse problemet som DDT var ment å løse.
-</p><a class="indexterm" name="idp
8879424"></a><a class="indexterm" name="idp8880672"></a><a class="indexterm" name="idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2"></a><p>
+</p><a class="indexterm" name="idp
55948352"></a><a class="indexterm" name="idp55949664"></a><a class="indexterm" name="idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2"></a><p>
Det er akkurat dette bildet som jussprofessor James Boyle ved Duke
University appellerer til når han argumenterer med at vi trenger en
-<span class="quote">«<span class="quote">miljøbevegelse</span>»</span> for kulturen.<a href="#ftn.idp8884816" class="footnote" name="idp8884816"><sup class="footnote">[122]</sup></a> Hans poeng, og poenget når jeg argumenterer for et <span class="quote">«<span class="quote">
+<span class="quote">«<span class="quote">miljøbevegelse</span>»</span> for kulturen.<a href="#ftn.idp55953648" class="footnote" name="idp55953648"><sup class="footnote">[123]</sup></a> Hans poeng, og poenget når jeg argumenterer for et <span class="quote">«<span class="quote">
balansert syn i dette kapittelet, </span>»</span> er for å vise til, ikke bare
fordelene, men også ulempene, og at opphavsretten ikke har feil mål. Eller
at forfattere ikke skal få betalt for sitt arbeide, eller at musikk bør gis
beskytter opphavsretten en støtte til anarki eller et angrep på forfattere.
Det vi søker er et kreativt miljø, og vi bør være oppmerksomme på hvordan
våre handlinger påvirker dette miljøet.
-</p><a class="indexterm" name="idp
8888784"></a><p>
+</p><a class="indexterm" name="idp
55957616"></a><p>
Mitt argument for å vise til, og få frem et balansert bilde av fordeler og
ulemper i dette kapittelet, er et forsøk på å kartlegge akkurat denne
effekten. Det er ingen tvil om at teknologien til Internett har hatt
endringen som Internett gjennomgår akkurat nå, vil netto effekt av disse
endringene ikke bare være at opphavsrettsvernede verk blir effektivt
beskyttet. I tillegg, og stort sett oversett, er netto effekt av denne
-massive økningen i beskyttelse også ødeleggende for kreativitetsmiljøet.
-</p><a class="indexterm" name="idp8891952"></a><p>
+massive økningen i beskyttelse også vil være ødeleggende for
+kreativitetsmiljøet.
+</p><a class="indexterm" name="idp55960864"></a><p>
For å oppsummere: For å drepe en mygg sprøyter vi DDT med konsekvenser for
fri kultur som vil være mye mer ødeleggende enn om denne myggen ble borte.
-</p><a class="indexterm" name="idp
8894096"></a><a class="indexterm" name="idp8895344"></a><a class="indexterm" name="idp8896784"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="beginnings"></a>10.2. Opphav</h2></div></div></div><a class="indexterm" name="idp8899200"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp8904128"></a><a class="indexterm" name="idp8905264"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp8909760"></a><p>
+</p><a class="indexterm" name="idp
55963008"></a><a class="indexterm" name="idp55964320"></a><a class="indexterm" name="idp55965760"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="beginnings"></a>10.2. Opphav</h2></div></div></div><a class="indexterm" name="idp55968240"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp55973168"></a><a class="indexterm" name="idp55974304"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp55978912"></a><p>
USA kopierte engelsk opphavsrettslov. Egentlig kopierte og forbedret vi
engelsk opphavsrettslov. Grunnloven vår gjør formålet med <span class="quote">«<span class="quote">kreativ
eiendom</span>»</span> helt klart; dens uttrykkelige begrensninger forsterker det
engelske mål om å unngå for mektige utgivere.
</p><a class="indexterm" name="idxcongressusinconstitutionalprogressclause"></a><p>
-Myndigheten til å etablere <span class="quote">«<span class="quote">kreative eiendoms</span>»</span>rettigheter gis
+Myndigheten til å etablere <span class="quote">«<span class="quote">kreative eiendoms</span>»</span>-rettigheter gis
til Kongressen på en måte som, i hvert fall for i forhold til vår Grunnlov,
er veldig uvanlig. Artikkel I, del 8, setningsdel 8 i grunnloven vår lyder:
-</p><p>
-
+</p><div class="blockquote"><blockquote class="blockquote"><p>
Kongressen har myndighet til å fremme utviklingen av vitenskap og nyttig
kunst ved å sikre forfattere og oppfinnere, i et begrenset tidsrom,
-eksklusive rettigheter til sine respektive skrifter og oppdagelser. Vi
-kaller dette <span class="quote">«<span class="quote">Fremskrittsbestemmelsen,</span>»</span> på grunn av det denne
-bestemmelsen ikke sier. Den sier ikke at Kongressen har myndighet til å
-dele ut <span class="quote">«<span class="quote">kreative eiendomsretter.</span>»</span> Den sier at Kongressen har
-myndighet til å <span class="emphasis"><em>fremme fremskritt</em></span>. Tildeling av
-myndighet er dets formål, og dets formål er for fellesskapet. Formålet er
-ikke å berike utgivere, og formålet er heller ikke hovedsaklig å belønne
-forfattere.
-</p><a class="indexterm" name="idp8918560"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
+eksklusive rettigheter til sine respektive skrifter og oppdagelser.
+</p></blockquote></div><p>
+Vi kaller dette <span class="quote">«<span class="quote">Fremskrittsbestemmelsen,</span>»</span> og legg merke til
+hva denne bestemmelsen ikke sier. Den sier ikke at Kongressen har myndighet
+til å dele ut <span class="quote">«<span class="quote">kreative eiendomsretter.</span>»</span> Den sier at
+Kongressen har myndighet til <span class="emphasis"><em>å fremme fremskritt</em></span>.
+Tildeling av myndighet er dets formål, og dets formål er for
+fellesskapet. Formålet er ikke å berike utgivere, og formålet er heller ikke
+hovedsaklig å belønne forfattere.
+</p><a class="indexterm" name="idp55988336"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
Fremskrittsbestemmelsen begrenser uttrykkelig varigheten for
opphavsretten. Som vi så i kapittel <a class="xref" href="#founders" title="Kapittel seks: Grunnleggerne">6</a>, begrenset engelskmennene varigheten i opphavsretten
for å sikre at noen få ikke kunne utøve uforholdsmessig stor kontroll over
at grunnlovsforfatterne tok etter England med et lignende formål. Faktisk
forsterket grunnlovsforfatterne, i motsetning til engelskmennene, dette
formålet ved å kreve at opphavsretten kun gjaldt <span class="quote">«<span class="quote">forfattere.</span>»</span>
-</p><a class="indexterm" name="idp
8926336"></a><a class="indexterm" name="idp8927152"></a><a class="indexterm" name="idp8928272"></a><p>
-Utformingen av Fremskritts-bestemmelsen reflekterer noe om Grunnlovens
+</p><a class="indexterm" name="idp
55996176"></a><a class="indexterm" name="idp55996992"></a><a class="indexterm" name="idp55998112"></a><p>
+Utformingen av Fremskrittsbestemmelsen reflekterer noe om Grunnlovens
utforming generelt. For å unngå et problem bygget grunnlovsforfatterne en
-struktur. For å hindre at for mye makt samlet seg utgiverne, bygde de en
-struktur som holdt opphavsretten vekk fra utgiverne og gjorde vernetiden
+struktur. For å hindre at for mye makt samlet seg hos utgiverne, bygde de
+en struktur som holdt opphavsretten vekk fra utgiverne og gjorde vernetiden
kort. For å hindre at for mye makt samlet seg hos en kirke, forbød de
føderale myndigheter å etablere en kirke. For å hindre at for mye makt
samlet seg hos de føderale myndigheter bygget de strukturer som forsterket
-makten til delstatene — inkludert i Senatet, hvis medlemmer på den
+makten til delstatene – inkludert i Senatet, hvis medlemmer på den
tiden ble utpekt av delstatene, og en valgforsamling, også utpekt av
delstatene, som valgte president. I hvert tilfelle, bygget de en
<span class="emphasis"><em>struktur</em></span> av kontrollmekanismer inn i den
konstitusjonelle rammen, strukturert for å hindre ellers uunngåelig
maktkonsentrering.
-</p><a class="indexterm" name="idp
8929984"></a><a class="indexterm" name="idp8932928"></a><p>
+</p><a class="indexterm" name="idp
55999824"></a><a class="indexterm" name="idp56002704"></a><p>
Jeg tviler på at deltagerne i grunnlovsforsamlingen vil kjenne igjen
reguleringen vi kaller <span class="quote">«<span class="quote">opphavsrett</span>»</span> i dag. Omfanget av den
regulering går langt ut over alt de noensinne vurderte. For å begynne å
forstå hva de gjorde trenger vi å sette vår <span class="quote">«<span class="quote">opphavsrett</span>»</span> i
sammenheng: Vi trenger å se hvordan den har endret seg i løpet av de 210
årene som har gått siden de først avgjorde dens utforming.
-</p><a class="indexterm" name="idp
8936176"></a><a class="indexterm" name="idp8937616"></a><a class="indexterm" name="idp8938992"></a><a class="indexterm" name="idp8940320"></a><p>
+</p><a class="indexterm" name="idp
56006016"></a><a class="indexterm" name="idp56007456"></a><a class="indexterm" name="idp56008768"></a><a class="indexterm" name="idp56010096"></a><p>
Noen av disse endringer kommer fra lovverket: noen i lys av endringer i
teknologi og noen i lys av endringer i teknologi gitt en bestemt
konsentrering av markedsmakt. Etter begrepene i vår modell, startet vi her:
-</p><div class="figure"><a name="fig-1441"></a><p class="title"><b>Figur 10.5. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/nb/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1441"></a><p class="title"><b>Figur 10.5. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/nb/1331.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Vi kommer til å ende opp her:
-</p><div class="figure"><a name="fig-1442"></a><p class="title"><b>Figur 10.6. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
50%"><tr><td align="center"><img src="images/nb/1442.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1442"></a><p class="title"><b>Figur 10.6. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
45%"><tr><td align="center"><img src="images/nb/1442.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
La meg forklare hvordan.
-</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawduration"></a>10.3. Loven: Varighet</h2></div></div></div><a class="indexterm" name="idxcopyrightdurationof4"></a><a class="indexterm" name="idxcongressusoncopyrightlaws5"></a><a class="indexterm" name="idxcopyrightact"></a><a class="indexterm" name="idp
8954656"></a><a class="indexterm" name="idxpublicdomainbalanceofuscontentin"></a><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawduration"></a>10.3. Loven: Varighet</h2></div></div></div><a class="indexterm" name="idxcopyrightdurationof4"></a><a class="indexterm" name="idxcongressusoncopyrightlaws5"></a><a class="indexterm" name="idxcopyrightact"></a><a class="indexterm" name="idp
56024352"></a><a class="indexterm" name="idxpublicdomainbalanceofuscontentin"></a><p>
Da den første Kongressen vedtok loven for å beskytte kreativ eiendom, møtte
den de samme usikkerhetene rundt status for kreativ eiendom som
engelskmennene hadde blitt konfrontert med i 1774. Flere delstater hadde
vedtatt lover som beskyttet kreativ eiendom, og noen mente at disse lovene
-enkelt og greit var tillegg til sedvanerettigheter som allerede beskyttet
-kreativt forfatterskap.<a href="#ftn.idp8958592" class="footnote" name="idp8958592"><sup class="footnote">[123]</sup></a> Dette betød at
-det ikke var noe garantert allemannseie i USA i 1790. Hvis opphavsretten
-var beskyttet av sedvaneretten, så var det ingen enkel måte å vite hvorvidt
-et verk publisert i USA var kontrollert eller fritt. Akkurat som i England
-ville denne vedvarende usikkerheten gjøre det vanskelig for utgivere å
-basere seg på allemannseiet når de ønsket å gi ut på nytt og distribuere
-verk.
-</p><a class="indexterm" name="idp
8962656"></a><a class="indexterm" name="idxlawfederalvsstate"></a><p>
+enkelt og greit var tillegg til rettspraksisrettigheter som allerede
+beskyttet kreativt forfatterskap.<a href="#ftn.idp56028240" class="footnote" name="idp56028240"><sup class="footnote">[124]</sup></a> Dette
+betød at det ikke var noe garantert allemannseie i USA i 1790. Hvis
+opphavsretten var beskyttet av rettspraksis, så var det ingen enkel måte å
+vite hvorvidt et verk publisert i USA var kontrollert eller fritt. Akkurat
+som i England ville denne vedvarende usikkerheten gjøre det vanskelig for
+utgivere å basere seg på allemannseiet når de ønsket å gi ut på nytt og
+distribuere verk.
+</p><a class="indexterm" name="idp
56033728"></a><a class="indexterm" name="idxlawfederalvsstate"></a><p>
Denne usikkerheten tok slutt da Kongressen vedtok lovgiving som tildelte
opphavsrettigheter. Da føderal lov overstyrer enhver motstridende
delstatslov, fortrengte den føderale beskyttelsen av opphavsrettsbeskyttede
var i live ved slutten av disse fjorten årene, så kunne han velge å fornye
opphavsrettsbeskyttelsen for nye fjorten år. Hvis han ikke fornyet
opphavsretten, så ble hans verk en del av allemannseien.
-</p><a class="indexterm" name="idp
8969504"></a><p>
+</p><a class="indexterm" name="idp
56040576"></a><p>
Selv om det ble skapt mange verk i USA i de første 10 årene til republikken,
så ble kun 5 prosent av verkene registrert under det føderale
opphavsrettsregimet. Av alle verk skapt i USA både før 1790 og fra 1790
fram til 1800, så ble 95 prosent øyeblikkelig allemannseie (public
domain). Resten ble allemannseie etter maksimalt 20 år, og som oftest etter
-14 år.<a href="#ftn.idp8971744" class="footnote" name="idp8971744"><sup class="footnote">[124]</sup></a>
-</p><a class="indexterm" name="idp
8976048"></a><a class="indexterm" name="idp8977264"></a><p>
+14 år.<a href="#ftn.idp56042816" class="footnote" name="idp56042816"><sup class="footnote">[125]</sup></a>
+</p><a class="indexterm" name="idp
56047120"></a><a class="indexterm" name="idp56048400"></a><p>
Dette fornyelsessystemet var en avgjørende del av det amerikanske systemet
for opphavsrett. Det sikret at maksimal vernetid i opphavsretten bare ble
Fjorten år virker kanskje ikke lenge for oss, men for det store flertall av
opphavsrettsinnehavere på den tiden var den lenge nok. Kun en liten
minoritet blant dem fornyet sin opphavsrett etter fjorten år. Balansen
-tillot deres verk å falle i det fri.<a href="#ftn.idp8980784" class="footnote" name="idp8980784"><sup class="footnote">[125]</sup></a>
-</p><a class="indexterm" name="idp
8984496"></a><a class="indexterm" name="idp8985648"></a><a class="indexterm" name="idp8986752"></a><p>
-Selv i dag gir denne strukturen mening. De fleste av kreative verk har et
+tillot deres verk å falle i det fri.<a href="#ftn.idp56051920" class="footnote" name="idp56051920"><sup class="footnote">[126]</sup></a>
+</p><a class="indexterm" name="idp
56055632"></a><a class="indexterm" name="idp56056848"></a><a class="indexterm" name="idp56057952"></a><p>
+Selv i dag gir denne strukturen mening. De fleste kreative verk har et
kommersielt liv som kun varer noen få år. De fleste bøker er utsolgt fra
-forlaget etter ett år.<a href="#ftn.idp8988480" class="footnote" name="idp8988480"><sup class="footnote">[126]</sup></a> Når det skjer,
+forlaget etter ett år.<a href="#ftn.idp56059680" class="footnote" name="idp56059680"><sup class="footnote">[127]</sup></a> Når det skjer,
kjøpes og selges de brukte bøkene helt uten opphavsrettslige reguleringer.
Dermed er bøkene <span class="emphasis"><em>faktisk</em></span> ikke lenger kontrollert av
opphavsretten. Den eneste praktiske kommersielle bruken av bøkene på dette
-stadiet er å selge bøkene som brukte bøker. Denne bruken — fordi den
-ikke involverer publisering — er effektivt uten begrensninger.
+stadiet er å selge bøkene som brukte bøker. Denne bruken – fordi den
+ikke involverer publisering – er effektivt uten begrensninger.
</p><a class="indexterm" name="idxcongressusoncopyrightlaws6"></a><a class="indexterm" name="idxcongressuscopyrighttermsextendedby"></a><a class="indexterm" name="idxcopyrightlawtermextensionsin"></a><p>
I de første hundre årene av republikken, ble vernetiden for opphavsretten
endret en gang. I 1831 ble vernetiden økt fra maksimalt 28 år til maksimalt
42 år ved å øke den opprinnelige vernetiden fra 14 til 28 år. I de neste
femti årene av republikken, ble vernetiden igjen økt en gang. I 1909
-utvidet Kongressen fornyingsvernetiden fra 14 til 28 år, og vedtok dermed
+utvidet Kongressen fornyingsvernetiden fra 14 til 28 år, og vedtok dermed en
maksimal vernetid på 56 år.
-</p><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea"></a><a class="indexterm" name="idxpublicdomainfuturepatentsvsfuturecopyrightsin"></a><p>
+</p><a class="indexterm" name="id
p56068240"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea"></a><a class="indexterm" name="idxpublicdomainfuturepatentsvsfuturecopyrightsin"></a><p>
Så, fra og med 1962, startet Kongressen med den praksisen som har definert
opphavsrettsloven siden. Elleve ganger de siste førti årene har Kongressen
utvidet vernetiden for eksisterende opphavsretter. To ganger i løpet av
opphavsretter med nitten år. Og i 1998 ble <span class="quote">«<span class="quote">Sonny Bonos utvidelse av
opphavsrettsvernetidsloven</span>»</span> vedtatt som utvidet vernetiden for
eksisterende og fremtidige opphavsretter med tyve år.
-</p><a class="indexterm" name="idp
9002352"></a><p>
-
-Effekten av disse utvidelsene er ganske enkelt å skattelegge, eller
-forsinke, når verk faller i det fri og blir allemannseie. Denne siste
-utvidelsen betyr at allemannseie vil ha blitt skattlagt for trettini av
-femtifem år, eller 70 prosent av tiden siden 1962. Dermed vil det i de
-første tjue årene etter Sonny Bono-loven, samtidig som en million patenter
-har blitt allemannseie, ikke være et eneste opphavsrettsbeskyttet verk som
-har falt i det fri på grunn av utløp av vernetiden i opphavsretten.
-</p><a class="indexterm" name="idp
9004928"></a><p>
+</p><a class="indexterm" name="idp
56074528"></a><p>
+
+Effekten av disse utvidelsene er ganske enkelt å fryse, eller forsinke, når
+verk faller i det fri og blir allemannseie. Denne siste utvidelsen betyr at
+allemannseie vil ha vært frosset i trettini av femtifem år, eller 70 prosent
+av tiden siden 1962. Dermed vil det i de første tjue årene etter Sonny
+Bono-loven, samtidig som en million patenter har blitt allemannseie, ikke
+være et eneste opphavsrettsbeskyttet verk som har falt i det fri på grunn av
+utløp av vernetiden i opphavsretten.
+</p><a class="indexterm" name="idp
56077104"></a><p>
Effekten av disse endringene har blitt forverret av en annen endring i
opphavsrettsloven som få har lagt merke til. Husk at jeg sa at
grunnlovsforfatterne etablerte et todelt opphavsrettsregime, som krevde at
-opphavsrettsinnehaver fornyet sin opphavsrett etter en initiell vernetid.
+opphavsrettsinnehaver fornyet sin opphavsrett etter en innledende vernetid.
Dette fornyingskravet betød at verk som ikke lenger trengte
opphavsrettsbeskyttelse raskt ville bli allemannseie. De gjenværende
beskyttede verk ville være de som hadde en viss vedvarende kommersiell
verdi.
-</p><a class="indexterm" name="idp
9007456"></a><a class="indexterm" name="idp9008320"></a><a class="indexterm" name="idp9009440"></a><p>
+</p><a class="indexterm" name="idp
56079632"></a><a class="indexterm" name="idp56080496"></a><a class="indexterm" name="idp56081616"></a><p>
USA forlot dette fornuftige systemet i 1976. For alle verk skapt etter 1978
-var det kun en vernetid — maksimal vernetid. For
+var det kun en vernetid – maksimal vernetid. For
<span class="quote">«<span class="quote">naturlige</span>»</span> forfattere var vernetiden livslang pluss femti år.
For selskaper var vernetiden syttifem år. Så, i 1992, fjernet Kongressen
kravet om fornying for alle verk skapt før 1978. Alle verk beskyttet av
etter disse endringene i opphavsrettsloven. På tross av kravet om av
vernetiden skal være <span class="quote">«<span class="quote">begrenset</span>»</span>, så har vi ingen indikasjoner
på at noe vil begrense den.
-</p><a class="indexterm" name="idp
9013856"></a><a class="indexterm" name="idp9015072"></a><p>
+</p><a class="indexterm" name="idp
56086032"></a><a class="indexterm" name="idp56087088"></a><p>
Effekten av disse endringene på den gjennomsnittlige varigheten for
opphavsretten er dramatisk. I 1973 unnlot mer enn 85 prosent av
opphavsrettsinnehaverne å fornye sin opphavsrett. Det betyr at den
gjennomsnittlige vernetiden i 1973 var kun 32.2 år. På grunn av fjerningen
av kravet om fornying, er nå den gjennomsnittlige vernetiden den maksimale
vernetiden. På tredve år har dermed den gjennomsnittlige vernetiden blitt
-tredoblet, fra 32.2 år til 95 år.<a href="#ftn.idp9017392" class="footnote" name="idp9017392"><sup class="footnote">[127]</sup></a>
-</p><a class="indexterm" name="idp
9019296"></a><a class="indexterm" name="idp9020544"></a><a class="indexterm" name="idp9021936"></a><a class="indexterm" name="idp9023280"></a><a class="indexterm" name="idp9024624"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawscope"></a>10.4. Loven: Omfang</h2></div></div></div><a class="indexterm" name="idxcopyrightscopeof"></a><p>
+tredoblet, fra 32.2 år til 95 år.<a href="#ftn.idp56089408" class="footnote" name="idp56089408"><sup class="footnote">[128]</sup></a>
+</p><a class="indexterm" name="idp
56091312"></a><a class="indexterm" name="idp56092560"></a><a class="indexterm" name="idp56093888"></a><a class="indexterm" name="idp56095168"></a><a class="indexterm" name="idp56096448"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawscope"></a>10.4. Loven: Omfang</h2></div></div></div><a class="indexterm" name="idxcopyrightscopeof"></a><p>
<span class="quote">«<span class="quote">Omfanget</span>»</span> for opphavsretten er den rekken av rettigheter
tildelt gjennom lovverket. Omfanget for USAs opphavsrett har endret seg
dramatisk. Disse endringene er ikke nødvendigvis dårlige, men vi bør forstå
omfanget av endringer hvis vi skal forholde oss til sammenhengen i denne
debatten.
-</p><a class="indexterm" name="idp
9030704"></a><a class="indexterm" name="idxderivativeworkshistoricalshiftincopyrightcoverageof"></a><p>
+</p><a class="indexterm" name="idp
56102544"></a><a class="indexterm" name="idxderivativeworkshistoricalshiftincopyrightcoverageof"></a><p>
I 1790 var omfanget veldig smalt. Opphavsretten dekket kun <span class="quote">«<span class="quote">kart,
diagrammer og bøker.</span>»</span> Det betyr at den ikke dekket for eksempel
musikk og arkitektur. Viktigere, opphavsretten tildelte forfatteren
ordet <span class="emphasis"><em>copyright</em></span>. For mesteparten av historien til USAs
opphavsrettslov var det også et krav at verket ble innlevert til
myndighetene før en opphavsrett kunne sikres.
-</p><a class="indexterm" name="idp
9047264"></a><p>
+</p><a class="indexterm" name="idp
56119104"></a><p>
Årsaken til registreringskravet var den fornuftige forståelsen av at for de
fleste verk var det ikke nødvendig med opphavsrettsbeskyttelse. Igjen, i de
første ti årene av republikken ble 95 prosent av verk som kunne mottatt
De fleste verk trengte tydeligvis ikke opphavsrettsbeskyttelse, så
registrering begrenset lovreguleringen til de få som trengte det. Den samme
begrunnelsen rettferdiggjorde kravet om at et verk måtte merkes som
-opphavsrettighetsbeskyttet — slik var det enkelt å vite hvorvidt noen
+opphavsrettsbeskyttet – slik var det enkelt å vite hvorvidt noen
påberopte seg opphavsrettsbeskyttelse. Kravet om at verket ble deponert,
var for å sikre at etter at vernetidens utløp, ville det eksistere et
eksemplar av verket en eller annen plass slik at det kunne kopieres av andre
uten å spore opp den opprinnelige forfatteren.
-</p><a class="indexterm" name="idp
9051392"></a><p>
+</p><a class="indexterm" name="idp
56123376"></a><p>
Alle disse <span class="quote">«<span class="quote">formalitetene</span>»</span> ble avskaffet i USAs system da vi
bestemte oss for å følge europeisk opphavsrettslov. Det er ikke lenger krav
om at du registrerer et verk for å få opphavsrettsbeskyttelse.
Opphavsrettsbeskyttelsen er nå automatisk. Opphavsretten eksisterer uansett
om du merker ditt verk med ©, og opphavsretten eksisterer uansett om du
faktisk gjør verket tilgjengelig for kopiering av andre.
-</p><a class="indexterm" name="idp
9052864"></a><a class="indexterm" name="idp9055024"></a><a class="indexterm" name="idp9056224"></a><p>
+</p><a class="indexterm" name="idp
56125088"></a><a class="indexterm" name="idp56127248"></a><a class="indexterm" name="idp56128496"></a><p>
La oss se på et praktisk eksempel for å forstå omfanget av disse
forskjellene.
</p><a class="indexterm" name="idxcopyrightact2"></a><p>
deg mot at andre utgivere tok boken din og publiserte den på nytt uten din
tillatelse. Målet med loven var å regulere utgivere for derved å hindre
denne typen urimelig konkurranse. I 1790 var det 174 utgivere i
-USA.<a href="#ftn.idp9059824" class="footnote" name="idp9059824"><sup class="footnote">[128]</sup></a> Opphavsrettslovgivingen var dermed
+USA.<a href="#ftn.idp56132256" class="footnote" name="idp56132256"><sup class="footnote">[129]</sup></a> Opphavsrettslovgivingen var dermed
en liten regulering av en liten andel av en liten del av det kreative
-markedet i USA — utgivere.
+markedet i USA – utgivere.
</p><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork2"></a><a class="indexterm" name="idxderivativeworkspiracyvs3"></a><a class="indexterm" name="idxpiracyderivativeworkvs3"></a><p>
av den, så var ingen av disse aktivitetene regulert av den opprinnelige
opphavsrettsloven. Disse kreative aktivitetene forble frie, mens
aktivitetene til utgiverne ble begrenset.
-</p><a class="indexterm" name="idp
9070064"></a><p>
+</p><a class="indexterm" name="idp
56142240"></a><p>
I dag er historien svært annerledes: Hvis du skriver en bok er boken din
automatisk beskyttet. Faktisk gjelder det ikke bare boken din. Enhver
e-post, hver notat til din kjære, hver krusedull, <span class="emphasis"><em>hver
eneste</em></span> kreative handling som blir redusert til en håndgripelig
-form — alt dette er automatisk opphavsrettsbeskyttet. Det er intet
+form – alt dette er automatisk opphavsrettsbeskyttet. Det er intet
behov for å registrere eller merke ditt verk. Beskyttelsen følger av det å
skape, ikke de steg du tar for å beskytte det.
</p><p>
kontrollert av opphavsrettsinnehaveren. Opphavsretten er med andre ord ikke
bare en eksklusiv rett til dine skrifter, men en eksklusiv rett til dine
skrifter, og en stor andel av skriftene inspirert av dem.
-</p><a class="indexterm" name="idp
9075952"></a><p>
+</p><a class="indexterm" name="idp
56148128"></a><p>
Det er denne retten til avledede verk som ville synes mest sært for dem som
laget Grunnloven vår, selv om det har blitt helt naturlig for oss. I
utgangspunktet ble denne utvidelsen laget for å håndtere de åpenbare
</p><p>
For å unngå at rettigheten ble en spøk, skapte loven en forbløffende makt
-innen fri kultur — det er i hvert fall forbløffende når du forstår at
+innen fri kultur – det er i hvert fall forbløffende når du forstår at
loven ikke bare gjelder for den kommersielle utgiver, men for enhver med en
datamaskin. Jeg forstår at det er galt å duplisere og selge andres verk.
Men uansett hvor galt <span class="emphasis"><em>det</em></span> er, omforming av andres verk
er en annen type galt. Noen ser ikke på omforminger som galt i det hele
-tatt — de mener at vårt lovverk, slik grunnlovsforfatterne formulerte
-det, ikke skulle beskytte avledede verk i det hele tatt.<a href="#ftn.idp9079952" class="footnote" name="idp9079952"><sup class="footnote">[129]</sup></a> Uansett om du går så langt eller ikke, så virker
+tatt – de mener at vårt lovverk, slik grunnlovsforfatterne formulerte
+det, ikke skulle beskytte avledede verk i det hele tatt.<a href="#ftn.idp56152128" class="footnote" name="idp56152128"><sup class="footnote">[130]</sup></a> Uansett om du går så langt eller ikke, så virker
det klart at det som er galt med omforming, er fundamentalt forskjellig fra
det som er galt med direkte piratvirksomhet.
</p><p>
Likevel behandler opphavsrettsloven disse to ulike forbudte handlingene på
samme måte. Jeg kan gå til domstolen å få en forføyning mot din
piratkopiering av min bok. Jeg kan gå til domstolen å få en forføyning mot
-din omformende bruk av min bok.<a href="#ftn.idp9085088" class="footnote" name="idp9085088"><sup class="footnote">[130]</sup></a> Disse
+din omformende bruk av min bok.<a href="#ftn.idp56157216" class="footnote" name="idp56157216"><sup class="footnote">[131]</sup></a> Disse
to ulike bruksmåtene for mitt kreative verk behandles likt.
-</p><a class="indexterm" name="idp
9088736"></a><a class="indexterm" name="idp9090016"></a><a class="indexterm" name="idp9090832"></a><p>
+</p><a class="indexterm" name="idp
56160832"></a><a class="indexterm" name="idp56162224"></a><a class="indexterm" name="idp56163040"></a><p>
Dette kan virke riktig for deg. Hvis jeg skrev en bok, hvorfor skal du ha
mulighet til å lage en film som tar historien min, og tjener penger fra den,
uten å betale meg eller kreditere meg? Eller hvis Disney lager en figur
deriverte rettigheter er grunnløse. Mitt mål akkurat nå er mye smalere:
ganske enkelt å gjøre det klart at denne utvidelsen er en betydelig endring
fra de opprinnelig tildelte rettighetene.
-</p><a class="indexterm" name="idp
9094160"></a><a class="indexterm" name="idp9095424"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawreach"></a>10.5. Lov og arkitektur: Rekkevidde</h2></div></div></div><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof"></a><a class="indexterm" name="idxcopyrightlawscopeof"></a><p>
+</p><a class="indexterm" name="idp
56166368"></a><a class="indexterm" name="idp56167632"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawreach"></a>10.5. Lov og arkitektur: Rekkevidde</h2></div></div></div><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof"></a><a class="indexterm" name="idxcopyrightlawscopeof"></a><p>
Mens loven opprinnelig kun regulerte forleggere, så betyr endringen i
opphavsrettens omfang at loven i dag regulerer forleggere, brukere og
forfattere. Det regulerer dem på grunn av at alle tre er i stand til å lage
kopier, og kjernen til reguleringen i opphavsrettsloven er
-kopier.<a href="#ftn.idp9102512" class="footnote" name="idp9102512"><sup class="footnote">[131]</sup></a>
-</p><a class="indexterm" name="idp
9106752"></a><a class="indexterm" name="idxcreativepropertyotherpropertyrightsvs2"></a><p>
+kopier.<a href="#ftn.idp56174832" class="footnote" name="idp56174832"><sup class="footnote">[132]</sup></a>
+</p><a class="indexterm" name="idp
56179072"></a><a class="indexterm" name="idxcreativepropertyotherpropertyrightsvs2"></a><p>
<span class="quote">«<span class="quote">Kopier.</span>»</span> Det høres helt klart ut som noe opphavsrettsloven
eksemplarfremstilling <span class="emphasis"><em>ikke</em></span> aktivisere
opphavsrettsloven. For å være presis, bør de ikke
<span class="emphasis"><em>alltid</em></span> aktivisere opphavsrettsloven.
-</p><a class="indexterm" name="idp
9114288"></a><p>
+</p><a class="indexterm" name="idp
56186608"></a><p>
Dette er kanskje den sentrale påstanden i denne boken, så la meg ta dette
veldig sakte slik at en ikke går lett glipp av poenget. Min påstand er at
Internett i hvert fall bør tvinge oss til å tenke gjennom forholdene der
-opphavsrettsloven automatisk kommer til anvendelse,<a href="#ftn.idp9116448" class="footnote" name="idp9116448"><sup class="footnote">[132]</sup></a> da det er klart at dagens rekkevidde for
+opphavsrettsloven automatisk kommer til anvendelse,<a href="#ftn.idp56188768" class="footnote" name="idp56188768"><sup class="footnote">[133]</sup></a> da det er klart at dagens rekkevidde for
opphavsretten aldri ble vurdert, og langt mindre valgt, av lovgiverne som
vedtok opphavsrettsloven.
-</p><a class="indexterm" name="idp
9118320"></a><a class="indexterm" name="idp9119360"></a><p>
+</p><a class="indexterm" name="idp
56190512"></a><a class="indexterm" name="idp56191680"></a><p>
Vi kan se dette poenget helt abstrakt ved å starte med denne i hovedsak
tomme sirkel.
</p><div class="figure"><a name="fig-1521"></a><p class="title"><b>Figur 10.7. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/nb/1521.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxbooksthreetypesofusesof"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof2"></a><a class="indexterm" name="idxinternetcopyrightapplicabilityalteredbytechnologyof"></a><a class="indexterm" name="idxtechnologycopyrightintentalteredby"></a><a class="indexterm" name="idxderivativeworkspiracyvs4"></a><a class="indexterm" name="idxpiracyderivativeworkvs4"></a><p>
</p><div class="figure"><a name="fig-1531"></a><p class="title"><b>Figur 10.8. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/nb/1531.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Derimot er det åpenbart at noen bruksmåter av et opphavsrettsbeskyttet verk
er regulert av åndsverksloven. Å publisere boken på nytt, for eksempel,
-lages et eksemplar. Det er dermed regulert av opphavsrettsloven. Faktisk
+lager et eksemplar. Det er dermed regulert av opphavsrettsloven. Faktisk
står denne bestemte bruken i kjernen av sirkelen over mulig bruk av et
opphavsrettsbeskyttet verk. Det er den paradigmatiske bruken som er korrekt
regulert av opphavsrettsreguleringen (se diagram i figur <a class="xref" href="#fig-1541" title="Figur 10.9.">10.9</a>).
-</p><a class="indexterm" name="idp
9142016"></a><a class="indexterm" name="idp9143312"></a><div class="figure"><a name="fig-1541"></a><p class="title"><b>Figur 10.9. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/nb/1541.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
+</p><a class="indexterm" name="idp
56214336"></a><a class="indexterm" name="idp56215632"></a><div class="figure"><a name="fig-1541"></a><p class="title"><b>Figur 10.9. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="40%"><tr><td align="center"><img src="images/nb/1541.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
Til slutt er det en tynn skive av ellers regulert kopieringsbruk som forblir
uregulert på grunn av at loven anser dette som <span class="quote">«<span class="quote">rimelig bruk.</span>»</span>
-</p><a class="indexterm" name="idp
9151248"></a><a class="indexterm" name="idp9152656"></a><p>
+</p><a class="indexterm" name="idp
56223424"></a><a class="indexterm" name="idp56224832"></a><p>
Dette er bruksmåter som selv involverer kopiering, men som loven håndterer
som uregulert da samfunnshensyn krever at de forblir uregulert. Du står
fritt til å sitere fra denne boken, selv i en anmeldelse som er ganske
I den fysiske verden er dermed mulig bruk av en bok delt i tre typer: (1)
uregulert bruk, (2) regulert bruk og (3) regulert bruk som likevel anses
<span class="quote">«<span class="quote">rimelig</span>»</span> uavhengig av opphavsrettseierens syn.
-</p><a class="indexterm" name="idp
9160368"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp9165328"></a><p>
-Så kom Internett — et distribuert, digitalt nettverk hvor enhver bruk
-av et opphavsrettsbeskyttet verk produserer en kopi.<a href="#ftn.idp9103872" class="footnote" name="idp9103872"><sup class="footnote">[133]</sup></a> På grunn av denne ene, vilkårlige egenskapen i
+</p><a class="indexterm" name="idp
56232592"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp56237616"></a><p>
+Så kom Internett – et distribuert, digitalt nettverk hvor enhver bruk
+av et opphavsrettsbeskyttet verk produserer en kopi.<a href="#ftn.idp56176192" class="footnote" name="idp56176192"><sup class="footnote">[134]</sup></a> På grunn av denne ene, vilkårlige egenskapen i
utformingen av digitale nettverk, endres dekningsområdet for kategori 1
dramatisk. Bruk som tidligere ble antatt å ikke være regulert er nå antatt
å være regulert. Det finnes ikke lenger et sett med antatt uregulerte
bruksområder som definerer friheter knyttet til et opphavsrettsbeskyttet
verk. I stedet er enhver bruk nå omfavnet av opphavsretten, fordi enhver
-bruk også lager en kopi — kategori 1 blir suget inn i kategori 2. Og
+bruk også lager en kopi – kategori 1 blir suget inn i kategori 2. Og
de som vil forsvare den uregulerte bruken av opphavsrettsbeskyttede verk må
nå kun se til kategori 3, rimelig bruk, for å bære byrden av denne
endringen.
-</p><a class="indexterm" name="idp
9168800"></a><a class="indexterm" name="idp9171520"></a><p>
+</p><a class="indexterm" name="idp
56241088"></a><a class="indexterm" name="idp56243840"></a><p>
Så la meg være svært spesifikk for å gjøre dette generelle poenget helt
klart. Før Internett, hvis du kjøpte en bok og leste den ti ganger, så
argument som opphavsrettseieren kunne bruke for å kontrollere bruken av sin
bok. Opphavsrettsloven ville ikke ha noe å si om du leste boken en gang, ti
ganger, eller hver natt før du gikk til sengs. Ingen av disse forekomstene
-av bruk — lesing — kunne bli regulert av opphavsrettsloven fordi
+av bruk – lesing – kunne bli regulert av opphavsrettsloven fordi
ingen av disse bruksmåtene produserte et eksemplar.
</p><a class="indexterm" name="idxebooks"></a><a class="indexterm" name="idxderivativeworkstechnologicaldevelopmentsand"></a><p>
Men samme bok som en e-bok styres effektivt sett av et annet sett med
at opphavsrettsloven kom til anvendelse, og det dermed heller ikke var behov
for å argumentere med rimelig bruk for å forsvare seg. Retten til å lese var
effektivt beskyttet tidligere på grunn av at lesing ikke var regulert.
-</p><a class="indexterm" name="idp
9197424"></a><a class="indexterm" name="idp9198768"></a><a class="indexterm" name="idp9200096"></a><a class="indexterm" name="idp9201424"></a><a class="indexterm" name="idp9202752"></a><p>
-Dette poenget om rimelig er fullstendig ignorert, selv av talsmenn for fri
-kultur. Vi har havnet i et hjørne der vi må argumentere for at våre
-rettigheter er avhenging av rimelig bruk — og har aldri adressert det
+</p><a class="indexterm" name="idp
56269632"></a><a class="indexterm" name="idp56270976"></a><a class="indexterm" name="idp56272368"></a><a class="indexterm" name="idp56273696"></a><a class="indexterm" name="idp56275088"></a><p>
+Dette poenget om rimelig bruk er fullstendig ignorert, selv av talsmenn for
+fri kultur. Vi har havnet i et hjørne der vi må argumentere for at våre
+rettigheter er avhenging av rimelig bruk – og har aldri adressert det
tidligere nevnte spørsmålet om utvidelsen av effektiv regulering. En svak
beskyttelse med utgangspunkt i rimelig bruk gir mening når det store
flertall av bruksområder <span class="emphasis"><em>ikke er regulert</em></span>. Men når alt
blir antatt å være regulert, så blir rimelig bruk-beskyttelsen ikke nok.
-</p><a class="indexterm" name="idp
9206048"></a><a class="indexterm" name="idp9207232"></a><a class="indexterm" name="idp9208496"></a><a class="indexterm" name="idp9209808"></a><a class="indexterm" name="idp9211120"></a><a class="indexterm" name="idp9212448"></a><a class="indexterm" name="idp9213728"></a><a class="indexterm" name="idxvideopipeline"></a><a class="indexterm" name="idxadvertising"></a><a class="indexterm" name="idxfilmindustrytraileradvertisementsof"></a><p>
+</p><a class="indexterm" name="idp
56278400"></a><a class="indexterm" name="idp56279648"></a><a class="indexterm" name="idp56280912"></a><a class="indexterm" name="idp56282224"></a><a class="indexterm" name="idp56283472"></a><a class="indexterm" name="idp56284864"></a><a class="indexterm" name="idp56286208"></a><a class="indexterm" name="idxvideopipeline"></a><a class="indexterm" name="idxadvertising"></a><a class="indexterm" name="idxfilmindustrytraileradvertisementsof"></a><p>
Tilfellet Video Pipeline er et godt eksempel. Video Pipeline sin forretning
var å gjøre <span class="quote">«<span class="quote">filmtrailere</span>»</span> tilgjengelige i videobutikker.
-Videobutikkene viste frem trailerne som en måte å selge filmer. Video
-Pipeline fikk trailerne fra filmdistributørene, puttet trailerne på kassett,
-og solgte kassettene til detaljutsalgene.
-</p><a class="indexterm" name="idp
9221488"></a><p>
-Selskapet gjorde dette i omtrent femten år. Så, 1997, begynte det å tenke
-på Internett som en annen måte å distribuere disse forhåndsvisningene på.
+Videobutikkene viste frem trailerne for å få solgt filmer. Video Pipeline
+fikk trailerne fra filmdistributørene, puttet trailerne på kassett, og
+solgte kassettene til utsalgsstedene.
+</p><a class="indexterm" name="idp
56293824"></a><p>
+Selskapet gjorde dette i omtrent femten år. Så, i 1997, begynte det å tenke
+på Internett som en annen måte for å distribuere disse forhåndsvisningene.
Idéen var å utvide deres <span class="quote">«<span class="quote">selge ved å vise prøver</span>»</span>-teknikk ved
å gi online-butikker den samme muligheten til å muliggjøre
<span class="quote">«<span class="quote">surfing.</span>»</span> Akkurat slik som du i en bokhandel kan lese noen få
sider av en bok før du kjøper boken, så ville du på samme måte også kunne ta
en titt på en bit av filmen på nettet før du kjøpte den.
-</p><a class="indexterm" name="idxdisneyinc2"></a><a class="indexterm" name="idp
9226032"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof3"></a><a class="indexterm" name="idxfairuselegalintimidationtacticsagainst2"></a><p>
+</p><a class="indexterm" name="idxdisneyinc2"></a><a class="indexterm" name="idp
56298368"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof3"></a><a class="indexterm" name="idxfairuselegalintimidationtacticsagainst2"></a><p>
I 1998 informerte Video Pipeline Disney og andre filmdistributører at de
planla å distribuere trailere via Internett (i stedet for å sende kassetter)
til distributører av deres filmer. To år senere ba Disney Video Pipeline om
å stoppe. Eieren av Video Pipeline ba Disney om at de snakket om saken
-— han hadde bygd opp sin forretning for distribusjon av dette
+– han hadde bygd opp sin forretning for distribusjon av dette
innholdet som en måte å hjelpe Disney å selge filmer, og hadde kunder som
var avhengig av at han leverte dette innholdet. Disney ville kun gå med på
å snakke med ham hvis Video Pipeline stoppet distribusjonen øyeblikkelig.
distribuere klippene slik de hadde gjort. Så de leverte inn et søksmål for
å be domstolene om å erklære at disse rettighetene faktisk var deres
rettigheter.
-</p><a class="indexterm" name="idp
9231472"></a><a class="indexterm" name="idp9234224"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp9239536"></a><p>
-Disney sendte inn motsøksmål — om 100 millioner dollar i
+</p><a class="indexterm" name="idp
56303936"></a><a class="indexterm" name="idp56306688"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp56311952"></a><p>
+Disney sendte inn motsøksmål – om 100 millioner dollar i
skadeerstatning. Disse skadene ble estimert ut fra et krav om at Video
Pipeline hadde <span class="quote">«<span class="quote">bevisst krenket</span>»</span> Disneys opphavsrett. Når en
domstol konkluderer med bevisst krenkelse, så kan de tildele skader, ikke
retten var at butikkene hadde lov til å selge filmene, og de hadde lov til å
liste opp titlene til filmene de solgte, men de hadde ikke lov til å vise
klipp fra filmene for å kunne selge dem, uten tillatelse fra Disney.
-</p><a class="indexterm" name="idp
9243104"></a><p>
+</p><a class="indexterm" name="idp
56315520"></a><p>
Du tenker kanskje nå at dette er en avgjort sak, og jeg tror domstolene også
anser dette som en avgjort sak. Poenget mitt her er å kartlegge endringen
som gir Disney denne makten. Før Internett kunne ikke Disney egentlig
opphavsrettseierens kontroll. Teknologien utvider omfanget av effektiv
kontroll, på grunn av at teknologien bygger en kopi inn i hver eneste
transaksjon.
-</p><a class="indexterm" name="idp
9246032"></a><a class="indexterm" name="idp9247296"></a><a class="indexterm" name="idp9248608"></a><a class="indexterm" name="idp9250000"></a><a class="indexterm" name="idp9251328"></a><a class="indexterm" name="idp9252704"></a><a class="indexterm" name="idp9254048"></a><a class="indexterm" name="idp9254864"></a><a class="indexterm" name="idp9255680"></a><p>
+</p><a class="indexterm" name="idp
56318448"></a><a class="indexterm" name="idp56319712"></a><a class="indexterm" name="idp56321024"></a><a class="indexterm" name="idp56322352"></a><a class="indexterm" name="idp56323744"></a><a class="indexterm" name="idp56325056"></a><a class="indexterm" name="idp56326400"></a><a class="indexterm" name="idp56327216"></a><a class="indexterm" name="idp56328032"></a><p>
Det er ingen tvil, et potensiale er ennå ikke et misbruk, og dermed er
endring forårsaket av Internett forsterker dens betydning. Denne andre
endringen endrer ikke rekkevidden til opphavsrettreguleringen. Den påvirker
hvordan slik regulering blir håndhevet.
-</p><a class="indexterm" name="idp
9261488"></a><a class="indexterm" name="idp9262656"></a><p>
+</p><a class="indexterm" name="idp
56333952"></a><a class="indexterm" name="idp56335120"></a><p>
I verden før digital teknologi var det generelt rettsvesenet som
kontrollerte hvorvidt og hvordan noe ble regulert av
åndsverkloven. Rettsvesenet, i betydningen en domstol, i betydningen en
dommer. Til sist var det et menneske, trenet i tradisjonen til
rettsvesenet, og følsom for balansene som denne tradisjonen omfavnet, som sa
hvorvidt og hvordan loven skulle begrense din frihet.
-</p><a class="indexterm" name="idp
9264848"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
+</p><a class="indexterm" name="idp
56337312"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx
Brothers) og Warner Brothers. Marx-brødrene planla å lage en parodi av
<em class="citetitle">Casablanca</em>. Warner Brothers protesterte. De skrev et
ufint brev til Marx-brødrene og advarte dem om at det ville få seriøse
-juridiske konsekvenser hvis de gikk videre med sin plan.<a href="#ftn.idp9270048" class="footnote" name="idp9270048"><sup class="footnote">[134]</sup></a>
+juridiske konsekvenser hvis de gikk videre med sin plan.<a href="#ftn.idp56342624" class="footnote" name="idp56342624"><sup class="footnote">[135]</sup></a>
</p><p>
Dette fikk Marx-brødrene til å svare tilbake med samme mynt. De advarte
Warner Brothers om at Marx-brødrene <span class="quote">«<span class="quote">var brødre lenge før dere var
-det.</span>»</span><a href="#ftn.idp9273104" class="footnote" name="idp9273104"><sup class="footnote">[135]</sup></a> Marx-brødrene eide derfor
+det.</span>»</span><a href="#ftn.idp56345680" class="footnote" name="idp56345680"><sup class="footnote">[136]</sup></a> Marx-brødrene eide derfor
ordet <em class="citetitle">Brothers</em>, og hvis Warner Brothers insisterte på
å forsøke å kontrollere <em class="citetitle">Casablanca</em>, så ville
Marx-brødrene insistere på kontroll over <em class="citetitle">Brothers</em>.
samme måte som Marx-brødrene, visste at ingen domstol noensinne ville
håndheve et slikt dumt krav. Denne ekstremismen var irrelevant for de ekte
friheter som alle (inkludert Warner Brothers) nøt godt av.
-</p><a class="indexterm" name="idxbooksoninternet2"></a><p>
+</p><a class="indexterm" name="idxbooksoninternet2"></a><a class="indexterm" name="idxinternetbookson3"></a><p>
På Internett er det derimot ingen sjekk mot tullete regler, fordi på
Internett, i stadig større grad, blir ikke reglene håndhevet av folk, men av
en maskin. I stadig større grad blir reglene i opphavsrettsloven, slik de
bestemmer. Og problemet med kildekodebaserte reguleringer er at kildekode,
i motsetning til domstolene, ikke eier skam. Kildekode forstår ikke humoren
til Marx-brødrene. Konsekvensen av det er overhodet ikke morsomt.
-</p><a class="indexterm" name="idp
9280640"></a><a class="indexterm" name="idp9281952"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
+</p><a class="indexterm" name="idp
56355072"></a><a class="indexterm" name="idp56356320"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
La oss se på livet til min Adobe eBook Reader.
</p><p>
En e-bok er en bok levert i elektronisk form. En Adobe eBook er ikke en bok
</p><p>
Som du kan se, har jeg en liten samling med e-bøker i dette
-e-bok-biblioteket. Noen av disse bøkene er allemannseie. For eksempel er
-<em class="citetitle">Middlemarch</em> falt i det fri. Noen av dem reproduserer
-innhold som ikke er allemannseie. Min egen bok <em class="citetitle">The Future of
-Ideas</em> er ennå ikke falt i det fri. La oss se på
-<em class="citetitle">Middlemarch</em> først. Hvis du klikker på min e-bok-kopi
-av <em class="citetitle">Middlemarch</em>, så får du se et avansert omslag og en
-knapp nederst ved navn Tillatelser.
+e-bok-biblioteket. Innholdet i noen av disse bøkene er allemannseie. For
+eksempel er <em class="citetitle">Middlemarch</em> har falt i det fri.
+Innholdet i noen av de andre bøkene er ikke allemannseie. Min egen bok
+<em class="citetitle">The Future of Ideas</em> er ennå ikke falt i det fri. La
+oss se på <em class="citetitle">Middlemarch</em> først. Hvis du klikker på min
+e-bok-kopi av <em class="citetitle">Middlemarch</em>, så får du se et avansert
+omslag og en knapp nederst ved navn Tillatelser.
</p><p>
Hvis du klikker på Tillatelser-knappen, så får du se en liste med
tillatelser som utgiveren ønsker å tildele med denne boken.
til å skrive ut ti sider fra boken hver tiende dag. Til sist har jeg
tillatelse til å bruke Les Høyt-knappen for å høre
<em class="citetitle">Middlemarch</em> lest høyt ved hjelp av datamaskinen.
-</p><a class="indexterm" name="idp
9298080"></a><a class="indexterm" name="idp9298896"></a><p>
+</p><a class="indexterm" name="idp
56372704"></a><a class="indexterm" name="idp56373520"></a><p>
Her er e-boken for et annet allemannseid verk (inkludert oversettelsen):
Aristoteles <em class="citetitle">Politikk</em>.
</p><div class="figure"><a name="fig-1621"></a><p class="title"><b>Figur 10.14. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/aristotele-ebook.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
I henhold til dens tillatelser, er det absolutt ikke tillatt med utskrift
eller kopiering. Heldigvis kan en bruke Les Høyt-knappen for å høre boken.
-</p><div class="figure"><a name="fig-1622"></a><p class="title"><b>Figur 10.15. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/1622.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp
9306112"></a><a class="indexterm" name="idp9306944"></a><p>
+</p><div class="figure"><a name="fig-1622"></a><p class="title"><b>Figur 10.15. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="50%"><tr><td align="center"><img src="images/1622.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp
56380784"></a><a class="indexterm" name="idp56381616"></a><p>
Til slutt (og mest pinlig), her er tillatelsene for den originale
e-bok-versjonen av min siste bok, <em class="citetitle">The Future of
Ideas</em>:
boken!
</p><p>
I Adobe eBook Reader kalles disse kontrollene <span class="quote">«<span class="quote">tillatelser</span>»</span>
-— som om utgiver har myndighet til å kontrollere hvordan du bruker
+– som om utgiver har myndighet til å kontrollere hvordan du bruker
disse verkene. For verk vernet av opphavsretten har opphavsrettsinnehaveren
-helt klart denne myndigheten — innenfor begrensningene i
+helt klart denne myndigheten – innenfor begrensningene i
opphavsrettsloven. Men for verk som ikke er vernet av opphavsretten er det
-ingen slik opphavsrettslig myndighet.<a href="#ftn.idp9312624" class="footnote" name="idp9312624"><sup class="footnote">[136]</sup></a>
+ingen slik opphavsrettslig myndighet.<a href="#ftn.idp56387248" class="footnote" name="idp56387248"><sup class="footnote">[137]</sup></a>
Når min e-bok <em class="citetitle">Middlemarch</em> sier at jeg kun har
tillatelse til å kopiere ti tekstutvalg inn i minnet hver tiende dag, så
betyr dette egentlig at eBook Reader har gjort det mulig for utgiveren å
kontrollere hvordan jeg bruker boken på min datamaskin, langt ut over
kontrollen som lovgivingen ville gjort mulig.
</p><p>
-Kontrollen kommer i stedet fra kildekoden — fra teknologien der
+Kontrollen kommer i stedet fra kildekoden – fra teknologien der
e-boken <span class="quote">«<span class="quote">lever.</span>»</span> Selv om e-boken sier at disse er tillatelser,
så er de ikke den type <span class="quote">«<span class="quote">tillatelser</span>»</span> som de fleste av oss
forholder oss til. Når en tenåring får <span class="quote">«<span class="quote">tillatelse</span>»</span> til å være
ikke datamaskinen lage flere. Det samme gjelder utskriftsbegrensningene:
Etter ti sider vil ikke eBook Reader skrive ut flere sider. Det er det
samme med den tullete begrensningen som sier at du ikke kan bruke Les
-Høyt-knappen til å lese boken min høyt — det er ikke at selskapet vil
+Høyt-knappen til å lese boken min høyt – det er ikke at selskapet vil
saksøke deg hvis du gjør det. I stedet er det at hvis du trykker på Les
Høyt-knappen med min bok, så vil maskinen ganske enkelt ikke lese høyt.
-</p><a class="indexterm" name="idp
9317584"></a><a class="indexterm" name="idp9320160"></a><p>
+</p><a class="indexterm" name="idp
56392208"></a><a class="indexterm" name="idp56394784"></a><p>
Dette er kontroller, ikke tillatelser. Forestill deg en verden der
Dette er fremtiden for opphavsrettsloven. Ikke så mye
opphavsretts<span class="emphasis"><em>lov</em></span> som
opphavsretts<span class="emphasis"><em>kildekode</em></span>. Kontrollene for tilgang til
-innhold vil ikke være kontrollene som er bekreftet at
+innhold vil ikke være kontrollene som er bekreftet av
domstolene. Kontrollene over innholdet vil være kontrollene som er skrevet
av programmerere. Og der kontrollene som er bygget inn i lovverket alltid
blir sjekket av en dommer, vil kontrollene som er bygget inn i teknologien
lese boken høyt for sine barn. Det var, for å si det mildt, absurd.
</p><p>
Adobe svarte raskt at det var absurd å tro at de forsøkte å begrense retten
-til å lese boken høyt. Selvsagt begrenset de kun muligheten til a bruke Les
+til å lese boken høyt. Selvsagt begrenset de kun muligheten til å bruke Les
Høyt-knappen for å få boken til å bli lest opp. Men spørsmålet som Adobe
aldri besvarte er dette: Ville Adobe dermed godta at en forbruker sto fritt
til å bruke programvare til å jobbe seg rundt begrensingen som var bygget
bruke en datamaskin til å lese boken høyt, ville Adobe akseptere at slik
bruk av en eBook Reader var rimelig? Adobe svarte ikke fordi svaret,
uansett hvor absurd det høres ut, er nei.
-</p><a class="indexterm" name="idp
9338896"></a><a class="indexterm" name="idp9340224"></a><p>
+</p><a class="indexterm" name="idp
56413648"></a><a class="indexterm" name="idp56415040"></a><p>
Poenget er ikke å skylde på Adobe. Faktisk er Adobe blant de mest
nyskapende selskapene som utvikler strategier for å balansere åpen tilgang
til innhold med incentiver for selskaper til å være nyskapende. Men Adobes
teknologi muliggjør kontroll, og Adobe har et incentiv til å forsvare denne
kontrollen. Dette incentivet er forståelig, selv om resultatet ofte er
galskap.
-</p><a class="indexterm" name="idp
9342544"></a><a class="indexterm" name="idp9343808"></a><p>
+</p><a class="indexterm" name="idp
56417360"></a><a class="indexterm" name="idp56418624"></a><a class="indexterm" name="idp56419872"></a><p>
For å se dette poenget i en spesielt absurd sammenheng, la oss se på en av
mine favoritthistorier som får fram det samme poenget.
</p><a class="indexterm" name="idxaibo1"></a><a class="indexterm" name="idxroboticdog1"></a><a class="indexterm" name="idxsonyaibo1"></a><p>
ga brukere av Aibo-kjæledyret informasjon om hvordan de skulle hacke sin
data-<span class="quote">«<span class="quote">hund</span>»</span> for å få den til å gjøre nye triks (derav
aibohack.com).
-</p><a class="indexterm" name="idp
9355344"></a><p>
+</p><a class="indexterm" name="idp
56431456"></a><p>
Hvis du ikke er en programmerer, eller ikke kjenner mange programmerere, så
gir ordet <em class="citetitle">hack</em> spesielt uvennlige assosiasjoner.
Ikke-programmerere hakker busker og ugress. Ikke-programmerere i
til å danse jazz. Hunden var i utgangspunktet ikke programmert til å kunne
danse jazz. Det var utrolig smart fikling som gjorde hunden til en mer
talentfull skapning enn det Sony hadde bygd.
-</p><a class="indexterm" name="idp
9361792"></a><a class="indexterm" name="idp9363040"></a><a class="indexterm" name="idp9364352"></a><p>
+</p><a class="indexterm" name="idp
56437904"></a><a class="indexterm" name="idp56439152"></a><a class="indexterm" name="idp56440400"></a><p>
Jeg har fortalt denne historien i mange sammenhenger, både i og utenfor
USA. En gang ble jeg spurt av et forbløffet medlem av publikum om det er
lovlig aktivitet. En kan se for seg at eieren av aibopet.com tenkte at
<span class="emphasis"><em>Hva i alle dager kan være galt med å lære en robothund å
danse?</em></span>
-</p><a class="indexterm" name="idp
9367664"></a><p>
-La oss la den hunden sove et øyeblikk, og snu oss mot et ponnishow —
+</p><a class="indexterm" name="idp
56443712"></a><p>
+La oss la den hunden sove et øyeblikk, og snu oss mot et ponnishow –
ikke bokstavelig, men heller en artikkel som akademikeren Ed Felten ved
Princeton skrev til en konferanse. Denne Princeton-akademikeren er velkjent
og respektert. Han ble hyret inn av myndighetene i Microsoft-saken for å
sinnsro. Under tunge slag fra Microsofts advokat holdt Ed Felten stand.
Han lot seg ikke bølle til stillhet om noe som han kunne svært godt.
</p><p>
-Men Feltens mot ble virkelig testet i april 2001.<a href="#ftn.idp9370768" class="footnote" name="idp9370768"><sup class="footnote">[137]</sup></a> Han og en gruppe kolleger arbeidet med en artikkel
+Men Feltens mot ble virkelig testet i april 2001.<a href="#ftn.idp56446816" class="footnote" name="idp56446816"><sup class="footnote">[138]</sup></a> Han og en gruppe kolleger arbeidet med en artikkel
som skulle sendes inn til en konferanse. Artikkelen skulle beskrive
svakhetene i et krypteringssystem som ble utviklet av Secure Digital Music
Initiative (SDMI) som en teknikk for å kontrollere distribusjon av musikk.
prinsipp om ytringsfrihet. Vi har dette prinsippet ikke bare på grunn av at
det er slik loven er, men også fordi det er en virkelig god idé. En sterkt
beskyttet tradisjon for ytringsfrihet vil sannsynligvis oppmuntre til et
-bredt sprekter av kritikk. Denne kritikken vil sannsynligvis i sin tur
+bredt spekter av kritikk. Denne kritikken vil sannsynligvis i sin tur
forbedre systemet eller folkene eller idéene som blir kritisert.
</p><p>
Det Felten og hans kolleger gjorde var å publisere en artikkel som beskrev
AIBO-programvarens kopibeskyttelsesprotokoll, og utgjør et brudd på
anti-omgåelsesbestemmelsene i Opphavsrettslov for et Digitalt Århundre
(DMCA).
-</p></blockquote></div><a class="indexterm" name="idp
9392640"></a><a class="indexterm" name="idp9393952"></a><a class="indexterm" name="idp9395264"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
56468688"></a><a class="indexterm" name="idp56470000"></a><a class="indexterm" name="idp56471248"></a><p>
Og selv om en akademisk artikkel som beskriver svakheten i et
krypteringssystem også bør være helt lovlig, mottok Felten et brev fra
advokaten til RIAA som lød:
</p><div class="blockquote"><blockquote class="blockquote"><p>
-Enhver offentliggjøring av informasjon mottatt ved å delta i Offentlig
-Utfordring (Public Challenge) vil være utenfor rammen av aktiviteter
+Enhver offentliggjøring av informasjon mottatt ved å delta i den Offentlige
+Utfordringen (Public Challenge) vil være utenfor rammen av aktiviteter
tillatt av Avtalen, og kan utsette deg og din forskergruppe for reaksjoner i
henhold til Opphavsrettslov for et Digitalt Århundre (<span class="quote">«<span class="quote">DMCA</span>»</span>).
</p></blockquote></div><p>
DMCA-en ble vedtatt som et svar på opphavsrettseiernes første frykt om
kyberrommet. Frykten var at opphavsrettskontrollen effektivt sett var død,
og svaret var å finne teknologier som kunne motvirke dette. Disse nye
-teknologiene ville være opphavsrettsbeskyttelesesteknologier —
+teknologiene ville være opphavsrettsbeskyttelesesteknologier –
teknologier for å kontrollere kopiering og distribusjon av
opphavsrettsbeskyttet materiale. De ble utformet som
<span class="emphasis"><em>kode</em></span> for å endre den opprinnelige
opphavsrettsbeskyttelsesmekanismer. Den ble utformet til å forby disse
enhetene, uansett om bruken av opphavsrettsbeskyttet materiale som ble gjort
mulig ved denne omgåelsen ville vært brudd på opphavsretten eller ikke.
-</p><a class="indexterm" name="idp
9405776"></a><a class="indexterm" name="idp9406592"></a><a class="indexterm" name="idp9407408"></a><p>
+</p><a class="indexterm" name="idp
56481776"></a><a class="indexterm" name="idp56482592"></a><a class="indexterm" name="idp56483408"></a><p>
Aibopet.com og Felten demonstrerer dette poenget. Aibo-hacket omgikk et
opphavsrettsbeskyttelsessystem med det formål å gjøre det mulig for hunden å
advokat, en teknologi for å omgå opphavsretten. Dermed, selv om han ikke
selv brøt noens opphavsrett, gjorde hans akademiske artikkel det mulig for
andre å bryte andres opphavsrett.
-</p><a class="indexterm" name="idp
9411264"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
+</p><a class="indexterm" name="idp
56487264"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
Særheten i disse argumentene ble tatt på kornet i en vitsetegning fra 1981
av Paul Conrad. På den tiden avgjorde en domstol i California at en
videoopptaker kunne forbys på grunn av at det var opphavsrettsbrytende
teknologi. Det ga forbrukere mulighet til å kopiere filmer uten tillatelse
fra opphavsrettseieren. Det var ingen tvil om at det fantes lovlige
bruksområder for denne teknologien: For eksempel hadde Fred Rogers, kjent
-som <span class="quote">«<span class="quote"><em class="citetitle">Mr. Rogers</em>,</span>»</span> vitnet i saken at han
+som <span class="quote">«<span class="quote"><em class="citetitle">Herr Rogers</em>,</span>»</span> vitnet i saken at han
ønsket folk skulle stå fritt til å ta opp Mr. Rogers
-Neighborhood. <a class="indexterm" name="idp9415616"></a>
+Neighborhood. <a class="indexterm" name="idp56491616"></a>
</p><div class="blockquote"><blockquote class="blockquote"><p>
Noen allmennkringkastere, i tillegg til kommersielle stasjoner, legger
<span class="quote">«<span class="quote">Neighborhood</span>»</span> inn i sendeplanen på tidspunkt der noen barn
i stand til å ta opp slike programmer, og vise dem på mer hensiktsmessige
tidspunkt. Jeg har alltid følt det slik med fremveksten av all denne nye
teknologien som gjør det mulig for folk å ta opp
-<span class="quote">«<span class="quote">Neighborhood,</span>»</span> og jeg snakker om <span class="quote">«<span class="quote">Neighborhood</span>»</span>
-for det er dette jeg produserer, at de dermed blir mer aktivt involvert i å
-styre TV-livet til sin familie. For å være ærlig så er jeg imot at folk blir
-styrt av andre. Hele min tilnærming til kringkasting har alltid vært at
-<span class="quote">«<span class="quote">Du er en viktig person akkurat slik du er. Du kan ta sunne
-avgjørelser.</span>»</span> Kanskje holder jeg på for lenge, men jeg føler bare at
-alt som tillater en person å være mer aktiv i å kontrollere hans eller
-hennes liv, på en sunn måte, er viktig.<a href="#ftn.idp9420400" class="footnote" name="idp9420400"><sup class="footnote">[138]</sup></a>
+<span class="quote">«<span class="quote">Neighborhood,</span>»</span> og jeg snakker på vegne av
+<span class="quote">«<span class="quote">Neighborhood</span>»</span> for det er dette jeg produserer, at de dermed
+blir mer aktivt involvert i å styre TV-livet til sin familie. For å være
+ærlig så er jeg imot at folk blir styrt av andre. Hele min tilnærming til
+kringkasting har alltid vært at <span class="quote">«<span class="quote">Du er en viktig person akkurat slik
+du er. Du kan ta sunne avgjørelser.</span>»</span> Kanskje holder jeg på for
+lenge, men jeg føler bare at alt som tillater en person å være mer aktiv i å
+kontrollere hans eller hennes liv, på en sunn måte, er viktig.<a href="#ftn.idp56496448" class="footnote" name="idp56496448"><sup class="footnote">[139]</sup></a>
</p></blockquote></div><p>
bruksområder som var ulovlige, så holdt domstolen selskapene som produserte
videoopptakere ansvarlige.
</p><p>
-Dette fikk Conrad til å tegne vitsetegningen i figur <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. — For hvilken enhet har rettsvesenet bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?">10.18</a>, som vi
-også kan ta i bruk for DMCA. <a class="indexterm" name="idp9427632"></a>
+Dette fikk Conrad til å tegne vitsetegningen i figur <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. – For hvilken enhet har rettsvesenet bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?">10.18</a>, som vi
+også kan ta i bruk for DMCA. <a class="indexterm" name="idp56503728"></a>
</p><p>
Intet argument jeg har kan overgå dette bildet, men la meg forsøke å komme i
nærheten.
-</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-1711-vcr-handgun-cartoonfig"></a><p class="title"><b>Figur 10.18. — For hvilken enhet har rettsvesenet bedømt at produsenter og
-forhandlere skal holdes ansvarlig for å ha forsynt utstyret?</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
65%"><tr><td align="center"><img src="images/vcr-comic.png" align="middle" width="100%" alt="— For hvilken enhet har rettsvesenet bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?"></td></tr></table></div></div></div><br class="figure-break"></div><p>
+</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-1711-vcr-handgun-cartoonfig"></a><p class="title"><b>Figur 10.18. – For hvilken enhet har rettsvesenet bedømt at produsenter og
+forhandlere skal holdes ansvarlig for å ha forsynt utstyret?</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="
55%"><tr><td align="center"><img src="images/vcr-comic.png" align="middle" width="100%" alt="– For hvilken enhet har rettsvesenet bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?"></td></tr></table></div></div></div><br class="figure-break"></div><p>
Målet for antiomgåelsesbestemmelsene i DMCA-en er
opphavsrettsomgåelsesteknologier. Omgåelsesteknologier kan brukes for andre
formål. De kan for eksempel brukes til å muliggjøre massiv piratvirksomhet
-mot opphavsrettsbeskyttet materiale — et dårlig formål. Eller de kan
+mot opphavsrettsbeskyttet materiale – et dårlig formål. Eller de kan
brukes til å gjøre bruk av utvalgte opphavsrettsbeskyttede materiale mulig
-på måter som ville anses som rimelig bruk — et godt formål.
+på måter som ville anses som rimelig bruk – et godt formål.
</p><a class="indexterm" name="idxhandguns"></a><p>
Et håndvåpen kan brukes til å skyte en politimann eller ett barn. De fleste
skyte på blink, eller til å beskytte seg mot en inntrenger. I hvert fall
noen vil si at slik bruk er bra. Dette er også en teknologi som har bra og
dårlige bruksområder.
-</p><a class="indexterm" name="idp
9435936"></a><p>
+</p><a class="indexterm" name="idp
56512032"></a><p>
Det åpenbare poenget med vitsetegningen til Conrad er det merkelige med en
verden hvor håndvåpen er lovlige, på tross av skaden de gjør, mens
videospillere (og omgåelsesteknologier) er ulovlige. Merk: <span class="emphasis"><em>Ingen
loven omgåelsesteknologier fullstendig, på tross av potensialet de har for å
bidra positivt, men tillater håndvåpen, på tross den åpenbare og tragiske
skaden de gjør.
-</p><a class="indexterm" name="idp
9438448"></a><a class="indexterm" name="idp9439760"></a><a class="indexterm" name="idp9441072"></a><a class="indexterm" name="idp9441888"></a><a class="indexterm" name="idp9442704"></a><p>
+</p><a class="indexterm" name="idp
56514544"></a><a class="indexterm" name="idp56515792"></a><a class="indexterm" name="idp56517040"></a><a class="indexterm" name="idp56517856"></a><a class="indexterm" name="idp56518672"></a><p>
Eksemplene med Aibo og RIAA demonstrerer hvordan opphavsrettseiere endrer
balansen som opphavsretten gir. Ved hjelp av programkode begrenser
opphavsrettseierne rimelig bruk. Ved hjelp av DMCA straffer de dem som vil
<span class="emphasis"><em>lovverk</em></span>. Kontrollene som er bygget inn i teknologien
for beskyttelse mot kopiering og tilgang blir regler, som hvis de brytes,
også blir et lovbrudd. På denne måten utvider programkoden lovverket
-— utvider dets regulering, selv om subjektet den regulerer
+– utvider dets regulering, selv om subjektet den regulerer
(aktiviteter som ellers helt klart ville vært rimelig bruk) er utenfor
dekningsområdet til loven. Programkode blir lovverk. Programkode utvider
lovverket og programkode utvider dermed effekten av kontrollen til
-opphavsrettseierne — i hvert fall for de opphavsrettsinnehaverne som
+opphavsrettseierne – i hvert fall for de opphavsrettsinnehaverne som
har advokater som kan skrive slike ubehagelige brev som Felten og
aibopet.com mottok.
</p><p>
kanskje rollespille en slags tilhengerfantasi om showet. En person spiller
Spock, en annen Kaptein Kirk. Karakterene ville starte med et plot fra en
virkelig historie, og deretter ganske enkelt fortsette
-historien.<a href="#ftn.idp9449632" class="footnote" name="idp9449632"><sup class="footnote">[139]</sup></a>
+historien.<a href="#ftn.idp56525600" class="footnote" name="idp56525600"><sup class="footnote">[140]</sup></a>
</p><p>
Før Internett var dette effektivt sett en helt uregulert aktivitet. Uansett
hva som skjedde på innsiden i din egen klubb, så ville du aldri bli
forstyrret av opphavsrettspolitiet. Du var her fri til å gjøre som du ville
med denne delen av kulturen vår. Du hadde lov til å bygge på den som du
ønsket uten å frykte juridisk kontroll.
-</p><a class="indexterm" name="idp
9452912"></a><p>
+</p><a class="indexterm" name="idp
56528880"></a><p>
Men hvis du flyttet klubben din til Internett, og gjorde den generelt
tilgjengelig for andre å delta, så ville historien bli svært forskjellig.
Roboter som søker igjennom nettet etter brudd på varemerke og
sender ut. Det er effektivt sett det som skjer her.
</p></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="marketconcentration"></a>10.7. Marked: Konsentrering</h2></div></div></div><p>
-Opphavsrettens varighet har økt dramatisk — tredoblet seg de siste
-tretti årene, og opphavsrettens omfang har også økt — fra å kun
+Opphavsrettens varighet har økt dramatisk – tredoblet seg de siste
+tretti årene, og opphavsrettens omfang har også økt – fra å kun
regulere utgivere til å nå regulere omtrent alle. Og opphavsrettens
rekkevidde har endret seg, etter hvert som hver handling lager en kopi og
dermed blir antatt regulert. Etter hvert som teknologer finner bedre måter
</p><p>
Det er to typer endringer her: omfanget av konsentrering, og dets
egenskaper.
-</p><a class="indexterm" name="idp
9463040"></a><a class="indexterm" name="idp9463824"></a><a class="indexterm" name="idp9464608"></a><a class="indexterm" name="idp9465392"></a><a class="indexterm" name="idp9466208"></a><a class="indexterm" name="idp9467024"></a><p>
+</p><a class="indexterm" name="idp
56538944"></a><a class="indexterm" name="idp56539728"></a><a class="indexterm" name="idp56540512"></a><a class="indexterm" name="idp56541344"></a><a class="indexterm" name="idp56542160"></a><a class="indexterm" name="idp56542976"></a><p>
Endringer i omfang er blant de enklere å beskrive. Som senator John McCain
oppsummerte i data produsert i FCCs gjennomgang av medie-eierskap,
<span class="quote">«<span class="quote">fire selskaper kontrollerer 85 prosent av våre
-mediekilder.</span>»</span><a href="#ftn.idp9468800" class="footnote" name="idp9468800"><sup class="footnote">[140]</sup></a> De fem
+mediekilder.</span>»</span><a href="#ftn.idp56544752" class="footnote" name="idp56544752"><sup class="footnote">[141]</sup></a> De fem
plateselskapene Universal Music Group, BMG, Sony Music Entertainment, Warner
Music Group, og EMI kontrollerer 84,8 prosent av musikkmarkedet i
-USA.<a href="#ftn.idp9470176" class="footnote" name="idp9470176"><sup class="footnote">[141]</sup></a> De <span class="quote">«<span class="quote">fem største
+USA.<a href="#ftn.idp56546128" class="footnote" name="idp56546128"><sup class="footnote">[142]</sup></a> De <span class="quote">«<span class="quote">fem største
kabelselskapene formidler sendinger til 74 prosent av kabel-TV-abonnenter
-over hele landet.</span>»</span><a href="#ftn.idp9472352" class="footnote" name="idp9472352"><sup class="footnote">[142]</sup></a>
-</p><p>
+over hele landet.</span>»</span><a href="#ftn.idp56548304" class="footnote" name="idp56548304"><sup class="footnote">[143]</sup></a>
+</p><a class="indexterm" name="idxradioownershipconsolidationin"></a><p>
Radioens historie er enda mer dramatisk. Før avreguleringen, eide landets
største konglomerat innen radiokringkasting mindre enn syttifire stasjoner.
kringkasterne 74 prosent av inntektene i dette markedet. Totalt
kontrollerer kun fire selskaper 90 prosent av nasjonens annonseinntekter på
radio.
-</p><a class="indexterm" name="idp
9476464"></a><p>
+</p><a class="indexterm" name="idp
56554272"></a><a class="indexterm" name="idxnewspapersownershipconsolidationof"></a><p>
Aviseierskap er også i ferd med å bli mer konsentrert. I dag er det seks
hundre færre dagsaviser i USA enn det var for åtti år siden, og ti selskaper
kontrollerer halvparten av nasjonens avisdistribusjon. Det er tjue større
filminntekter. De ti største kabel-TV-selskapene står for 85 prosent av all
kabelinntekt. Dette er et marked langt fra den frie pressen som
grunnlovsforfatterne ønsket å beskytte. Faktisk, så er dette et marked som
-er svært godt beskyttet — av markedet.
-</p><a class="indexterm" name="idp
9477472"></a><p>
+er svært godt beskyttet – av markedet.
+</p><a class="indexterm" name="idp
56557184"></a><p>
Størrelseskonsentrering er en ting. En mer betenkelig endring er i
egenskapene til denne konsentreringen. Som forfatter James Fallows
formulerer det i en fersk artikkel om Rupert Murdoch:
</p><div class="blockquote"><blockquote class="blockquote"><p>
Murdochs selskaper utgjør nå et produksjonssystem uten like når det gjelder
-dets integrasjon. De forsyner innhold — Fox-filmer … Fox
+dets integrasjon. De forsyner innhold – Fox-filmer … Fox
TV-show … Fox-kontrollerte sportssendinger, pluss aviser og bøker.
-De selger innhold til offentligheten og til annonsører—i aviser, i
+De selger innhold til offentligheten og til annonsører – i aviser, i
kringkastingsnettet og på kabel-TV-kanaler. Og de opererer et fysisk
distribusjonssystem som lar innholdet nå forbrukerne. Murdochs
satellittsystem distribuerer nå News Corp.-innhold i Europa og Asia. Hvis
Murdoch blir største enkelteier i DirecTV, så vil dette systemet få samme
-funksjon i USA.<a href="#ftn.idp9480688" class="footnote" name="idp9480688"><sup class="footnote">[143]</sup></a>
-</p></blockquote></div><p>
+funksjon i USA.<a href="#ftn.idp56560400" class="footnote" name="idp56560400"><sup class="footnote">[144]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp56564096"></a><a class="indexterm" name="idp56565488"></a><p>
Mønsteret med Murdoch er mønsteret til moderne medier. Ikke bare at store
selskaper eier mange radiostasjoner, men noen få selskaper som eier så mange
mediekilder som mulig. Et bilde beskriver bedre enn tusen ord dette
</p><p>
Her er en representativ historie som kan foreslå hvorfor denne integreringen
er viktig.
-</p><a class="indexterm" name="idp
9490208"></a><a class="indexterm" name="idp9490992"></a><a class="indexterm" name="idp9491776"></a><p>
+</p><a class="indexterm" name="idp
56572544"></a><a class="indexterm" name="idp56573328"></a><a class="indexterm" name="idp56574112"></a><p>
I 1969 laget Norman Lear en pilot for <em class="citetitle">All in the
Family</em>. Han tok piloten til ABC, og nettverket likte det ikke.
De sa til Lear at den var for på kanten. Gjør det på nytt. Lear lagde
I stedet for å føye seg, tok Lear ganske enkelt serien sin til noen andre.
CBS var glad for å ha seriene, og ABC kunne ikke hindre Lear fra å gå til
andre. Opphavsretten Lear hadde sikret at han var uavhengighet av
-nettverkskontroll.<a href="#ftn.idp9494752" class="footnote" name="idp9494752"><sup class="footnote">[144]</sup></a>
+nettverkskontroll.<a href="#ftn.idp56577088" class="footnote" name="idp56577088"><sup class="footnote">[145]</sup></a>
</p><p>
nettverkene å kontrollere innholdet de syndikerte. Loven krevde et skille
mellom nettverkene og innholdsprodusentene. Den delingen garanterte Lear
friheten. Og så sent som i 1992, på grunn av disse reglene, var majoriteten
-av kjernetids-TV — 75 prosent — <span class="quote">«<span class="quote">uavhengig</span>»</span> av
+av kjernetids-TV – 75 prosent – <span class="quote">«<span class="quote">uavhengig</span>»</span> av
nettverkene.
</p><p>
I 1994 forlot FCC reglene som krevde denne uavhengigheten. Etter denne
for et nettverk laget av et selskap nettverket kontrollerte. I fjor var
prosentandelen show produsert av kontrollerte selskaper mer enn firedoblet
til 77 prosent.</span>»</span> <span class="quote">«<span class="quote">I 1992 ble 16 nye serier produsert uavhengig
-av konglomeratkontroll. I fjor var det kun en.</span>»</span><a href="#ftn.idp9501280" class="footnote" name="idp9501280"><sup class="footnote">[145]</sup></a> I 2002 var 75 prosent av kjernetids-TV eid av
+av konglomeratkontroll. I fjor var det kun en.</span>»</span><a href="#ftn.idp56583616" class="footnote" name="idp56583616"><sup class="footnote">[146]</sup></a> I 2002 var 75 prosent av kjernetids-TV eid av
nettverket som sendte det. <span class="quote">«<span class="quote">I tiårsperioden mellom 1992 og 2002 økte
antall timer per uke produsert av nettverks-studioer med over 200 prosent,
mens antall timer per uke med kjernetids-TV produsert av uavhengige studioer
-ble redusert med 63 prosent.</span>»</span><a href="#ftn.idp9504080" class="footnote" name="idp9504080"><sup class="footnote">[146]</sup></a>
-</p><a class="indexterm" name="idp
9505072"></a><p>
+ble redusert med 63 prosent.</span>»</span><a href="#ftn.idp56586688" class="footnote" name="idp56586688"><sup class="footnote">[147]</sup></a>
+</p><a class="indexterm" name="idp
56587680"></a><p>
I dag ville en annen Norman Lear med en annen <em class="citetitle">All in the
Family</em> oppdage at han har valget mellom å enten gjøre serien
mindre på kanten, eller få sparken. Innholdet i ethvert show utviklet for
et nettverk er i stadig større grad eid av nettverket.
-</p><a class="indexterm" name="idp
9507152"></a><a class="indexterm" name="idp9507968"></a><p>
+</p><a class="indexterm" name="idp
56589760"></a><a class="indexterm" name="idp56590576"></a><p>
Mens antall kanaler har økt dramatisk, har eierskapet til disse kanalene
snevret inn fra få til stadig færre. Som Barry Diller sa til Bill Moyers:
</p><div class="blockquote"><blockquote class="blockquote"><p>
deres kontrollerte distribusjonssystem, så får du færre og færre faktiske
stemmer som deltar i prosessen. Vi hadde tidligere dusinvis med levende
uavhengige produksjonsselskaper som laget TV-programmer. Nå har vi mindre
-enn en håndfull.<a href="#ftn.idp9510768" class="footnote" name="idp9510768"><sup class="footnote">[147]</sup></a>
-</p></blockquote></div><p>
+enn en håndfull.<a href="#ftn.idp56593376" class="footnote" name="idp56593376"><sup class="footnote">[148]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp56596320"></a><p>
Denne innsnevringen har en effekt på det som blir produsert. Produktet fra
slike store og konsentrerte nettverk er stadig mer ensrettet. Stadig mer
-trygt. Stadig mer sterilt. Produktet nyhetssendinger fra slike nettverk er
-i stadig større grad skreddersydd med meldingen som nettverket ønsker å
-formidle. Dette er ikke kommunistpartiet, selv om det nok fra innsiden må
-føles litt som kommunistpartiet. Ingen kan stille spørsmål uten å risikere
-konsekvenser — ikke nødvendigvis forvisning til Sibir, men likefullt
-straff. Uavhengige, kritiske, avvikende syn blir skviset ut. Dette er ikke
-et miljø for demokrati.
-</p><a class="indexterm" name="idp
9514048"></a><p>
+trygt. Stadig mer sterilt. Produktet med nyhetssendinger fra slike
+nettverk er i stadig større grad skreddersydd med budskapet som nettverket
+ønsker å formidle. Dette er ikke kommunistpartiet, selv om det nok fra
+innsiden må føles litt som kommunistpartiet. Ingen kan stille spørsmål uten
+å risikere konsekvenser – ikke nødvendigvis forvisning til Sibir, men
+likefullt straff. Uavhengige, kritiske, avvikende syn blir skviset
+ut. Dette er ikke et miljø for demokrati.
+</p><a class="indexterm" name="idp
56597680"></a><p>
Økonomifaget tilbyr selv en parallell som forklarer hvorfor denne
integrasjonen påvirker kreativitet. Clay Christensen har skrevet om
<span class="quote">«<span class="quote">innovatørenes dilemma</span>»</span>: faktumet at store tradisjonelle
selskaper finner det rasjonelt å ignorerer nye, gjennombrytende teknologier
som konkurrerer med deres kjernevirksomhet. Den samme analysen kan bidra
til å forklare hvorfor tradisjonelle medieselskaper finner det rasjonelt å
-ignorere nye kulturelle trender.<a href="#ftn.idp9517904" class="footnote" name="idp9517904"><sup class="footnote">[148]</sup></a>
+ignorere nye kulturelle trender.<a href="#ftn.idp56601552" class="footnote" name="idp56601552"><sup class="footnote">[149]</sup></a>
Sovende giganter lar ikke bare være, men bør ikke løpe. Og likevel, hvis
banen kun er åpen for gigantene, så vil det bli alt for lite
-løping. <a class="indexterm" name="idp9521712"></a>
+løping. <a class="indexterm" name="idp56605360"></a>
</p><p>
Jeg tror ikke vi vet nok om økonomien i mediemarkedet til å si med sikkerhet
hva konsentreringen og integrasjonen vil gjøre. Effektivitetsendringene er
viktige, og effekten på kulturen er vanskelig å måle.
</p><p>
-Men det er typiske og åpenbare eksempler som gir oss sterk grunn til
-bekymring.
+Men det er et vesentlig og åpenbart eksempel som sterkt foreslår denne
+bekymringen.
</p><p>
I tillegg til opphavsrettskrigen, så er vi midt inne i narkotikakrigene.
Myndighetenes politikk er sterkt rettet mot narkotikakartellene. Straffe-
og sivildomstolene er fylt opp med konsekvensene av denne kampen.
-</p><p>
+</p><a class="indexterm" name="idp56608480"></a><p>
La meg herved diskvalifisere meg fra enhver mulig oppnevning til en hvilken
som helst stilling hos myndighetene ved å si at jeg tror denne krigen er en
-grunnleggende tabbe. Jeg er ikke for narkotika. Faktisk kommer jeg fra en
-familie som en gang havarerte på grunn av narkotika — selv om all
-narkotikaen som havarerte familien min var helt lovlig. Jeg tror denne
-krigen er en grunnleggende tabbe fordi den utilsiktede skaden fra den er så
-stor at å føre denne krigen er galskap. Når du summerer byrden på det
-kriminal-juridiske systemet, desperasjonen for generasjoner av barn hvis
-eneste økonomiske mulighet er som narkotikakriger, ødeleggelsen av de
-grunnlovsfestede beskyttelsene på grunn av den kontinuerlige overvåkningen
-denne krigen krever, og mest dyptgående, den totale ødeleggelsen av de
-juridiske systemene i mange søramerikanske land på grunn av makten de lokale
+diger tabbe. Jeg er ikke for narkotika. Faktisk kommer jeg fra en familie
+som en gang havarerte på grunn av narkotika – selv om all narkotikaen
+som havarerte familien min var helt lovlig. Jeg tror denne krigen er en
+diger tabbe fordi den utilsiktede skaden fra den er så stor at å føre denne
+krigen er galskap. Når du summerer byrden på det kriminal-juridiske
+systemet, desperasjonen for generasjoner av barn hvis eneste økonomiske
+mulighet er som narkotikakriger, ødeleggelsen av de grunnlovsfestede
+beskyttelsene på grunn av den kontinuerlige overvåkningen denne krigen
+krever, og mest dyptgående, den totale ødeleggelsen av de juridiske
+systemene i mange søramerikanske land på grunn av makten de lokale
narkotikakartellene har. Jeg finner det umulig å tro at den marginale
fordelen i redusert narkotikaforbruk hos amerikanerne på noe måte kan
oppveie for disse kostnadene.
og det er gjennom avstemning vi skal velge politikken. Men for å gjøre det
er vi fundamentalt avhengig av pressen for å hjelpe til med å informere
amerikanerne om disse temaene.
-</p><a class="indexterm" name="idxadvertising3"></a><a class="indexterm" name="idxcommercials"></a><a class="indexterm" name="idxtelevisionadvertisingon"></a><a class="indexterm" name="idp
9532912"></a><p>
+</p><a class="indexterm" name="idxadvertising3"></a><a class="indexterm" name="idxcommercials"></a><a class="indexterm" name="idxtelevisionadvertisingon"></a><a class="indexterm" name="idp
56617296"></a><p>
I 1998 lanserte kontoret for den nasjonale narkotikapolitikken en
mediekampanje som del av <span class="quote">«<span class="quote">krigen mot narkotika.</span>»</span> Kampanjen
produserte en rekke korte filmklipp om temaer relatert til ulovlige
budskapet sitt godt. Det er et rimelig og fornuftig budskap.
</p><p>
Men la oss si at du mener dette er et galt budskap, og du ønsker å kjøre en
-motreklame. La oss si at du ønsker å sende en serie med annonser som
+motkampanje. La oss si at du ønsker å sende en serie med reklameinnslag som
forsøker å vise den ekstraordinære utilsiktede skade som krigen mot
narkotika fører til. Kan du gjøre det?
</p><p>
pengene. Anta at en gruppe med bekymrede borgere donerer alle pengene i
verden for å hjelpe deg med å få budskapet ditt ut. Kan du da være sikker
på at budskapet ditt vil bli hørt?
-</p><a class="indexterm" name="idp
9538320"></a><a class="indexterm" name="idp9539408"></a><a class="indexterm" name="idp9540256"></a><a class="indexterm" name="idp9541392"></a><p>
+</p><a class="indexterm" name="idp
56622720"></a><a class="indexterm" name="idp56623808"></a><a class="indexterm" name="idp56624656"></a><a class="indexterm" name="idp56625792"></a><p>
Nei, det kan du ikke. TV-stasjoner har en generell regel om å unngå
-<span class="quote">«<span class="quote">kontroversielle</span>»</span> annonser. Annonser sponset av myndighetene
-anses som ukontroversielle. Annonser som er uenig med myndighetene er
-kontroversielle. Denne utvelgelsen kan kanskje tenkes å være i strid med
-det første grunnlovstillegget, men Høyesterett har avgjort at stasjonene har
-rett til å velge hva de sender. Dermed vil de store kommersielle
-mediekanalene blokkere muligheten som den en siden av en viktig debatt har
-til å legge frem sin sak. Og domstolene vil forsvare stasjonenes rett til å
-være så ensidig.<a href="#ftn.idp9544320" class="footnote" name="idp9544320"><sup class="footnote">[149]</sup></a>
-</p><a class="indexterm" name="idp
9557952"></a><a class="indexterm" name="idp9559264"></a><p>
-Jeg ville også med glede forsvart nettverkenes rettigheter — hvis vi
+<span class="quote">«<span class="quote">kontroversielle</span>»</span> reklameinnslag. Innslag sponset av
+myndighetene anses som ukontroversielle. Innslag som er uenig med
+myndighetene er kontroversielle. Denne utvelgelsen kan kanskje tenkes å
+være i strid med det første grunnlovstillegget, men Høyesterett har avgjort
+at stasjonene har rett til å velge hva de sender. Dermed vil de store
+kommersielle mediekanalene blokkere muligheten som den ene siden av en
+viktig debatt har til å legge frem sin sak. Og domstolene vil forsvare
+stasjonenes rett til å være så ensidig.<a href="#ftn.idp56628720" class="footnote" name="idp56628720"><sup class="footnote">[150]</sup></a>
+</p><a class="indexterm" name="idp
56642416"></a><a class="indexterm" name="idp56643728"></a><p>
+Jeg ville også med glede forsvart nettverkenes rettigheter – hvis vi
levde i et mediemarked som virkelig var mangfoldig. Men konsentreringen i
media får en til å tvile på den forutsetningen. Hvis en håndfull selskaper
kontrollerer tilgangen til media, og denne lille gruppen selskaper får
noe. Det kan hende du liker holdningene som denne håndfulle gruppen med
selskaper velger, men du bør ikke like en verden der et lite mindretall får
bestemme hvilke saker resten av oss får høre om.
-</p><a class="indexterm" name="idp
9562080"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="together"></a>10.8. Sammen</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
56646608"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="together"></a>10.8. Sammen</h2></div></div></div><p>
Det er noe uskyldig og åpenbart i kravet fra opphavsrettskrigerne om at
myndighetene bør <span class="quote">«<span class="quote">beskytte eiendommen min.</span>»</span> Som abstrakt idé
er det åpenbart riktig, og vanligvis helt ufarlig. Ingen fornuftig person
</p><p>
Men når vi ser hvor dramatisk denne <span class="quote">«<span class="quote">eiendommen</span>»</span> har endret seg
-— når vi innser hvordan den, slik den nå er knyttet til både teknologi
+– når vi innser hvordan den, slik den nå er knyttet til både teknologi
og marked, betyr at de effektive begrensningene i friheten til å kultivere
-kulturen vår er dramatisk forskjellig — begynner kravet å se mindre
+kulturen vår er dramatisk forskjellig – begynner kravet å se mindre
uskyldig og åpenbart ut. Gitt (1) kraften i teknologien til å supplere
lovens kontroll, og (2) kraften i innsnevrede markeder til å svekke
muligheten til å være uenig, når strikt håndheving av den massivt utvidete
-<span class="quote">«<span class="quote">eiendomsretten</span>»</span> delt ut av opphavsretten fundamentalt endrer
+<span class="quote">«<span class="quote">eiendomsretten</span>»</span> innvilget av opphavsretten fundamentalt endrer
friheten i denne kulturen til å kultivere og bygge på vår fortid, så må vi
spørre oss om denne eiendommen bør omdefineres.
</p><p>
få oss til å vurdere hvorvidt en annen justering er nødvendig. Ikke en
justering som øker opphavsrettens makt. Ikke en justering som øker dens
vernetid. I stedet en justering som gjenoppretter balansen som tradisjonelt
-har definert opphavsrettens regulering — en svekkelse av denne
+har definert opphavsrettens regulering – en svekkelse av denne
reguleringen for å styrke kreativiteten.
</p><p>
Åndsverksloven har ikke vært noen uforanderlig naturlov, sikker og solid som
i vår historie har så få hatt juridisk rett til å kontrollere mer av
utviklingen av vår kultur enn nå</em></span>.
</p><p>
-Ikke da opphavsretten var evig, for da opphavsrett var evig, påvirket de kun
-det spesifikke kreative verket. Ikke da kun utgivere hadde
+Ikke da opphavsretten var evigvarende, for da opphavsrett var evigvarende,
+påvirket de kun det spesifikke kreative verket. Ikke da kun utgivere hadde
publiseringsutstyr, for markedet var da mye mer variert. Ikke når det kun
fantes tre TV-nettverk, for selv da var aviser, filmstudio, radiostasjoner
og utgivere uavhengige av nettverkene. <span class="emphasis"><em>Aldri</em></span> har
-opphavsretten beskyttet en så stor rekke av rettigheter, mot en så stor
-rekke av aktører, med en vernetid som var i nærheten av så lang. Denne form
-for regulering — en liten regulering av en liten del av den kreative
-energien til en nasjon i emning — er nå en massiv regulering av hele
-den kreative prosessen. Lovverk pluss teknologi pluss marked jobber nå
-sammen for å gjøre denne historisk ubetydelige regulering til den mest
+opphavsretten beskyttet en så stor mengde av rettigheter, mot en så stor
+mengde av aktører, med en vernetid som var i nærheten av så lang. Denne
+form for regulering – en liten regulering av en liten del av den
+kreative energien til en nasjon i emning – er nå en massiv regulering
+av hele den kreative prosessen. Lovverk pluss teknologi pluss marked jobber
+nå sammen for å gjøre denne historisk ubetydelige regulering til den mest
betydningsfulle reguleringen av kulturen som vårt frie samfunn har
-kjent.<a href="#ftn.idp9577376" class="footnote" name="idp9577376"><sup class="footnote">[150]</sup></a>
+kjent.<a href="#ftn.idp56662576" class="footnote" name="idp56662576"><sup class="footnote">[151]</sup></a>
</p><p>
-<span class="strong"><strong>Det har vært</strong></span> et langt kapittel. Dets
+<span class="strong"><strong>Dette har vært</strong></span> et langt kapittel. Dets
poeng kan nå formuleres ganske kort.
</p><p>
I starten av denne boken, poengterte jeg forskjellen mellom kommersiell og
gjennomgått. I 1790, så loven slik ut:
</p><div class="informaltable"><a name="t2"></a><table border="1"><colgroup><col><col><col></colgroup><thead><tr><th align="left"> </th><th align="left">Publisere</th><th align="left">Omforme</th></tr></thead><tbody><tr><td align="left">Kommersiell</td><td align="left">©</td><td align="left">Fri</td></tr><tr><td align="left">Ikke-kommersiell</td><td align="left">Fri</td><td align="left">Fri</td></tr></tbody></table></div><p>
-Selve det å publisere et kart, diagram og bok var regulert av
-opphavsrettsloven. Ingenting annet. Det var fritt frem for omforminger.
-Og i og med at opphavsretten kun gjaldt etter registrering, og kun de som
-planla å ha kommersiell nytte ville registrere, var kopiering gjennom
-publisering av ikke-kommersielle verk også fritt frem.
+Det å publisere et kart, diagram og bok var regulert av opphavsrettsloven.
+Ingenting annet. Omforminger var fritt frem. Og i og med at opphavsretten
+kun gjaldt ved registrering, og kun de som planla å ha kommersiell nytte
+ville registrere, var kopiering gjennom publisering av ikke-kommersielle
+verk også fritt frem.
</p><p>
På slutten av det nittende århundre hadde loven blitt endret til dette:
</p><div class="informaltable"><a name="t3"></a><table border="1"><colgroup><col><col><col></colgroup><thead><tr><th align="left"> </th><th align="left">Publisere</th><th align="left">Omforme</th></tr></thead><tbody><tr><td align="left">Kommersiell</td><td align="left">©</td><td align="left">©</td></tr><tr><td align="left">Ikke-kommersiell</td><td align="left">Fri</td><td align="left">Fri</td></tr></tbody></table></div><p>
-Avledede verk var nå regulert av opphavsrettsloven — hvis de var
-publisert, som betød, gitt økonomien til publisering på den tiden, betød å
-tilby den kommersielt. Men det var fortsatt i hovedsak fritt frem for
+Avledede verk var nå regulert av opphavsrettsloven – hvis de var
+publisert, som betød, gitt økonomien til publisering på den tiden, å tilby
+den kommersielt. Men det var fortsatt i hovedsak fritt frem for
ikke-kommersiell publisering og omforming.
</p><p>
I 1909 ble loven endret til å regulere eksemplarer og ikke publisering, og
etter denne endringen var omfanget av loven knyttet til teknologi. Etter
-hvert som teknologien for eksemplarfremstilling / kopiering ble mer utbredt,
+hvert som teknologien for eksemplarfremstilling/kopiering ble mer utbredt,
utvidet rekkevidden til loven seg. Dermed kan vi si at i 1975, etter hvert
som fotokopimaskiner ble mer vanlig, begynte loven å se slik ut:
-</p><div class="informaltable"><a name="t4"></a><table border="1"><colgroup><col><col><col></colgroup><thead><tr><th align="left"> </th><th align="left">Kopiere</th><th align="left">Omforme</th></tr></thead><tbody><tr><td align="left">Kommersiell</td><td align="left">©</td><td align="left">©</td></tr><tr><td align="left">Ikke-kommersiell</td><td align="left">©
/ Fri</td><td align="left">Fri</td></tr></tbody></table></div><p>
+</p><div class="informaltable"><a name="t4"></a><table border="1"><colgroup><col><col><col></colgroup><thead><tr><th align="left"> </th><th align="left">Kopiere</th><th align="left">Omforme</th></tr></thead><tbody><tr><td align="left">Kommersiell</td><td align="left">©</td><td align="left">©</td></tr><tr><td align="left">Ikke-kommersiell</td><td align="left">©
/Fri</td><td align="left">Fri</td></tr></tbody></table></div><p>
Loven ble tolket til å nå ikke-kommersiell kopiering ved hjelp av,
f.eks. kopimaskiner, men fortsatt forble mye av kopieringen utenom det
kommersielle markedet fri. Men konsekvensen fra fremveksten av digitale
Hvert område er styrt av åndsverksloven, mens mesteparten av kreativiteten
ikke var styrt av den tidligere. Loven regulerer nå hele omfanget av
-kreativiteten — kommersiell eller ikke, omformende eller ikke —
+kreativiteten – kommersiell eller ikke, omformende eller ikke –
med de samme reglene som ble utformet for å regulere kommersielle utgivere.
</p><p>
Åndsverkloven er åpenbart ikke fienden. Fienden er regulering som ikke gjør
bra.
</p><p>
Jeg er ikke i tvil om at det er en god idé å regulere kommersiell
-kopiering. Men jeg har heller ingen tvil om at det gjør mer skade en gavn
+kopiering. Men jeg har heller ingen tvil om at det gjør mer skade enn gavn
når en regulerer (slik det reguleres akkurat nå) ikke-kommersiell kopiering,
og spesielt ikke-kommersiell omforming. Og i stadig større grad, av årsaker
skissert spesielt i kapitlene <a class="xref" href="#recorders" title="Kapittel syv: Innspillerne">7</a> og <a class="xref" href="#transformers" title="Kapittel åtte: Omformerne">8</a>, kan en godt undre på hvorvidt den gjør mer skade
-en gavn for kommersiell omforming. Flere kommersielle omformede verk ville
+enn gavn for kommersiell omforming. Flere kommersielle omformede verk ville
vært skapt hvis avledede rettigheter var skarpere begrenset.
</p><p>
Temaet her er dermed ikke så enkelt som hvorvidt opphavsrett er eiendom
eller ikke. Selvfølgelig er opphavsrett en type <span class="quote">«<span class="quote">eiendom,</span>»</span> og
selvfølgelig, som med enhver eiendom, bør staten beskytte den. Men uansett
førsteinntrykk, så har denne eiendomretten, historisk sett (som med alle
-eiendomsretter<a href="#ftn.idp9623120" class="footnote" name="idp9623120"><sup class="footnote">[151]</sup></a>) vært utformet for å
+eiendomsretter<a href="#ftn.idp56707728" class="footnote" name="idp56707728"><sup class="footnote">[152]</sup></a>) vært utformet for å
balansere det viktige behovet å gi forfattere og artister incentiver med det
like viktige behovet å sikre tilgang til kreative verk. Denne balansen har
alltid blitt funnet i lys av nye teknologier. Og i nesten halve vår
hele tatt</em></span> friheten andre hadde til å bygge på og omforme et
kreativt verk. USAs kultur ble født fri, og i nesten 180 år beskyttet vårt
land konsistent en pulserende og rik fri kultur.
-</p><a class="indexterm" name="idp
9628096"></a><p>
+</p><a class="indexterm" name="idp
56712752"></a><p>
Vi oppnådde den frie kulturen på grunn av at vårt lovverk respekterte
viktige begrensninger i rekkevidden av interessene beskyttet av
annen kjent begrensning på eiendomsrettigheten som opphavsretten utgjør
(kapittel <a class="xref" href="#transformers" title="Kapittel åtte: Omformerne">8</a>).
Og å tildele arkiver og biblioteker en bred frihet til å samle, uavhengig av
-krav om eiendom, er en avgjørende del av det å garantere sjelen til kulturen
-(kapittel <a class="xref" href="#collectors" title="Kapittel ni: Samlere">9</a>).
-Fri kultur, på samme måte som frie markeder, er bygget på eiendom. Men
-naturen til eiendommen som bygger en fri kultur er svært forskjellig fra den
-ekstremistvisjonen som dominerer debatten i dag.
+krav om eiendom, er en avgjørende del av det å garantere sjelen til en
+kultur (kapittel <a class="xref" href="#collectors" title="Kapittel ni: Samlere">9</a>). Fri kultur, på samme måte som frie markeder, er
+bygget på eiendom. Men naturen til eiendommen som bygger en fri kultur er
+svært forskjellig fra den ekstremistvisjonen som dominerer debatten i dag.
</p><p>
Fri kultur er stadig større grad ofret i denne krigen mot piratvirksomhet.
Som respons på en reell, men ennå ikke kvantifisert trussel som teknologiene
opphavsretten utgjør har blitt ubalansert, med utslag mot et ytterpunkt.
Muligheten til å skape og omforme blir svekket i en verden der det å skape
krever tillatelse, og kreativitet må sjekke med en advokat.
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8682608" class="footnote"><p><a href="#idp8682608" class="para"><sup class="para">[116] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp55747248" class="footnote"><p><a href="#idp55747248" class="para"><sup class="para">[117] </sup></a>
-Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794,
+Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794,
H.R. 4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on
Courts, Civil Liberties, and the Administration of Justice of the Committee
on the Judiciary of the House of Representatives, 97th Cong., 2nd
-sess. (1982): 65 (testimony of Jack Valenti).
-</p></div><div id="ftn.idp8691216" class="footnote"><p><a href="#idp8691216" class="para"><sup class="para">[117] </sup></a>
+sess. (1982): 65 (vitnemål fra Jack Valenti).
+</p></div><div id="ftn.idp55757584" class="footnote"><p><a href="#idp55757584" class="para"><sup class="para">[118] </sup></a>
Advokater snakker ikke om <span class="quote">«<span class="quote">eiendom</span>»</span> som en absolutt ting, men
<span class="quote">«<span class="quote">eiendom</span>»</span> til <span class="quote">«<span class="quote">advokatspråk,</span>»</span> se Bruce Ackerman,
<em class="citetitle">Private Property and the Constitution</em> (New Haven:
Yale University Press 1977), 26–27.
-</p></div><div id="ftn.idp8763984" class="footnote"><p><a href="#idp8763984" class="para"><sup class="para">[118] </sup></a>
-
+</p></div><div id="ftn.idp55832208" class="footnote"><p><a href="#idp55832208" class="para"><sup class="para">[119] </sup></a>
Ved å beskrive hvordan loven påvirker de andre tre modalitetene, mener jeg
ikke å foreslå at de andre tre ikke påvirker loven. Det gjør de
uttrykkes mer beskjedent. Se Lawrence Lessig <em class="citetitle">Code: And Other
Laws of Cyberspace</em> (New York: Basic Books, 1999): 90–95;
Lawrence Lessig, <span class="quote">«<span class="quote">The New Chicago School,</span>»</span> <em class="citetitle">Journal
-of Legal Studies</em>, juni 1998.
-</p></div><div id="ftn.idp8774880" class="footnote"><p><a href="#idp8774880" class="para"><sup class="para">[119] </sup></a>
+of Legal Studies</em>, juni 1998. <a class="indexterm" name="idp55834576"></a>
+</p></div><div id="ftn.idp55843952" class="footnote"><p><a href="#idp55843952" class="para"><sup class="para">[120] </sup></a>
-Noen personer protesterer på denne måten å snakke om <span class="quote">«<span class="quote">frihet</span>»</span>
-på. De protesterer fordi deres fokus når de vurderer begrensninger som
+Noen personer protesterer på denne måten å snakke om <span class="quote">«<span class="quote">frihet.</span>»</span>
+De protesterer fordi deres fokus når de vurderer begrensninger som
eksisterer på et bestemt tidspunkt, kun er begrensninger påført av
myndighetene. For eksempel, hvis en storm ødelegger en bru, mener disse
personene at det er meningsløst å snakke om at ens frihet har blitt
<em class="citetitle">Code</em>, kommer vi fra en lang tradisjon av politiske
tanker med en videre fokus enn det smale spørsmålet om hva myndighetene
gjorde når. For eksempel forsvarte John Stuart Mill talefriheten fra
-tyranniet til trangsyntheten, og ikke fra frykten for
-myndighetsforfølgelse. John Stuart Mill, <em class="citetitle">On Liberty</em>
-(Indiana: Hackett Publishing Co., 1978), 19. John R. Commons er berømt for å
-ha forsvart økonomisk arbeidsfrihet fra begrensninger pålagt av markedet;
-John R. Commons, <span class="quote">«<span class="quote">The Right to Work,</span>»</span> i Malcom Rutherford og
-Warren J. Samuels, eds., <em class="citetitle">John R. Commons: Selected
-Essays</em> (London: Routledge: 1997), 62. *The Americans with
-Disabilities Act* øker friheten til folk med fysiske handikap ved å endre
-arkitekturen til bestemte offentlige steder, og gjør dermed tilgang til
-disse stedene enklere; 42 <em class="citetitle">United States Code</em>, del
-12101 (2000). Hver av disse inngrepene for å endre eksisterende vilkår
-endrer friheten til en bestemt gruppe. Effekten av disse inngrepene bør tas
-hensyn til for å forstå den effektive friheten som hver av disse gruppene
-møter. <a class="indexterm" name="idp8781408"></a> <a class="indexterm" name="idp8782560"></a> <a class="indexterm" name="idp8783344"></a> <a class="indexterm" name="idp8784176"></a>
-</p></div><div id="ftn.idp8837792" class="footnote"><p><a href="#idp8837792" class="para"><sup class="para">[120] </sup></a>
+trangsynthetens tyranni, og ikke fra frykten for myndighetsforfølgelse. John
+Stuart Mill, <em class="citetitle">On Liberty</em> (Indiana: Hackett Publishing
+Co., 1978), 19. John R. Commons er berømt for å ha forsvart økonomisk
+arbeidsfrihet fra begrensninger pålagt av markedet; John R. Commons,
+<span class="quote">«<span class="quote">The Right to Work,</span>»</span> i Malcom Rutherford og Warren J. Samuels,
+eds., <em class="citetitle">John R. Commons: Selected Essays</em> (London:
+Routledge: 1997), 62. The Americans with Disabilities Act (tilsvarer norske
+bestemmelser om universell utforming) øker friheten til folk med
+funksjonshemninger ved å endre utformingen på utvalgte offentlige steder, og
+gir dermed enklere tilgang til disse stedene; 42 <em class="citetitle">United States
+Code</em>, del 12101 (2000). Hver av disse inngrepene for å endre
+eksisterende vilkår endrer friheten til en bestemt gruppe. Effekten av
+disse inngrepene bør tas hensyn til for å forstå den effektive friheten som
+hver av disse gruppene møter. <a class="indexterm" name="idp55849872"></a>
+<a class="indexterm" name="idp55851024"></a> <a class="indexterm" name="idp55851808"></a> <a class="indexterm" name="idp55852640"></a> <a class="indexterm" name="idp55853456"></a>
+</p></div><div id="ftn.idp55906880" class="footnote"><p><a href="#idp55906880" class="para"><sup class="para">[121] </sup></a>
Se Geoffrey Smith, <span class="quote">«<span class="quote">Film vs. Digital: Can Kodak Build a
av Kodaks plass i markedet, se Chana R. Schoenberger, <span class="quote">«<span class="quote">Can Kodak Make
Up for Lost Moments?</span>»</span> Forbes.com, 6. oktober 2003, tilgjengelig fra
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #24</a>.
-</p></div><div id="ftn.idp8851472" class="footnote"><p><a href="#idp8851472" class="para"><sup class="para">[121] </sup></a>
+</p></div><div id="ftn.idp55920496" class="footnote"><p><a href="#idp55920496" class="para"><sup class="para">[122] </sup></a>
Fred Warshofsky, <em class="citetitle">The Patent Wars</em> (New York: Wiley,
1994), 170–71.
-</p></div><div id="ftn.idp8884816" class="footnote"><p><a href="#idp8884816" class="para"><sup class="para">[122] </sup></a>
+</p></div><div id="ftn.idp55953648" class="footnote"><p><a href="#idp55953648" class="para"><sup class="para">[123] </sup></a>
Se for eksempel James Boyle, <span class="quote">«<span class="quote">A Politics of Intellectual Property:
Environmentalism for the Net?</span>»</span> <em class="citetitle">Duke Law
Journal</em> 47 (1997): 87.
-</p></div><div id="ftn.idp8958592" class="footnote"><p><a href="#idp8958592" class="para"><sup class="para">[123] </sup></a>
+</p></div><div id="ftn.idp56028240" class="footnote"><p><a href="#idp56028240" class="para"><sup class="para">[124] </sup></a>
William W. Crosskey, <em class="citetitle">Politics and the Constitution in the History
of the United States</em> (London: Cambridge University Press, 1953),
-vol. 1, 485–86: <span class="quote">«<span class="quote">utraderer, ved enkel implikasjon av `*the
-supreme Law of the Land*,' <span class="emphasis"><em>de evige rettigheter som forfattere
-hadde, eller som de var antatt av noen å ha, i henhold til
-sedvanerett</em></span></span>»</span> (min utheving). <a class="indexterm" name="idp8960656"></a>
-</p></div><div id="ftn.idp8971744" class="footnote"><p><a href="#idp8971744" class="para"><sup class="para">[124] </sup></a>
+vol. 1, 485–86: <span class="quote">«<span class="quote">opphever, implisitt ved å være plassert i
+<span class="quote">‘<span class="quote">landets fremste lov,</span>’</span> <span class="emphasis"><em>de evige rettigheter som
+forfattere hadde, eller var antatt å ha, som følge av
+rettspraksis</em></span></span>»</span> (min utheving). [I USA bygger
+rettskjennelser som hovedregel på tidligere dommer (prejudikat). Unntaket er
+når forholdet det er tvist om reguleres av Grunnloven (<span class="quote">«<span class="quote">landets
+fremste lov</span>»</span>). Dersom Grunnloven og et prejudikat eller en lokal lov
+er i konflikt med hverandre, går Grunnloven alltid foran. o.a.] <a class="indexterm" name="idp56031728"></a>
+</p></div><div id="ftn.idp56042816" class="footnote"><p><a href="#idp56042816" class="para"><sup class="para">[125] </sup></a>
Selv om 13 000 titler ble publisert i USA fra 1790 til 1799, ble kun
verkene som ble opphavsrettsbeskyttet falt raskt i det fri, på grunn av at
vernetiden i opphavsretten var kort. Den opprinnelige vernetiden i
opphavsretten var fjorten år, med mulighet for forlengelse i ytterligere
-fjorten år. Copyright Act av 31. mai 1790, §1, 1 stat. 124. </p></div><div id="ftn.idp8980784" class="footnote"><p><a href="#idp8980784" class="para"><sup class="para">[125] </sup></a>
+fjorten år. Copyright Act av 31. mai 1790, §1, 1 stat. 124. </p></div><div id="ftn.idp56051920" class="footnote"><p><a href="#idp56051920" class="para"><sup class="para">[126] </sup></a>
Få opphavsrettsinnehavere valgte noensinne å fornye sine opphavsretter. For
-eksempel av de 25 006 opphavsretter registert i 1883, kun 893 ble
+eksempel av de 25 006 opphavsretter registert i 1883, ble kun 893
fornyet i 1910. For en år-for-år-analyse av opphavsrettsfornyingsrater, se
Barbara A. Ringer, <span class="quote">«<span class="quote">Study No. 31: Renewal of Copyright,</span>»</span>
<em class="citetitle">Studies on Copyright</em>, vol. 1 (New York: Practicing
Law Institute, 1963), 618. For en nyere og mer fullstendig analyse, se
William M. Landes og Richard A. Posner, <span class="quote">«<span class="quote">Indefinitely Renewable
Copyright,</span>»</span> <em class="citetitle">University of Chicago Law Review</em>
-70 (2003): 471, 498–501, og tilhørende figurer. </p></div><div id="ftn.idp8988480" class="footnote"><p><a href="#idp8988480" class="para"><sup class="para">[126] </sup></a>
+70 (2003): 471, 498–501, og tilhørende figurer. </p></div><div id="ftn.idp56059680" class="footnote"><p><a href="#idp56059680" class="para"><sup class="para">[127] </sup></a>
-Se Ringer, kap. 9, n. 2. </p></div><div id="ftn.idp9017392" class="footnote"><p><a href="#idp9017392" class="para"><sup class="para">[127] </sup></a>
+Se Ringer, kap. 9, n. 2. </p></div><div id="ftn.idp56089408" class="footnote"><p><a href="#idp56089408" class="para"><sup class="para">[128] </sup></a>
Disse statistikkene er undervurdert. Mellom årene 1910 og 1962 (det første
året fornyingsvernetiden ble utvidet), var gjennomsnittlig vernetid aldri
mer enn trettito år, og gjennomsnittet tretti år. Se Landes og Posner,
<span class="quote">«<span class="quote">Indefinitely Renewable Copyright,</span>»</span> loc. cit.
-</p></div><div id="ftn.idp9059824" class="footnote"><p><a href="#idp9059824" class="para"><sup class="para">[128] </sup></a>
+</p></div><div id="ftn.idp56132256" class="footnote"><p><a href="#idp56132256" class="para"><sup class="para">[129] </sup></a>
Se Thomas Bender og David Sampliner, <span class="quote">«<span class="quote">Poets, Pirates, and the Creation
International Law and Politics</em> 255 (1997), og James Gilraeth,
ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987).
-</p></div><div id="ftn.idp9079952" class="footnote"><p><a href="#idp9079952" class="para"><sup class="para">[129] </sup></a>
+</p></div><div id="ftn.idp56152128" class="footnote"><p><a href="#idp56152128" class="para"><sup class="para">[130] </sup></a>
Jonathan Zittrain, <span class="quote">«<span class="quote">The Copyright Cage,</span>»</span> <em class="citetitle">Legal
-Affairs</em>, julu/august 2003,tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #26</a>. <a class="indexterm" name="idp9082688"></a>
-</p></div><div id="ftn.idp9085088" class="footnote"><p><a href="#idp9085088" class="para"><sup class="para">[130] </sup></a>
+Affairs</em>, juli/august 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #26</a>. <a class="indexterm" name="idp56154816"></a>
+</p></div><div id="ftn.idp56157216" class="footnote"><p><a href="#idp56157216" class="para"><sup class="para">[131] </sup></a>
Professor Rubenfeld har presentert et kraftfullt konstitusjonelt argument om
skillet som opphavsretten burde sette (fra perspektivet til det første
grunnlovstillegget) mellom kun <span class="quote">«<span class="quote">kopier</span>»</span> og avledede verk. Se
Jed Rubenfeld, <span class="quote">«<span class="quote">The Freedom of Imagination: Copyright's
Constitutionality,</span>»</span> <em class="citetitle">Yale Law Journal</em> 112
-(2002): 1–60 (se spesielt sidene 53–59). <a class="indexterm" name="idp9087152"></a>
-</p></div><div id="ftn.idp9102512" class="footnote"><p><a href="#idp9102512" class="para"><sup class="para">[131] </sup></a>
+(2002): 1–60 (se spesielt sidene 53–59). <a class="indexterm" name="idp56159280"></a>
+</p></div><div id="ftn.idp56174832" class="footnote"><p><a href="#idp56174832" class="para"><sup class="para">[132] </sup></a>
Dette er en forenkling av loven, men ikke en særlig stor en. Loven
-regulerer helt klart mer enn <span class="quote">«<span class="quote">eksemplarer</span>»</span> — en offentlig
+regulerer helt klart mer enn <span class="quote">«<span class="quote">eksemplarer</span>»</span> – en offentlig
fremføring av en opphavsrettsbeskyttet sang er for eksempel regulert selv om
fremføringen i seg selv ikke lager et eksemplar; 17 <em class="citetitle">United States
Code</em>, del 106(4). Og det er helt klart at noen ganger regulerer
regulerer <span class="quote">«<span class="quote">eksemplarer</span>»</span> 17 <em class="citetitle">United States
Code</em>, del 102) er at hvis det er et eksemplar, så er det også en
rettighet knyttet til det.
-</p></div><div id="ftn.idp9116448" class="footnote"><p><a href="#idp9116448" class="para"><sup class="para">[132] </sup></a>
+</p></div><div id="ftn.idp56188768" class="footnote"><p><a href="#idp56188768" class="para"><sup class="para">[133] </sup></a>
Dermed er mitt argument at for hvert sted der opphavsrettsloven utvides, så
bør vi avvise det. Det er i stedet at vi bør ha gode argumenter for dens
utvidelse når det gjøres, og bør ikke avgjøre rekkevidden basert på
vilkårlige og automatiske endringer forårsaket av teknologi.
-</p></div><div id="ftn.idp9103872" class="footnote"><p><a href="#idp9103872" class="para"><sup class="para">[133] </sup></a>
+</p></div><div id="ftn.idp56176192" class="footnote"><p><a href="#idp56176192" class="para"><sup class="para">[134] </sup></a>
Jeg mener ikke <span class="quote">«<span class="quote">natur</span>»</span> i betydningen at det ikke kunne vært
Optiske nettverk trenger ikke lage kopier av innhold de distribuerer, og et
digitalt nettverk kan lages slik at det sletter alt det kopierer slik at det
forblir samme antall kopier.
-</p></div><div id="ftn.idp9270048" class="footnote"><p><a href="#idp9270048" class="para"><sup class="para">[134] </sup></a>
+</p></div><div id="ftn.idp56342624" class="footnote"><p><a href="#idp56342624" class="para"><sup class="para">[135] </sup></a>
Se David Lange, <span class="quote">«<span class="quote">Recognizing the Public Domain,</span>»</span> <em class="citetitle">Law
and Contemporary Problems</em> 44 (1981): 172–73.
-</p></div><div id="ftn.idp9273104" class="footnote"><p><a href="#idp9273104" class="para"><sup class="para">[135] </sup></a>
+</p></div><div id="ftn.idp56345680" class="footnote"><p><a href="#idp56345680" class="para"><sup class="para">[136] </sup></a>
-<a class="indexterm" name="idp9273488"></a> Ibid. Se også Vaidhyanathan,
+<a class="indexterm" name="idp56346064"></a> Ibid. Se også Vaidhyanathan,
<em class="citetitle">Copyrights and Copywrongs</em>, 1–3.
-</p></div><div id="ftn.idp9312624" class="footnote"><p><a href="#idp9312624" class="para"><sup class="para">[136] </sup></a>
+</p></div><div id="ftn.idp56387248" class="footnote"><p><a href="#idp56387248" class="para"><sup class="para">[137] </sup></a>
I prinsippet kan en kontrakt pålegge meg et krav. Jeg kan for eksempel
fra kontrakten og ikke fra opphavsrettslovgiving, og forpliktelsene i
kontrakten ville ikke nødvendigvis videreføres til alle som senere kjøpte
boken.
-</p></div><div id="ftn.idp9370768" class="footnote"><p><a href="#idp9370768" class="para"><sup class="para">[137] </sup></a>
+</p></div><div id="ftn.idp56446816" class="footnote"><p><a href="#idp56446816" class="para"><sup class="para">[138] </sup></a>
Se Pamela Samuelson, <span class="quote">«<span class="quote">Anticircumvention Rules: Threat to
Science,</span>»</span> <em class="citetitle">Science</em> 293 (2001): 2028; Brendan
<span class="quote">«<span class="quote">Is the RIAA Running Scared?</span>»</span> Salon.com, april 2001; Electronic
Frontier Foundation, <span class="quote">«<span class="quote">Frequently Asked Questions about
<em class="citetitle">Felten and USENIX</em> v. <em class="citetitle">RIAA</em>
-Legal Case,</span>»</span> tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #27</a>. <a class="indexterm" name="idp9377408"></a>
-</p></div><div id="ftn.idp9420400" class="footnote"><p><a href="#idp9420400" class="para"><sup class="para">[138] </sup></a>
+Legal Case,</span>»</span> tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #27</a>. <a class="indexterm" name="idp56453456"></a>
+</p></div><div id="ftn.idp56496448" class="footnote"><p><a href="#idp56496448" class="para"><sup class="para">[139] </sup></a>
-<a class="indexterm" name="idp9420784"></a> <em class="citetitle">Sony Corporation of
+<a class="indexterm" name="idp56496832"></a> <em class="citetitle">Sony Corporation of
America</em> v. <em class="citetitle">Universal City Studios, Inc.</em>,
464 U.S 417, 455 fn. 27 (1984). Rogers endret aldri sitt syn om
videoopptakeren. Se James Lardner, <em class="citetitle">Fast Forward: Hollywood, the
Japanese, and the Onslaught of the VCR</em> (New York: W. W. Norton,
-1987), 27071. <a class="indexterm" name="idp9423744"></a>
-</p></div><div id="ftn.idp9449632" class="footnote"><p><a href="#idp9449632" class="para"><sup class="para">[139] </sup></a>
+1987), 27071. <a class="indexterm" name="idp56499792"></a>
+</p></div><div id="ftn.idp56525600" class="footnote"><p><a href="#idp56525600" class="para"><sup class="para">[140] </sup></a>
For en tidlig og forutseende analyse, se Rebecca Tushnet, <span class="quote">«<span class="quote">Legal
Fictions, Copyright, Fan Fiction, and a New Common Law,</span>»</span>
<em class="citetitle">Loyola of Los Angeles Entertainment Law Journal</em> 17
(1997): 651.
-</p></div><div id="ftn.idp9468800" class="footnote"><p><a href="#idp9468800" class="para"><sup class="para">[140] </sup></a>
+</p></div><div id="ftn.idp56544752" class="footnote"><p><a href="#idp56544752" class="para"><sup class="para">[141] </sup></a>
FCC-kontroll: Høring foran senatets komite for handel, vitenskap og
transport, 108. samling, 1 økt. (22. mai 2003) (uttalelse fra senator John
-McCain). </p></div><div id="ftn.idp9470176" class="footnote"><p><a href="#idp9470176" class="para"><sup class="para">[141] </sup></a>
+McCain). </p></div><div id="ftn.idp56546128" class="footnote"><p><a href="#idp56546128" class="para"><sup class="para">[142] </sup></a>
Lynette Holloway, <span class="quote">«<span class="quote">Despite a Marketing Blitz, CD Sales Continue to
Slide,</span>»</span> <em class="citetitle">New York Times</em>, 23. desember 2002.
-</p></div><div id="ftn.idp9472352" class="footnote"><p><a href="#idp9472352" class="para"><sup class="para">[142] </sup></a>
+</p></div><div id="ftn.idp56548304" class="footnote"><p><a href="#idp56548304" class="para"><sup class="para">[143] </sup></a>
Molly Ivins, <span class="quote">«<span class="quote">Media Consolidation Must Be Stopped,</span>»</span>
<em class="citetitle">Charleston Gazette</em>, 31. mai 2003.
-</p></div><div id="ftn.idp9480688" class="footnote"><p><a href="#idp9480688" class="para"><sup class="para">[143] </sup></a>
+</p></div><div id="ftn.idp56560400" class="footnote"><p><a href="#idp56560400" class="para"><sup class="para">[144] </sup></a>
James Fallows, <span class="quote">«<span class="quote">The Age of Murdoch,</span>»</span> <em class="citetitle">Atlantic
-Monthly</em> (September 2003): 89. <a class="indexterm" name="idp9482784"></a>
-</p></div><div id="ftn.idp9494752" class="footnote"><p><a href="#idp9494752" class="para"><sup class="para">[144] </sup></a>
+Monthly</em> (September 2003): 89. <a class="indexterm" name="idp56562720"></a>
+</p></div><div id="ftn.idp56577088" class="footnote"><p><a href="#idp56577088" class="para"><sup class="para">[145] </sup></a>
Leonard Hill, <span class="quote">«<span class="quote">The Axis of Access,</span>»</span> uttalelser ved Weidenbaum
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#28</a>; for Lear-historien som ikke er inkludert i den forberedte
uttalelsen, se <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #29</a>).
-</p></div><div id="ftn.idp9501280" class="footnote"><p><a href="#idp9501280" class="para"><sup class="para">[145] </sup></a>
+</p></div><div id="ftn.idp56583616" class="footnote"><p><a href="#idp56583616" class="para"><sup class="para">[146] </sup></a>
NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media
Ownership Before the Senate Commerce Committee, 108th Cong., 1st
-sess. (2003) (testimony of Gene Kimmelman on behalf of Consumers Union and
-the Consumer Federation of America), available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #30</a>. Kimmelman quotes
-Victoria Riskin, president of Writers Guild of America, West, in her Remarks
-at FCC En Banc Hearing, Richmond, Virginia, 27 February 2003.
-</p></div><div id="ftn.idp9504080" class="footnote"><p><a href="#idp9504080" class="para"><sup class="para">[146] </sup></a>
+sess. (2003) (vitnemål fra Gene Kimmelman på vegne av Consumers Union og the
+Consumer Federation of America), tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #30</a>. Kimmelman siterer
+Victoria Riskin, president for Writers Guild of America, West, i sine
+kommentarer ved FCC En Banc Hearing, Richmond, Virginia, 27. februar 2003.
+</p></div><div id="ftn.idp56586688" class="footnote"><p><a href="#idp56586688" class="para"><sup class="para">[147] </sup></a>
ibid.
-</p></div><div id="ftn.idp9510768" class="footnote"><p><a href="#idp9510768" class="para"><sup class="para">[147] </sup></a>
+</p></div><div id="ftn.idp56593376" class="footnote"><p><a href="#idp56593376" class="para"><sup class="para">[148] </sup></a>
<span class="quote">«<span class="quote">Barry Diller Takes on Media Deregulation,</span>»</span> <em class="citetitle">Now with
-Bill Moyers</em>, Bill Moyers, 25 April 2003, redigert avskrift
+Bill Moyers</em>, Bill Moyers, 25. april 2003, redigert avskrift
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#31</a>.
-</p></div><div id="ftn.idp9517904" class="footnote"><p><a href="#idp9517904" class="para"><sup class="para">[148] </sup></a>
+</p></div><div id="ftn.idp56601552" class="footnote"><p><a href="#idp56601552" class="para"><sup class="para">[149] </sup></a>
Clayton M. Christensen, <em class="citetitle">The Innovator's Dilemma: The
Revolutionary National Bestseller that Changed the Way We Do
Business</em> (Cambridge: Harvard Business School Press,
-1997). Christensen annerkjenner at ideen ble først foreslått av Dean Kim
+1997). Christensen anerkjenner at idéen ble først foreslått av Dean Kim
Clark. Se Kim B. Clark, <span class="quote">«<span class="quote">The Interaction of Design Hierarchies and
Market Concepts in Technological Evolution,</span>»</span> <em class="citetitle">Research
Policy</em> 14 (1985): 235–51. For en nyere undersøkelse, se
Richard Foster og Sarah Kaplan, <em class="citetitle">Creative Destruction: Why
-Companies That Are Built to Last Underperform the Market — and How to
+Companies That Are Built to Last Underperform the Market – and How to
Successfully Transform Them</em> (New York: Currency/Doubleday,
-2001). </p></div><div id="ftn.idp9544320" class="footnote"><p><a href="#idp9544320" class="para"><sup class="para">[149] </sup></a>
+2001). </p></div><div id="ftn.idp56628720" class="footnote"><p><a href="#idp56628720" class="para"><sup class="para">[150] </sup></a>
-<a class="indexterm" name="idp9544704"></a> <a class="indexterm" name="idp9545808"></a> <a class="indexterm" name="idp9546592"></a> <a class="indexterm" name="idp9547424"></a> <a class="indexterm" name="idp9548256"></a>
-<a class="indexterm" name="idp9549072"></a> <a class="indexterm" name="idp9549856"></a> Marihuana-politikkprosjektet forsøkte i februar 2003 å få plassert
-reklamer som direkte svarte på Nick og Norm-serien på stasjoner i Washington
-D.C-området. Comcast avviste reklamen som <span class="quote">«<span class="quote">mot [deres]
-regler.</span>»</span> Den lokale NBC-fillialen, WRC, avviste reklamene uten å
+<a class="indexterm" name="idp56629104"></a> <a class="indexterm" name="idp56630208"></a> <a class="indexterm" name="idp56630992"></a> <a class="indexterm" name="idp56631824"></a> <a class="indexterm" name="idp56632656"></a>
+<a class="indexterm" name="idp56633472"></a> <a class="indexterm" name="idp56634304"></a> Marihuana-politikkprosjektet forsøkte i februar 2003 å få plassert
+reklameinnslag som direkte svarte på Nick og Norm-serien på stasjoner i
+Washington D.C.-området. Comcast avviste innslagene som <span class="quote">«<span class="quote">mot [deres]
+regler.</span>»</span> Den lokale NBC-fillialen, WRC, avviste innslagene uten å
titte på dem. Den lokale ABC-fillialen, WJOA, gikk opprinnelig med på å
-kjøre reklamen, og tok imot betaling for å gjøre det, men bestemte seg
-senere for å ikke kjøre reklamen, og returnerte pengene. Intervju med Neal
-Levine, 15. oktober 2003. Disse begrensningene er naturligvis ikke begrenset
-til narkotikapolitikk. Se for eksempel Nat Ives, <span class="quote">«<span class="quote">On the Issue of an
-Iraq War, Advocacy Ads Meet with Rejection from TV Networks,</span>»</span>
-<em class="citetitle">New York Times</em>, 13. mars 2003, C4. Ut over
-valgkamprelatert sendetid er det veldig lite som FCC eller domstolene er
-villig til å gjøre for å få gi like vilkår for alle. For en generell
-oversikt, se Rhonda Brown, <span class="quote">«<span class="quote">Ad Hoc Access: The Regulation of Editorial
-Advertising on Television and Radio,</span>»</span> <em class="citetitle">Yale Law and Policy
-Review</em> 6 (1988): 449–79, og for en nylig oppdatering av
-posisjonen til FCC og domstolene, se <em class="citetitle">Radio-Television News
-Directors Association</em> v. <em class="citetitle">FCC</em>, 184 F. 3d
-872 (D.C. Cir. 1999). Kommunale administrasjoner utøver den samme
-autoriteten som nettverkene. I et nylig eksempel fra San Francisco, avviste
-kollektivtransportmyndighetene en reklame som kritiserte deres Muni
-diesel-busser. Phillip Matier og Andrew Ross, <span class="quote">«<span class="quote">Antidiesel Group
-Fuming After Muni Rejects Ad,</span>»</span> SFGate.com, 16. juni 2003,
-tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
-#32</a>. Begrunnelsen var at kritikken var <span class="quote">«<span class="quote">for
-kontroversiell.</span>»</span>
-</p></div><div id="ftn.idp9577376" class="footnote"><p><a href="#idp9577376" class="para"><sup class="para">[150] </sup></a>
-
-<a class="indexterm" name="idp9578592"></a> Siva Vaidhyanathan fanger et lignende
+kjøre innslagene, og tok imot betaling for å gjøre det, men bestemte seg
+senere for å ikke kjøre innslagene, og returnerte pengene. Intervju med
+Neal Levine, 15. oktober 2003. Disse begrensningene er naturligvis ikke
+begrenset til narkotikapolitikk. Se for eksempel Nat Ives, <span class="quote">«<span class="quote">On the
+Issue of an Iraq War, Advocacy Ads Meet with Rejection from TV
+Networks,</span>»</span> <em class="citetitle">New York Times</em>, 13. mars 2003, C4.
+Ut over valgkamprelatert sendetid er det veldig lite som FCC eller
+domstolene er villig til å gjøre for å få gi like vilkår for alle. For en
+generell oversikt, se Rhonda Brown, <span class="quote">«<span class="quote">Ad Hoc Access: The Regulation of
+Editorial Advertising on Television and Radio,</span>»</span> <em class="citetitle">Yale Law
+and Policy Review</em> 6 (1988): 449–79, og for en nylig
+oppdatering av posisjonen til FCC og domstolene, se
+<em class="citetitle">Radio-Television News Directors Association</em>
+v. <em class="citetitle">FCC</em>, 184 F. 3d 872 (D.C. Cir. 1999). Kommunale
+administrasjoner utøver den samme autoriteten som nettverkene. I et nylig
+eksempel fra San Francisco, avviste kollektivtransportmyndighetene en
+reklame som kritiserte deres Muni diesel-busser. Phillip Matier og Andrew
+Ross, <span class="quote">«<span class="quote">Antidiesel Group Fuming After Muni Rejects Ad,</span>»</span>
+SFGate.com, 16. juni 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #32</a>. Begrunnelsen var at
+kritikken var <span class="quote">«<span class="quote">for kontroversiell.</span>»</span>
+</p></div><div id="ftn.idp56662576" class="footnote"><p><a href="#idp56662576" class="para"><sup class="para">[151] </sup></a>
+
+<a class="indexterm" name="idp56662960"></a> Siva Vaidhyanathan fanger et lignende
poeng i hans <span class="quote">«<span class="quote">fire kapitulasjoner</span>»</span> for åndsverkloven i den
digitale tidsalder. Se Vaidhyanathan, 159–60.
-</p></div><div id="ftn.idp9623120" class="footnote"><p><a href="#idp9623120" class="para"><sup class="para">[151] </sup></a>
+</p></div><div id="ftn.idp56707728" class="footnote"><p><a href="#idp56707728" class="para"><sup class="para">[152] </sup></a>
-<a class="indexterm" name="idp9623504"></a> Det å demonstrere at alle
+<a class="indexterm" name="idp56708112"></a> Det å demonstrere at alle
eiendomsrettigheter alltid har vært utformet for å balansere interessene til
fellesskapet og private, var det viktigste enkeltbidrag fra den juridiske
realist-bevegelsen. Se Thomas C. Grey, <span class="quote">«<span class="quote">The Disintegration of
Property,</span>»</span> i <em class="citetitle">Nomos XXII: Property</em>, J. Roland
Pennock og John W. Chapman, eds. (New York: New York University Press,
1980).
-</p></div></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-puzzles"></a>Del III. Nøtter</h1></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="chimera"></a>Kapittel elleve: Fantasifoster
/ Chimera</h2></div></div></div><a class="indexterm" name="idxchimera"></a><a class="indexterm" name="idxwells"></a><a class="indexterm" name="idxtcotb"></a><p>
+</p></div></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-puzzles"></a>Del III. Nøtter</h1></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="chimera"></a>Kapittel elleve: Fantasifoster
/Chimera</h2></div></div></div><a class="indexterm" name="idxchimera"></a><a class="indexterm" name="idxwells"></a><a class="indexterm" name="idxtcotb"></a><p>
<span class="strong"><strong>I en velkjent</strong></span> novelle av H. G. Wells,
snublet en fjellklatrer ved navn Nunez ned en is-skråning inn i en ukjent og
-isolert dal i de Peruanske Andesfjellene.<a href="#ftn.idp9648336" class="footnote" name="idp9648336"><sup class="footnote">[152]</sup></a> Dalen er utrolig vakker, med <span class="quote">«<span class="quote">friskt vann, beiteland, et
+isolert dal i de Peruanske Andesfjellene.<a href="#ftn.idp56732992" class="footnote" name="idp56732992"><sup class="footnote">[153]</sup></a> Dalen er utrolig vakker, med <span class="quote">«<span class="quote">friskt vann, beiteland, et
jevnt klima og bakker med rik brun jord med virvar av buskas som bar en
velsmakende frukt.</span>»</span> Men landsbyboerne er alle blinde. Nunez ser
dette som en mulighet. <span class="quote">«<span class="quote">I de blindes rike,</span>»</span> forteller han seg
</p><p>
Legen fortsetter: <span class="quote">«<span class="quote">Jeg tror jeg med rimelig sikkerhet kan si at for å
kunne helbrede ham er alt vi trenger å gjøre en enkel og lett kirurgisk
-operasjon — nemlig å fjerne disse irriterte organene [øynene].</span>»</span>
+operasjon – nemlig å fjerne disse irriterte organene [øynene].</span>»</span>
</p><p>
<span class="quote">«<span class="quote">Takk Gud for vitenskapen!</span>»</span> sier faren til doktoren. De
forteller Nunez om dette kravet som han må oppfylle for å få sin brud. (Du
<span class="strong"><strong>Det skjer</strong></span> noen ganger at eggene til
tvillinger sveises sammen i morens livmor. Den sammensveisingen skaper et
-<span class="quote">«<span class="quote">fantasifoster / chimera.</span>»</span> Et fantasifoster er en enkelt
+<span class="quote">«<span class="quote">fantasifoster/chimera.</span>»</span> Et fantasifoster er en enkelt
skapning med to sett med DNA. DNA-et i blodet kan for eksempel være
forskjellig fra DNA-et i huden. Denne muligheten er en for lite brukt
handling i mordmysterier. <span class="quote">«<span class="quote">Men DNA-et viser med 100 prosent sikkerhet
at hennes blod ikke er det som var på åstedet. …</span>»</span>
-</p><a class="indexterm" name="idp
9668864"></a><a class="indexterm" name="idp9670144"></a><p>
+</p><a class="indexterm" name="idp
56753504"></a><a class="indexterm" name="idp56754784"></a><p>
Før jeg hadde lest om fantasifoster, så ville jeg ha sagt at det var
umulig. En enkelt person kan ikke ha to sett med DNA. Selve idéen med DNA
er at det er koden til et individ. Likevel er det jo faktisk slik at ikke
fantasifoster vi snakker om. For eksempel i kampen om spørsmålet <span class="quote">«<span class="quote">Hva
er p2p-fildeling?</span>»</span> har begge sider rett, og begge sider tar feil. En
side sier, <span class="quote">«<span class="quote">fildeling er akkurat som om to unger tar opp hverandres
-plater på bånd — akkurat slik vi har gjort det de siste tredve årene
+plater på bånd – akkurat slik vi har gjort det de siste tredve årene
uten at noen har stilt spørsmål ved det i det hele tatt.</span>»</span> Det er
riktig, i hvert fall delvis. Når jeg ber min beste venn om å høre på en ny
CD jeg har kjøpt, og i stedet for å bare sende CD-en, så viser jeg han til
er det riktig, i hvert fall delvis. Hvis jeg, etter at Lyle Lovett
(endelig) gir ut et nytt album, i stedet for å kjøpe den går på Kazaa og
finner et gratis eksemplar jeg kan ta, så er det veldig likt det å stjele et
-eksemplar fra Tower.<a class="indexterm" name="idp9680704"></a>
+eksemplar fra Tower.<a class="indexterm" name="idp56765136"></a>
</p><p>
1 500 000 dollar i erstatning.)
</p><p>
Poenget er ikke at beskrivelsen fra begge sider er feil. Poenget er at
-begge sider har rett — både som RIAA beskriver det, og som Kazaa
+begge sider har rett – både som RIAA beskriver det, og som Kazaa
beskriver det. Det er et fantasifoster. Og i stedet for å ganske enkelt
benekte det den andre siden hevder, så må vi begynne å tenke på hvordan vi
kan svare på dette fantasifosteret. Hvilke regler bør styre det?
datamaskiner. Og vi kan få universiteter til å overvåke all datatrafikk for
å sikre at ingen datamaskin blir brukt til å gjennomføre denne
forbrytelsen. Disse svarene er kanskje ekstreme, men hver av dem har enten
-blitt foreslått, eller er allerede gjennomført.<a href="#ftn.idp9685040" class="footnote" name="idp9685040"><sup class="footnote">[153]</sup></a>
+blitt foreslått, eller er allerede gjennomført.<a href="#ftn.idp56769568" class="footnote" name="idp56769568"><sup class="footnote">[154]</sup></a>
-</p><a class="indexterm" name="idp
9696048"></a><p>
+</p><a class="indexterm" name="idp
56782064"></a><p>
Alternativt kan vi svare på fildeling slik mange unger oppfører seg som om
vi har svart. Vi kan legalisere det fullstendig. Fjern alt ansvar for
brudd på opphavsretten, både sivilt og strafferettslig, når en gjør
Likevel er nulltoleranse i stadig større grad våre myndigheters politikk.
Midt i dette kaoset som Internett har skapt, finner et ekstraordinært
-eiendomstyveri sted. Retten og teknologien endres til å gi
+eiendomstyveri fra fellesskapet sted. Retten og teknologien endres til å gi
innholdsinnehaverne en type kontroll over kulturen vår som de aldri har hatt
før. Og i denne ekstremiteten vil mange muligheter for nye oppfinnelser og
ny kreativitet gå tapt.
som er tilgjengelig for forbrukere, både når det gjelder hvor enkelt de vil
være i stand til å få tilgang til digitale medier, og utstyret som de vil
kreve for å gjøre dette. Dårlige valg som gjøres tidlig i dette spillet, vil
-hemme veksten i dette markedet, og skade alles interesser.<a href="#ftn.idp9706160" class="footnote" name="idp9706160"><sup class="footnote">[154]</sup></a>
+hemme veksten i dette markedet, og skade alles interesser.<a href="#ftn.idp56792176" class="footnote" name="idp56792176"><sup class="footnote">[155]</sup></a>
</p></blockquote></div><p>
I april 2001 ble eMusic.com kjøpt opp av Vivendi Universal, et av <span class="quote">«<span class="quote">de
store plateselskapene.</span>»</span> Selskapets holdning rundt disse temaene har
-nå endret seg. <a class="indexterm" name="idp9709040"></a>
+nå endret seg. <a class="indexterm" name="idp56795056"></a>
</p><p>
Å nå reversere vår tolerante tradisjon vil ikke bare knuse piratvirksomhet.
Det vil ofre verdier som er viktige for denne kulturen, og det vil drepe
muligheter som kan være svært verdifulle.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp9648336" class="footnote"><p><a href="#idp9648336" class="para"><sup class="para">[152] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp56732992" class="footnote"><p><a href="#idp56732992" class="para"><sup class="para">[153] </sup></a>
H. G. Wells, <span class="quote">«<span class="quote">The Country of the Blind</span>»</span> (1904, 1911). Se
H. G. Wells, <em class="citetitle">The Country of the Blind and Other
Stories</em>, Michael Sherborne, ed. (New York: Oxford University
Press, 1996).
-</p></div><div id="ftn.idp9685040" class="footnote"><p><a href="#idp9685040" class="para"><sup class="para">[153] </sup></a>
-
-<a class="indexterm" name="idp9685424"></a> For an excellent summary, see the
-report prepared by GartnerG2 and the Berkman Center for Internet and Society
-at Harvard Law School, <span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster
-World,</span>»</span> 27 June 2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #33</a>. Reps. John Conyers
-Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill that
-would treat unauthorized on-line copying as a felony offense with
-punishments ranging as high as five years imprisonment; see Jon Healey,
-<span class="quote">«<span class="quote">House Bill Aims to Up Stakes on Piracy,</span>»</span> <em class="citetitle">Los
-Angeles Times</em>, 17 July 2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #34</a>. Civil penalties are
-currently set at $150,000 per copied song. For a recent (and unsuccessful)
-legal challenge to the RIAA's demand that an ISP reveal the identity of a
-user accused of sharing more than 600 songs through a family computer, see
+</p></div><div id="ftn.idp56769568" class="footnote"><p><a href="#idp56769568" class="para"><sup class="para">[154] </sup></a>
+
+<a class="indexterm" name="idp56769952"></a> For en utmerket oppsummering, se
+rapporten lagd av GartnerG2 og Berkman Center for Internet and Society at
+Harvard Law School, <span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster
+World,</span>»</span> 27. juni 2003, tilgjengelig ved <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #33</a>. Representantene John
+Conyers Jr. (demokrat i Michigan) og Howard L. (demokrat i California) har
+introdusert et lovforslag som vil behandle uautorisert elektronisk kopiering
+som en strafferettslig forbrytelse med opp til fem års fengselstraff; se Jon
+Healey <span class="quote">«<span class="quote">House Bill Aims to Up Stakes on Piracy,</span>»</span> <em class="citetitle">Los
+Angeles Times</em>, 17. juli 2003, tilgjengelig ved <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #34</a>. Nå er
+erstatningskravet 150 000 dollar per kopierte sang. Det ble lagt frem i
+en nylig (og mislykket) utfordring av et RIAA krav til en
+internettleverandør om å avsløre identiteten til en bruker som var anklaget
+for å ha delt mer enn 600 sanger gjennom familiens datamaskin, se
<em class="citetitle">RIAA</em> v. <em class="citetitle">Verizon Internet Services (In
-re. Verizon Internet Services)</em>, 240 F. Supp. 2d 24
-(D.D.C. 2003). Such a user could face liability ranging as high as $90
-million. Such astronomical figures furnish the RIAA with a powerful arsenal
-in its prosecution of file sharers. Settlements ranging from $12,000 to
-$17,500 for four students accused of heavy file sharing on university
-networks must have seemed a mere pittance next to the $98 billion the RIAA
-could seek should the matter proceed to court. See Elizabeth Young,
-<span class="quote">«<span class="quote">Downloading Could Lead to Fines,</span>»</span> redandblack.com, August
-2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
-#35</a>. For an example of the RIAA's targeting of student file sharing,
-and of the subpoenas issued to universities to reveal student file-sharer
-identities, see James Collins, <span class="quote">«<span class="quote">RIAA Steps Up Bid to Force BC, MIT to
-Name Students,</span>»</span> <em class="citetitle">Boston Globe</em>, 8 August 2003,
-D3,
available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
-#36</a>. <a class="indexterm" name="idp9694160"></a> <a class="indexterm" name="idp9694976"></a>
-</p></div><div id="ftn.idp9706160" class="footnote"><p><a href="#idp9706160" class="para"><sup class="para">[154] </sup></a>
+re. Verizon Internet Services)</em>, 240 F. Supp. 2d 24
+(D.D.C. 2003). En slik bruker kan være ansvarlig for erstatningskrav opp til
+90 millioner dollar. Slike astronomisk store verdier gir RIAA et kraftig
+arsenal til dens forfølgelse av fildelere. Fire studenter som er anklaget
+for massiv fildeling ved universitetsnettverk har forlikt for mellom
+12 000 og 17 500 dollar, og dette må virke som en luselønn i
+forhold til de 98 millioner dollar RIAA kunne ha krevd dersom saken ble
+avgjort ved rettsak. Se Elizabeth Young, <span class="quote">«<span class="quote">Downloading Could Lead to
+Fines,</span>»</span> redandblack.com, august 2003, tilgjengelig ved <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #35</a>. For et eksempel på
+RIAAs målretter fildeling gjort av studenter, og stevningene de ga til
+universiteter for å få dem til å avsløre identiteten til fildelende
+studenter, se James Collins, <span class="quote">«<span class="quote">RIAA Steps Up Bid to Force BC, MIT to
+Name Students,</span>»</span> <em class="citetitle">Boston Globe</em>, 8. august 2003,
+D3,
tilgjengelig ved <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
+#36</a>.<a class="indexterm" name="idp56780176"></a> <a class="indexterm" name="idp56780992"></a>
+</p></div><div id="ftn.idp56792176" class="footnote"><p><a href="#idp56792176" class="para"><sup class="para">[155] </sup></a>
WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital
Entertainment on the Internet and Other Media: Hearing Before the
Subcommittee on Telecommunications, Trade, and Consumer Protection, House
-Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter,
-vice president, Global Public Policy and Standards, EMusic.com), available
-i
n LEXIS, Federal Document Clearing House Congressional Testimony File. </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="harms"></a>Kapittel tolv: Skader</h2></div></div></div><p>
+Committee on Commerce, 106th Cong. 29 (1999) (uttalelse fra Peter Harter,
+visepresident, Global Public Policy and Standards, EMusic.com), tilgjengelig
+i LEXIS, Federal Document Clearing House Congressional Testimony File. </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="harms"></a>Kapittel tolv: Skader</h2></div></div></div><p>
<span class="strong"><strong>Ved å bekjempe</strong></span>
<span class="quote">«<span class="quote">piratvirksomhet</span>»</span> for å beskytte <span class="quote">«<span class="quote">eiendom</span>»</span> har
-innholdsindustrien erklært krig. Lobbyering og mange valgkampbidrag har nå
-dratt myndighetene inn i denne krigen. Og som med enhver krig vil en både
-ha direkte og utilsiktet skadevirkning. Og som med enhver forbudskrig, er
-det mest våre egne folk som lider under disse ødeleggelsene.
+innholdsindustrien erklært krig. Lobbyvirksomhet og mange valgkampbidrag
+har nå dratt myndighetene inn i denne krigen. Og som med enhver krig vil en
+både ha direkte og utilsiktet skadevirkning. Og som med enhver forbudskrig,
+er det mest våre egne folk som lider under disse ødeleggelsene.
</p><p>
Så langt har målet mitt vært å beskrive konsekvensene av denne krigen, og
spesielt konsekvensene for <span class="quote">«<span class="quote">fri kultur.</span>»</span> Men nå er målet mitt
at loven burde forsvare det gamle mot det nye, akkurat når makten til
eiendomsretten som kalles <span class="quote">«<span class="quote">immateriell eiendom</span>»</span> er større enn
den noen gang har vært i vår historie.
-</p><a class="indexterm" name="idp
9717792"></a><a class="indexterm" name="idp9718608"></a><p>
+</p><a class="indexterm" name="idp
56803712"></a><a class="indexterm" name="idp56804528"></a><p>
Likevel ser ikke <span class="quote">«<span class="quote">sunn fornuft</span>»</span> det slik. Sunn fornuft er
fortsatt enig med Causbyene og innholdsindustrien. Det ekstreme krav om
kontroll som fremmes på vegne av eiendomsrett, aksepteres
fortsatt. <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span> avvises fortsatt ukritisk.
-</p><a class="indexterm" name="idp
9721072"></a><p>
+</p><a class="indexterm" name="idp
56806992"></a><p>
Det vil være mange konsekvenser ved å fortsette denne krigen. Jeg ønsker å
Du kan skrive et innlegg om inkonsekvenser i argumentene til en politiker
som du elsker å hate, eller du kan lage en kort film som setter uttalelser
mot hverandre. Du kan skrive et dikt som uttrykker din kjærlighet, eller du
-kan veve sammen en tråd — en nettfletting — av sanger fra dine
+kan veve sammen en tråd – en nettfletting – av sanger fra dine
favorittartister i en slags fotomontasje, og gjøre den tilgjengelig på
nettet.
-</p><p>
+</p><a class="indexterm" name="idp56812512"></a><a class="indexterm" name="idp56813584"></a><p>
Denne digitale <span class="quote">«<span class="quote">erobring og deling</span>»</span> er delvis en utvidelse av
den erobringen og delingen som alltid har vært en del av vår kultur, og
delvis noe som er nytt. Det er fortsettelsen av Kodaken, men det sprenger
smale tema om vitenskap eller kultur. Det er store mengder kreative verk
spredt rundt om på Internett. Men slik loven er satt sammen i dag er disse
verkene antatt å være ulovlig.
-</p><a class="indexterm" name="idp
9731504"></a><a class="indexterm" name="idp9732288"></a><a class="indexterm" name="idp9733488"></a><a class="indexterm" name="idp9734656"></a><a class="indexterm" name="idp9735488"></a><p>
+</p><a class="indexterm" name="idp
56819296"></a><a class="indexterm" name="idp56820080"></a><a class="indexterm" name="idp56821280"></a><a class="indexterm" name="idp56822448"></a><a class="indexterm" name="idp56823280"></a><p>
Denne antagelsen vil i stadig større grad kjøle ned kreativiteten, etter
hvert som eksemplene på ekstreme straffer for vage opphavsrettsbrudd
fortsetter å spre seg. Det er umulig å få en klar forståelse for hva som er
forbløffende harde. De fire studentene som ble truet av RIAA (Jesse Jordan
i kapittel <a class="xref" href="#catalogs" title="Kapittel tre: Kataloger">3</a> er
bare en av dem), ble truet med et 98-milliarder dollar-søksmål for å lage
-søkemotorer som tillot sanger å bli kopiert. Mens World-Com — som
+søkemotorer som tillot sanger å bli kopiert. Mens World-Com – som
svindlet investorer for 11 milliarder dollar, og førte til et tap hos
-investorer i markedskapital på over 200 milliarder dollar — førte til
-en bot som kun var på 750 millioner dollar.<a href="#ftn.idp9738624" class="footnote" name="idp9738624"><sup class="footnote">[155]</sup></a> Og i henhold til lovgiving som fremmes i Kongressen akkurat nå, kan
+investorer i markedskapital på over 200 milliarder dollar – førte til
+en bot som kun var på 750 millioner dollar.<a href="#ftn.idp56826416" class="footnote" name="idp56826416"><sup class="footnote">[156]</sup></a> Og i henhold til lovgiving som fremmes i Kongressen akkurat nå, kan
en lege som skjødesløst fjerner feil fot i en operasjon ville risikere ikke
-mer enn 250 000 dollar i skadeerstatning for smerte og lidelse.<a href="#ftn.idp9743040" class="footnote" name="idp9743040"><sup class="footnote">[156]</sup></a> Kan sunn fornuft kjenne igjen det absurde i en
+mer enn 250 000 dollar i skadeerstatning for smerte og lidelse.<a href="#ftn.idp56830832" class="footnote" name="idp56830832"><sup class="footnote">[157]</sup></a> Kan sunn fornuft kjenne igjen det absurde i en
verden der den maksimale boten for å laste ned to sanger fra Internett er
høyere enn boten til en lege som skjødesløst slakter en pasient?
-</p><a class="indexterm" name="idp
9748192"></a><p>
+</p><a class="indexterm" name="idp
56836800"></a><p>
Konsekvensen av denne juridiske usikkerheten, sammen med disse ekstremt høye
straffene, er at en ekstraordinær mengde kreativitet aldri vil gjennomføres,
eller aldri vil gjennomføres åpnelyst. Vi tvinger denne kreative prosessen
uklare. Det betaler seg aldri å gjøre noe annet enn å betale for retten til
å skape, og dermed vil kun de som kan betale få lov til å skape. Slik det
var tilfelle i Sovjetunionen, dog av helt andre årsaker, så vil vi begynne å
-se en verden av undergrunnskunst —i kke fordi budskapet nødvendigvis
+se en verden av undergrunnskunst – ikke fordi budskapet nødvendigvis
er politisk, eller fordi temaet er kontroversielt, men på grunn av at selve
det å skape denne kunsten er juridisk skummelt. Utstillinger med
-<span class="quote">«<span class="quote">ulovlig kunst</span>»</span> har allerede vært på turné i USA.<a href="#ftn.idp9750640" class="footnote" name="idp9750640"><sup class="footnote">[157]</sup></a> Hva består deres <span class="quote">«<span class="quote">ulovlighet</span>»</span> i? I
+<span class="quote">«<span class="quote">ulovlig kunst</span>»</span> har allerede vært på turné i USA.<a href="#ftn.idp56839248" class="footnote" name="idp56839248"><sup class="footnote">[158]</sup></a> Hva består deres <span class="quote">«<span class="quote">ulovlighet</span>»</span> i? I
det å mikse kulturen rundt oss med et uttrykk som er kritisk eller
ettertenksomt.
-</p><a class="indexterm" name="idp
9756320"></a><p>
+</p><a class="indexterm" name="idp
56844928"></a><p>
En del av årsaken til denne frykten for ulovligheter har å gjøre med
endringer i lovverket. Jeg beskrev endringen i detalj i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>. Men en enda større
del har å gjøre med hvordan det blir stadig enklere å spore opp
som om din kassettspiller sender en liste med sanger du har spilt i
privatsfæren i ditt eget hjem som enhver kan lytte på etter eget
forgodtbefinnende.
-</p><a class="indexterm" name="idp
9759504"></a><p>
+</p><a class="indexterm" name="idp
56848112"></a><p>
Aldri før i vår historie har en maler trengt å bekymre seg om hans maleri
krenker noen andres verk. Men en moderne maler, som bruker verktøyene til
Photoshop og deler innholdet på nettet, må bekymre seg for dette hele
Men rimelig bruk i USA betyr bare at en har rett til å hyre inn en advokat
til å forsvare din rett til å skape. Og som advokater liker å glemme er
-vårt system for å forsvare ens rett utrolig dårlig — i nær sagt i
-enhver sammenheng, men spesielt her. Det koster for mye, det leverer for
-tregt, og det som blir levert har ofte liten tilknytning til rettferdigheten
-i det underliggende kravet. Rettssystemet er kanskje tolererbart for de
-veldig rike. Men for alle andre er det pinlig for en tradisjon som ellers
-liker å være stolt av rettssikkerheten.
+vårt system for å forsvare ens rett utrolig dårlig – i nær sagt enhver
+sammenheng, men spesielt her. Det koster for mye, det leverer for tregt, og
+det som blir levert har ofte liten tilknytning til rettferdigheten i det
+underliggende kravet. Rettssystemet er kanskje tolererbart for de veldig
+rike. Men for alle andre er det pinlig for en tradisjon som ellers liker å
+være stolt av rettssikkerheten.
</p><p>
Dommere og advokater kan fortelle hverandre at rimelig bruk gir
tilstrekkelig <span class="quote">«<span class="quote">pusterom</span>»</span> mellom lovregulering og tilgangen som
loven bør tillate. Men det viser hvor fjernt vårt juridiske system har
blitt at noen faktisk kan tro dette. Reglene som utgivere pålegger
forfattere, reglene som filmdistributører pålegger filmskapere, reglene som
-aviser pålegger journalister — dette er de virkelige lovene som styrer
+aviser pålegger journalister – dette er de virkelige lovene som styrer
kreativitet. Og disse reglene har lite til felles med <span class="quote">«<span class="quote">loven</span>»</span>
som dommerne trøster hverandre med.
</p><p>
enkelt bevisst opphavsrettsbrudd, og som krever titusener av dollar bare for
å forsvare seg mot en påstand om å ha brutt opphavsretten, og som aldri vil
gi dem som er feilaktig anklaget tilbake noen av de kostnadene hun ble
-påført for å forsvare sin rett til å uttale seg — i den verden,
+påført for å forsvare sin rett til å uttale seg – i den verden,
knebler de utrolig vidtrekkende reguleringene som går under navnet
<span class="quote">«<span class="quote">opphavsrett</span>»</span> både tale og kreativitet. Og i den verden kreves
det en utstudert blindhet for at noen fortsatt skal tro at de lever i en fri
på PBS uten slik tillatelse. Det er poenget med den type kontroll de har.
</p></blockquote></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="innovators"></a>12.2. Legger bånd på oppfinnere</h2></div></div></div><a class="indexterm" name="idxcopyrightlawinnovationhamperedby"></a><a class="indexterm" name="idxinnovationindustryestablishmentopposedto2"></a><a class="indexterm" name="idxregulationasestablishmentprotectionism2"></a><p>
Historien i den siste delen var en knasende venstreorientert historie
-— knust kreativitet, kunstnere får ikke uttrykke seg, bla bla bla.
-Kanskje slikt ikke overbeviser deg. Kanskje du mener det er nok sær kunst
-der ute, og uttrykk som er kritiske til omtrent alt mulig. Og hvis du
-tenker slik, så mener du kanskje at det er lite i den historien du trenger å
-bekymre deg for.
+– knust kreativitet, kunstnere får ikke uttrykke seg, bla bla bla.
+Kanskje slikt ikke overbeviser deg. Kanskje du mener det finnes nok sær
+kunst der ute, og nok uttrykk som er kritiske til omtrent hva som helst. Og
+hvis du tenker slik, så mener du kanskje at det er lite i den historien du
+trenger å bekymre deg for.
</p><a class="indexterm" name="idxmarketconstraints2"></a><p>
-Men det er det en fasett ved denne historien som overhodet ikke er
-venstrevridd. Faktisk er det en fasett som kunne vært skrevet av den mest
-ekstreme ideologiske markedets forkjemper. Hvis du er en av disse (og en
-svært spesiell en, <a class="xref" href="#innovators" title="12.2. Legger bånd på oppfinnere"></a> sider inn i en bok som denne), så kan du se denne
-andre fasetten ved å bytte inn <span class="quote">«<span class="quote">fritt marked</span>»</span> hver gang jeg har
+Men det er et aspekt ved denne historien som overhodet ikke er venstrevridd
+i det hele tatt. Faktisk er det et aspekt som kunne vært skrevet av den
+mest ekstreme ideologiske markedsforkjemper. Hvis du er en av disse (og en
+svært spesiell en, <a class="xref" href="#innovators" title="12.2. Legger bånd på oppfinnere"></a> sider inn i en bok som denne), så kan du se dette
+aspektet ved å bytte inn <span class="quote">«<span class="quote">fritt marked</span>»</span> hver gang jeg har
snakket om <span class="quote">«<span class="quote">fri kultur.</span>»</span> Poenget er det samme, selv om
interessene som påvirker kultur er mer fundamentale.
</p><p>
Argumentene jeg har fremmet om regulering av kulturen er de samme som
forkjempere av frie markeder fremmer om markedsregulering. Alle er enige om
-at en viss regulering av markedene er nødvendig — som et minimum
+at en viss regulering av markedene er nødvendig – som et minimum
trenger vi regler om eiendom og kontrakter, og domstoler til å håndheve
begge deler. På samme måten i denne kulturdebatten er alle enige om at det
trengs i hvert fall et visst opphavsrettsrammeverk. Men begge perspektivene
mer regulering er bedre. Og begge perspektivene er konstant oppmerksom på
hvordan regulering ganske enkelt gjør det mulig for dagens mektige
industrier å beskytte seg selv mot morgendagens konkurrenter.
-</p><a class="indexterm" name="idp
9785776"></a><a class="indexterm" name="idp9788352"></a><a class="indexterm" name="idp9789168"></a><p>
+</p><a class="indexterm" name="idp
56874512"></a><a class="indexterm" name="idp56877024"></a><a class="indexterm" name="idp56877840"></a><p>
Dette er den ene mest dramatiske effekten fra skiftet i regelverksstrategi
som jeg beskrev i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>. Konsekvensen av denne massive trusselen om
lage noe nytt hvis de har aksept fra siste generasjons dominerende
industrier. Den leksjonen har blitt lært bort gjennom en serie med saker
som ble utformet og utført for å lære venturekapitalister en lekse. Leksen
-— som tidligere Napster-CEO Hank Barry kaller en <span class="quote">«<span class="quote">kjernefysisk
-skygge</span>»</span> som har spredt seg over Silicon Vally — har blitt lært.
-</p><a class="indexterm" name="idp
9792832"></a><a class="indexterm" name="idp9793584"></a><p>
+– som tidligere Napster-CEO Hank Barry kaller en <span class="quote">«<span class="quote">kjernefysisk
+skygge</span>»</span> som har spredt seg over Silicon Vally – har blitt lært.
+</p><a class="indexterm" name="idp
56881504"></a><a class="indexterm" name="idp56882256"></a><p>
Her er et eksempel for å demonstrere dette poenget, en historie jeg fortalte
starten av i <em class="citetitle">The Future of Ideas</em>, og som har utviklet
seg på en måte som selv ikke jeg (en ekstraordinær pessimist) kunne ha
spådd.
-</p><a class="indexterm" name="idxmpcom"></a><a class="indexterm" name="idxmympcom"></a><a class="indexterm" name="idp
9798672"></a><p>
+</p><a class="indexterm" name="idxmpcom"></a><a class="indexterm" name="idxmympcom"></a><a class="indexterm" name="idp
56887360"></a><p>
I 1997 etablerte Michael Roberts et selskap ved navn MP3.com. MP3.com var
ute etter å endre musikkbransjen. Målet deres var ikke bare å bidra til nye
måter å få tilgang til innhold. Målet var også å bidra til nye måter å
skape innhold. Til forskjell fra de store plateselskapene tilbød MP3.com
opphavspersonene en arena for å distribuere sin kreativitet, uten å kreve et
eksklusivt engasjement fra opphavspersonene.
-</p><a class="indexterm" name="idp
9800656"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
+</p><a class="indexterm" name="idp
56889344"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
Men for å få dette systemet til å virke, trengte MP3.com en pålitelig måte å
anbefale musikk til sine brukere. Idéen bak dette alternativet var å
utnytte musikklytternes eksponerte musikkvalg for å anbefale nye artister.
Hvis du liker Lyle Lovett, så vil du antagelig nyte Bonnie Raitt. Og så
videre.
</p><p>
-Denne idéen krevde et enkel måte å samle inn data om hva brukerne
+Denne idéen krevde en enkel måte å samle inn data om hva brukerne
foretrekker. MP3.com kom opp med en svært snedig måte å samle inn data om
hva brukerne foretrakk. Januar 2000 lanserte selskapet tjenesten
my.mp3.com. Ved å bruke programvare fra MP3.com logget brukeren inn på en
konto, og satte så en CD inn i datamaskinen sin. Programvaren ville kjenne
igjen CD-en, og så gi brukeren tilgang til det innholdet. Dermed kunne du,
hvis du f.eks. satte inn en CD av Jill Sobule, få tilgang til den musikken
-uansett hvor du var — på jobb eller hjemme — så snart du hadde
+uansett hvor du var – på jobb eller hjemme – så snart du hadde
logget inn på konto. Systemet var dermed et slags låsbart musikkskrin.
</p><p>
Målet med my.mp3.com-tjenesten var å gi brukere tilgang til sitt eget
innhold, og som et biprodukt av å se hva slags innhold brukerne allerede
eide, oppdage hva slags innhold brukerne likte.
-</p><a class="indexterm" name="idp
9807600"></a><p>
+</p><a class="indexterm" name="idp
56896368"></a><p>
Men for å få dette systemet til å fungere, måtte MP3.com kopiere 50 000
CD-er til en tjener. (I prinsippet kunne det vært brukerne som lastet opp
musikken, men det ville tatt svært mye tid, og det ville gjort at produktet
bekrefte at de allerede hadde et eksemplar av CD-en de ønsket tilgang til.
Så selv om dette var 50 000 kopier, så var det 50 000 kopier som
ble tilbudt for å gi kunder noe de allerede hadde kjøpt.
-</p><a class="indexterm" name="idxvivendiuniversal"></a><a class="indexterm" name="idp
9812032"></a><a class="indexterm" name="idp9813248"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp9816448"></a><a class="indexterm" name="idp9817600"></a><a class="indexterm" name="idp9818720"></a><p>
+</p><a class="indexterm" name="idxvivendiuniversal"></a><a class="indexterm" name="idp
56900800"></a><a class="indexterm" name="idp56902016"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp56905264"></a><a class="indexterm" name="idp56906416"></a><a class="indexterm" name="idp56907536"></a><p>
Ni dager etter at MP3.com lanserte sin tjeneste, anla de fem store
plateselskapene, under ledelse av RIAA, sak mot MP3.com. MP3.com inngikk
forlik med fire av de fem. Ni måneder senere avgjorde en føderal dommer at
ulovlig. Dermed forsøkte man med dette søksmålet å straffe enhver advokat
som våget å foreslå at loven var mindre restriktiv en plateselskapene
krevde.
-</p><a class="indexterm" name="idp
9822752"></a><p>
+</p><a class="indexterm" name="idp
56911568"></a><p>
Den åpenbare hensikten med dette søksmålet (som ble avsluttet med et forlik
for et uspesifisert beløp like etter at saken ikke lenger fikk
klienter som får lide hvis innholdsindustrien retter sine våpen mot dem.
Det får også du. Så de av dere som tror loven burde være mindre restriktiv,
bør innse at et slikt syn på loven vil koste deg og ditt firma dyrt.
-</p><a class="indexterm" name="idp
9825424"></a><a class="indexterm" name="idp9826640"></a><a class="indexterm" name="idp9827952"></a><a class="indexterm" name="idp9829392"></a><a class="indexterm" name="idp9830208"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp9834512"></a><a class="indexterm" name="idp9835296"></a><a class="indexterm" name="idp9836112"></a><a class="indexterm" name="idp9836928"></a><a class="indexterm" name="idp9837744"></a><a class="indexterm" name="idp9838560"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp9841232"></a><a class="indexterm" name="idp9842048"></a><p>
+</p><a class="indexterm" name="idp
56914240"></a><a class="indexterm" name="idp56915520"></a><a class="indexterm" name="idp56916832"></a><a class="indexterm" name="idp56918272"></a><a class="indexterm" name="idp56919088"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp56923232"></a><a class="indexterm" name="idp56924016"></a><a class="indexterm" name="idp56924832"></a><a class="indexterm" name="idp56925648"></a><a class="indexterm" name="idp56926464"></a><a class="indexterm" name="idp56927280"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp56929840"></a><a class="indexterm" name="idp56930656"></a><p>
Denne strategien er ikke begrenset kun til advokater. I april 2003 leverte
Universal og EMI inn et søksmål mot Hummer Winblad, venturekapitalfirmaet
-(VC) som hadde finansiert Napster på et bestemt steg i dets utvikling, dets
-medstifter (John Hummer) og dets generelle partner (Hank Berry).<a href="#ftn.idp9843728" class="footnote" name="idp9843728"><sup class="footnote">[158]</sup></a> Påstanden her var også VC-en burde ha forstått at
+(VC) som hadde finansiert Napster på et bestemt steg i dets utvikling; dets
+medstifter (John Hummer) og dets generelle partner (Hank Berry).<a href="#ftn.idp56932336" class="footnote" name="idp56932336"><sup class="footnote">[159]</sup></a> Påstanden her var også VC-en burde ha forstått at
innholdsindustrien hadde rett til å kontrollere hvordan industrien burde
utvikle seg. De burde holdes personlig ansvarlig for å ha finansiert et
selskap hvis forretningsmodell viste seg å være utenfor loven. Igjen er
MP3-er via bilens innebygde musikkanlegg, men at selskapets avdelinger for
markedføring og juss ikke var komfortable med å lansere dette over hele
landet. Selv i dag er det ingen nye biler solgt i USA med en fungerende
-MP3-spiller. … <a href="#ftn.idp9771648" class="footnote" name="idp9771648"><sup class="footnote">[159]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
9854448"></a><a class="indexterm" name="idp9855760"></a><a class="indexterm" name="idp9857008"></a><p>
-Dette er verden til mafiaen — fylt med <span class="quote">«<span class="quote">penger eller
+MP3-spiller. … <a href="#ftn.idp56860288" class="footnote" name="idp56860288"><sup class="footnote">[160]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
56943056"></a><a class="indexterm" name="idp56944304"></a><a class="indexterm" name="idp56945616"></a><p>
+Dette er verden til mafiaen – fylt med <span class="quote">«<span class="quote">penger eller
livet</span>»</span>-trusler, som ikke er regulert av domstolene, men av trusler
som loven gir rettighetsinnehaver mulighet til å komme med. Det er et system
som åpenbart og nødvendigvis vil kvele ny innovasjon. Det er vanskelig nok å
nyskapning. Hvis nyskapning stadig kontrolleres av dette usikre og
ubegrensede erstatningsansvaret, så vil vi ha mye mindre levende nyskapning,
og mye mindre kreativitet.
-</p><a class="indexterm" name="idp
9862768"></a><p>
+</p><a class="indexterm" name="idp
56951376"></a><p>
Poenget er en direkte parallell til det knasende venstrevridde poenget om
rimelig bruk. Uansett hvor <span class="quote">«<span class="quote">reell</span>»</span> loven er, så er realisme om
effekten av lovverket i begge sammenhenger tilsvarende. Dette vilt
Oppbyggingen av en tillatelseskultur, i stedet for en fri kultur, er den
første viktige måten der endringene jeg har beskrevet vil belaste
-nyskapning. En tillatelseskultur betyr en kultur med advokater — en
+nyskapning. En tillatelseskultur betyr en kultur med advokater – en
kultur der evnen til å skape krever en samtale med din advokat. Igjen, jeg
er ikke mot advokater, i hvert fall når de holdes seg der de hører hjemme.
Og jeg er absolutt ikke mot lovverket. Men vår profesjon har tapt
mindre effektivt. Hvis Internett gjør det mulig å drive med
<span class="quote">«<span class="quote">piratvirksomhet,</span>»</span> så sier denne responsen at vi bør knekke
kneskålene på Internett.
-</p><a class="indexterm" name="idp
9872528"></a><p>
+</p><a class="indexterm" name="idp
56961136"></a><p>
Det er mange eksempler på denne typen lovgiving. På oppfordring fra
innholdsindustrien har noen i Kongressen truet med lovgiving som ville kreve
at datamaskiner skulle avgjøre om innhold de hadde tilgang til var beskyttet
-eller ikke, og slå av muligheten for å spre beskyttet innhold.<a href="#ftn.idp9874192" class="footnote" name="idp9874192"><sup class="footnote">[160]</sup></a> Kongressen har allerede lansert forslag om å
+eller ikke, og slå av muligheten for å spre beskyttet innhold.<a href="#ftn.idp56962800" class="footnote" name="idp56962800"><sup class="footnote">[161]</sup></a> Kongressen har allerede lansert forslag om å
utforske et påkrevd <span class="quote">«<span class="quote">kringkastingsflagg</span>»</span> som ville være påkrevd
på enhver enhet som kan sende digital video (med andre ord, en datamaskin),
og som ville hindre kopiering av ethvert innhold som er merket med
kringkastingsflagget. Andre medlemmer av Kongressen har foreslått immunitet
til innholdsleverandører fra erstatning for teknologi som de kan ta i bruk
for å spore opp de som bryter opphavsrettsen, og koble ut datamaskinene
-deres.<a href="#ftn.idp9877472" class="footnote" name="idp9877472"><sup class="footnote">[161]</sup></a>
+deres.<a href="#ftn.idp56966080" class="footnote" name="idp56966080"><sup class="footnote">[162]</sup></a>
</p><p>
På en måte virker disse løsningene fornuftige. Hvis problemet er koden,
teknologi. Den vil påføre teknologien betydelige byrder og kostnader, men
vil mest sannsynlig bli overskygget av fremskritt når det gjelder akkurat
disse kravene.
-</p><a class="indexterm" name="idp
9879824"></a><p>
+</p><a class="indexterm" name="idp
56968432"></a><p>
I mars 2002 forsøkte en bred koalisjon av teknologibedrifter, ledet av
Intel, å få Kongressen til å se skaden slik lovgiving ville føre
-til.<a href="#ftn.idp9881168" class="footnote" name="idp9881168"><sup class="footnote">[162]</sup></a> Argumentet deres var selvsagt ikke
+til.<a href="#ftn.idp56969776" class="footnote" name="idp56969776"><sup class="footnote">[163]</sup></a> Argumentet deres var selvsagt ikke
at opphavsrett ikke skulle bli beskyttet. I stedet argumenterte de med at
en beskyttelse ikke måtte gjøre mer skade enn gavn.
</p><p>
<span class="strong"><strong>Det er en</strong></span> mer åpenbar måte som denne
-krigen har skadet nyskapning — igjen, en historie som vil være ganske
+krigen har skadet nyskapning – igjen, en historie som vil være ganske
familiær for dem som støtter det frie markedet.
</p><p>
Opphavsrett er kanskje eiendom, men som all eiendom er det også en form for
andre. Når det gjøres riktig, gir det fordeler til skapere og skader til
snyltere. Når det er gjort galt, er det regulering som de mektige bruker
til å beseire konkurrenter.
-</p><a class="indexterm" name="idp
9885632"></a><a class="indexterm" name="idp9886704"></a><a class="indexterm" name="idp9887520"></a><a class="indexterm" name="idp9888336"></a><p>
+</p><a class="indexterm" name="idp
56974240"></a><a class="indexterm" name="idp56975312"></a><a class="indexterm" name="idp56976128"></a><a class="indexterm" name="idp56976944"></a><p>
Som jeg beskrev i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>, og på tross av denne egenskapen av opphavsrett som
regulering, og når en tar hensyn til viktige kvalifiseringer skissert av
Jessica Litman i hennes bok <em class="citetitle">Digital
-Copyright</em>,<a href="#ftn.idp9891360" class="footnote" name="idp9891360"><sup class="footnote">[163]</sup></a>, så er i det
+Copyright</em>,<a href="#ftn.idp56979968" class="footnote" name="idp56979968"><sup class="footnote">[164]</sup></a>, så er i det
store og hele historien til opphavsretten ikke ille. Når nye teknologier
dukker opp, slik kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a> forteller mer om, har Kongressen funnet en balanse
for å sikre at det nye er beskyttet fra det gamle. Tvangslisenser eller
både domstolene og Kongressen innført juridiske restriksjoner som vil ha som
effekt at de kveler det nye til fordel for det gamle.
</p><a class="indexterm" name="idxinternetradioon"></a><a class="indexterm" name="idxradiooninternet"></a><p>
-Tilbakemeldingene fra domstolene har omtrent vært det samme.<a href="#ftn.idp9901248" class="footnote" name="idp9901248"><sup class="footnote">[164]</sup></a> Det har vært speilet i responsen som Kongressen har
+Tilbakemeldingene fra domstolene har omtrent vært det samme.<a href="#ftn.idp56989792" class="footnote" name="idp56989792"><sup class="footnote">[165]</sup></a> Det har vært speilet i responsen som Kongressen har
truet med, og faktisk implementert. Jeg vil ikke liste opp alle
-tilbakemeldingene her.<a href="#ftn.idp9906320" class="footnote" name="idp9906320"><sup class="footnote">[165]</sup></a> Men det er et
+tilbakemeldingene her.<a href="#ftn.idp56994864" class="footnote" name="idp56994864"><sup class="footnote">[166]</sup></a> Men det er et
eksempel som inneholder essensen av dem alle. Dette er historien om
utryddelsen av Internett-radio.
-</p><a class="indexterm" name="idp
9914336"></a><a class="indexterm" name="idp9915424"></a><p>
+</p><a class="indexterm" name="idp
57002880"></a><a class="indexterm" name="idp57003968"></a><a class="indexterm" name="idp57004784"></a><a class="indexterm" name="idxradiomusicrecordingsplayedon2"></a><p>
Som jeg beskrev i kapittel <a class="xref" href="#pirates" title="Kapittel fire: «Pirater»">4</a>, når en radiostasjon spiller en sang, får ikke
plateartisten betaling for <span class="quote">«<span class="quote">radioavspillingen</span>»</span> med mindre han
eller hun også er komponisten. Dermed, hvis for eksempel Marilyn Monroe
-hadde spilt inn en versjon av <span class="quote">«<span class="quote">Gratulerer med dagen</span>»</span> —
+hadde spilt inn en versjon av <span class="quote">«<span class="quote">Gratulerer med dagen</span>»</span> –
for å minne om hennes berømte forestilling foran president Kennedy ved
-Madison Square Garden — så ville, hver gang platen ble spilt på radio,
+Madison Square Garden – så ville, hver gang platen ble spilt på radio,
den aktuelle opphavsrettseieren av <span class="quote">«<span class="quote">Gratulerer med dagen</span>»</span> få
litt penger, mens Marilyn Monroe ikke ville få noen.
</p><p>
resultatet enn makten til radiostasjonene. Deres lobbyister var ganske gode
til å stoppe enhver innsats som forsøkte å få Kongressen til å kreve
kompensasjonen til plateartistene.
-</p><p>
+</p><a class="indexterm" name="idp57012928"></a><p>
Så kom Internett-radio. Som vanlig radio er Internett-radio en teknologi
som sender innhold fra en kringkaster til en lytter. Kringkastingen farer
-over Internett, og ikke gjennom radiospekterets eter. Dermed kan vi
-<span class="quote">«<span class="quote">stille oss inn</span>»</span> til en Internett-radiostasjon i Berlin mens vi
-sitter i San Francisco, selv om det ikke er mulig for meg å stille meg inn
-på en regulær radiostasjon på særlig større avstand enn byområdet til San
+over Internett, og ikke gjennom radiospekterets eter. Dermed kan jeg
+<span class="quote">«<span class="quote">peile meg inn</span>»</span> til en Internett-radiostasjon i Berlin mens jeg
+sitter i San Francisco, selv om det ikke er mulig for meg å peile meg inn på
+en vanlig radiostasjon på særlig større avstand enn byområdet til San
Francisco.
</p><p>
Denne egenskapen i arkitekturen til Internett-radio betyr at det potensielt
-er et ubegrenset antall radiostasjoner som en bruker kan stille seg inn på
+er et ubegrenset antall radiostasjoner som en bruker kan peile seg inn på
ved hjelp av sin datamaskin, mens med den eksisterende arkitekturen for
kringkastingsradio er det en åpenbar begrensning når det gjelder antall
kringkastere og klare kringkastingsfrekvenser. Internett-radio kan dermed
til et relativt stort antall brukere over hele verden. Ifølge noen
estimater har mer enn åtti millioner brukere over hele verden koblet seg opp
til denne nye formen for radio.
-</p><a class="indexterm" name="idp
9924592"></a><p>
+</p><a class="indexterm" name="idp
57017072"></a><p>
Dette tyranniet ble knust først etter at det ble mulig for folk å fritt
skaffe seg trykkepresser, og fritt bruke dem. FM var på denne måten en like
fantastisk oppfinnelse som trykkepressene, da det ga radio muligheten til å
-kvitte seg med lenkene.<a href="#ftn.idp9851072" class="footnote" name="idp9851072"><sup class="footnote">[166]</sup></a>
+kvitte seg med lenkene.<a href="#ftn.idp56939680" class="footnote" name="idp56939680"><sup class="footnote">[167]</sup></a>
</p></blockquote></div><p>
-Dette potensialet for FM-radio ble aldri realisert — ikke på grunn av
+Dette potensialet for FM-radio ble aldri realisert – ikke på grunn av
at Armstrong tok feil av teknologien, men fordi han undervurderte kraften i
<span class="quote">«<span class="quote">økonomiske interesser, vaner, skikker og
-lovgiving</span>»</span><a href="#ftn.idp9930928" class="footnote" name="idp9930928"><sup class="footnote">[167]</sup></a> i å hemme veksten av
+lovgiving</span>»</span><a href="#ftn.idp57023520" class="footnote" name="idp57023520"><sup class="footnote">[168]</sup></a> i å hemme veksten av
denne konkurrerende teknologien.
</p><p>
Akkurat den samme påstanden kan nå fremmes om Internett-radio. Også denne
gangen er det ingen tekniske begrensninger som kan begrense antallet
Internett-radioer. Den eneste begrensningen for Internett-radio er de som
blir pålagt av lovverket. Opphavsrettsloven er en slik lov. Så det første
-spørsmålet vi bør stille er, hvilke opphavsrettsregler bør styre
+spørsmålet vi bør stille er, hvilke opphavsrettsregler bestemmer over
Internett-radio?
-</p><a class="indexterm" name="idxartistsrecordingindustrypaymentsto3"></a><a class="indexterm" name="idp
9934896"></a><a class="indexterm" name="idp9936016"></a><a class="indexterm" name="idp9937120"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin3"></a><a class="indexterm" name="idxrecordingindustryradiobroadcastand2"></a><a class="indexterm" name="idxrecordingindustryinternetradiohamperedby"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaalobbyingpowerof"></a><p>
+</p><a class="indexterm" name="idxartistsrecordingindustrypaymentsto3"></a><a class="indexterm" name="idp
57027504"></a><a class="indexterm" name="idp57028624"></a><a class="indexterm" name="idp57029728"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin3"></a><a class="indexterm" name="idxrecordingindustryradiobroadcastand2"></a><a class="indexterm" name="idxrecordingindustryinternetradiohamperedby"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaalobbyingpowerof"></a><p>
-Men her er makten til lobbyistene motsatt. Internett-radio er en ny
-industri. Plateartistene derimot har en svært mektig lobby, RIAA. Dermed
+Men her er makten til lobbyistene motsatt. Internett-radio er en ny
+industri. Plateartistene derimot har en svært mektig lobby, RIAA. Dermed
hadde lobbyistene forberedt Kongressen til å vedta en annen regel for
Internett-radio enn reglene som gjelder for landbasert radio, da de vurderte
-fenomenet Internett-radio i 1995. Mens landbasert radio ikke må,
-hypotetisk, betale Marilyn Monroe når den, hypotetisk, spiller hennes
-opptak av <span class="quote">«<span class="quote">Gratulerer med dagen</span>»</span> på luften, <span class="emphasis"><em>så må
-Internett-radio betale</em></span>. Ikke bare er lovverket ikke nøytralt når
-det gjelder Internettradio — lovverket belaster Internett-radio mye
+fenomenet Internett-radio i 1995. Mens landbasert radio ikke må, hypotetisk,
+betale Marilyn Monroe når den, hypotetisk, spiller hennes opptak av
+<span class="quote">«<span class="quote">Gratulerer med dagen</span>»</span> på luften, <span class="emphasis"><em>så må
+Internett-radio betale</em></span>. Ikke bare er lovverket ikke nøytralt når
+det gjelder Internett-radio – lovverket belaster Internett-radio mye
mer enn det belaster landbasert radio.
</p><p>
Den finansielle belastningen er ikke ubetydelig. Slik jussprofessor William
Fisher ved Harvard estimerte, hvis en Internett-radiostasjon distribuerte
reklamefri populærmusikk til (i gjennomsnitt) ti tusen lyttere, tjuefire
timer i døgnet, så ville de totale utbetalingene til artister som denne
-radiostasjonen ville skylde være over en million dollar i året.<a href="#ftn.idp9951584" class="footnote" name="idp9951584"><sup class="footnote">[168]</sup></a> En radiostasjon som kringkaster det samme innholdet
+radiostasjonen ville skylde være over en million dollar i året.<a href="#ftn.idp57044384" class="footnote" name="idp57044384"><sup class="footnote">[169]</sup></a> En radiostasjon som kringkaster det samme innholdet
ville ikke måtte betale et tilsvarende beløp.
-</p><a class="indexterm" name="idp
9957840"></a><a class="indexterm" name="idp9959232"></a><a class="indexterm" name="idp9960624"></a><a class="indexterm" name="idp9961952"></a><a class="indexterm" name="idp9963392"></a><p>
+</p><a class="indexterm" name="idp
57050624"></a><a class="indexterm" name="idp57052016"></a><a class="indexterm" name="idp57053408"></a><a class="indexterm" name="idp57054736"></a><a class="indexterm" name="idp57056176"></a><p>
Byrden er ikke kun økonomisk. Ifølge det opprinnelige forslag til regler,
-måtte en Internett-radiostasjon (men ikke en bakkebasert radiostasjon) samle
+måtte en Internett-radiostasjon (men ikke en landbasert radiostasjon) samle
inn følgende informasjon for <span class="emphasis"><em>hver eneste
lytter-transaksjon</em></span>:
</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><p>
</p></li><li class="listitem"><p>
kanalen til programmet (AM/FM-stasjoner bruker stasjons-ID)
</p></li><li class="listitem"><p>
-type program (fra arkivet/i løkke/direkte)
+type program (fra arkivet / i løkke / direkte)
</p></li><li class="listitem"><p>
dato for sending
</p></li><li class="listitem"><p>
unik bruker-identifikator
</p></li><li class="listitem"><p>
landet til brukeren som mottok sendingene
-</p></li></ol></div><a class="indexterm" name="idp
9982048"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp
57074768"></a><p>
Kongressbibliotekaren stoppet til slutt disse rapporteringskravene, i
påvente av flere undersøkelser. Han endret også de opprinnelige prisene
satt av voldgiftspanelet som fikk oppgaven med å fastsette prisene. Men den
-grunnleggende forskjellen mellom Internett-radio og bakkesendt radio består:
+grunnleggende forskjellen mellom Internett-radio og landbasert radio består:
Internett-radio må betale <span class="emphasis"><em>en slags opphavsrettsavgift</em></span>
-som bakkesendt radio slipper.
+som landbasert radio slipper.
</p><p>
Hvorfor er det slik? Hva rettferdiggjør denne forskjellen? Ble det gjort
noen studier av de økonomiske konsekvensene for Internett-radio som kan
forsvare disse forskjellene? Var motivet å beskytte kunstnere mot
piratvirksomhet?
-</p><a class="indexterm" name="idp
9985264"></a><a class="indexterm" name="idxalbenalex2"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees2"></a><a class="indexterm" name="idxartistsrecordingindustrypaymentsto4"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin4"></a><p>
+</p><a class="indexterm" name="idp
57077984"></a><a class="indexterm" name="idxalbenalex2"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaoninternetradiofees2"></a><a class="indexterm" name="idxartistsrecordingindustrypaymentsto4"></a><a class="indexterm" name="idxrecordingindustryartistremunerationin4"></a><p>
I et sjeldent oppriktig øyeblikk, innrømmet en RIAA-ekspert det som virket
åpenbart for alle på den tiden. Dette fortalte Alex Alben, visepresident
med ansvar for offentlig politikk ved Real Networks, meg:
Fordi her har vi hundretusenvis av webcastere som ønsker å betale, og det
ville etablere markedsraten, og hvis du setter den satsen så høyt, vil du
tvinge de små webcasterne til å måtte gi opp. …</span>»</span>
-</p><a class="indexterm" name="idp
9996368"></a><p>
+</p><a class="indexterm" name="idp
57089200"></a><p>
Og RIAA-eksperten svarte, <span class="quote">«<span class="quote">Vel, vår modell er ikke for en industri med
tusenvis av webcastere. <span class="emphasis"><em>Vi tror det bør bli en industri med, du
vet, fem eller syv store aktører som kan betale en høy avgift, og slik få et
stabilt og forutsigbart marked.</em></span></span>»</span> (min utheving.)
-</p></blockquote></div><a class="indexterm" name="idp
9999008"></a><a class="indexterm" name="idp10000192"></a><a class="indexterm" name="idp10001616"></a><a class="indexterm" name="idp10003008"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
57091840"></a><a class="indexterm" name="idp57093024"></a><a class="indexterm" name="idp57094512"></a><a class="indexterm" name="idp57095840"></a><p>
Oversettelse: Målet er å bruke loven til å fjerne konkurranse, slik at denne
-platformen som potensielt muliggjør massiv konkurranse, og dermed fører til
+plattformen som potensielt muliggjør massiv konkurranse, og dermed fører til
en eksplosjon i mangfold og omfang av tilgjengelig innhold, ikke forårsaker
smerte for eldre tiders dinosaurer. Ingen, hverken på høyre- eller
venstresiden, burde bifalle denne bruken av loven. Og likevel er det
praktisk talt ingen, hverken på høyre- eller venstresiden, som har gjort noe
effektivt for å hindre det.
-</p><a class="indexterm" name="idp
10005440"></a><a class="indexterm" name="idp10006768"></a><a class="indexterm" name="idp10008096"></a><a class="indexterm" name="idp10009472"></a><a class="indexterm" name="idp10010720"></a><a class="indexterm" name="idp10011968"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="corruptingcitizens"></a>12.3. Skader borgere</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
57098272"></a><a class="indexterm" name="idp57099600"></a><a class="indexterm" name="idp57100928"></a><a class="indexterm" name="idp57102304"></a><a class="indexterm" name="idp57103552"></a><a class="indexterm" name="idp57104864"></a></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="corruptingcitizens"></a>12.3. Skader borgere</h2></div></div></div><p>
For mye regulering knebler kreativiteten. Den kveler nyskapning. Den gir
dinosaurer vetorett over fremtiden. Den kaster bort den ekstraordinære
muligheten for en demokratisk kreativitet som digital teknologi gjør mulig.
Krigen som føres i dag er en forbudskrig. Og som enhver forbudskrig, er den
rettet mot oppførselen til et veldig stort antall borgere. Ifølge
<em class="citetitle">The New York Times</em>, lastet 43 millioner amerikanere
-ned musikk i mai 2002.<a href="#ftn.idp10017440" class="footnote" name="idp10017440"><sup class="footnote">[169]</sup></a> Ifølge RIAA gjør
+ned musikk i mai 2002.<a href="#ftn.idp57110400" class="footnote" name="idp57110400"><sup class="footnote">[170]</sup></a> Ifølge RIAA gjør
oppførselen til disse 43 millionene amerikanere dem til forbrytere. Vi har
dermed et sett med regler som gjør 20 prosent av USA til kriminelle. Mens
RIAA saksøker ikke bare Napsterne og Kazaaene i verden, men studenter som
(250 000 dollar i advokatutgifter) fikk Jordan til å velge å betale
alle pengene han hadde i verden (12 000 dollar) for å bli kvitt
søksmålet. Den samme strategien driver RIAAs søksmål mot individuelle
-brukere. I september 2003 saksøkte RIAA 261 individer — inkludert en
+brukere. I september 2003 saksøkte RIAA 261 individer – inkludert en
tolv år gammel jente som bodde i en kommunal leilighet, og en sytti år
-gammel dame som ikke hadde noe idé om hva fildeling var.<a href="#ftn.idp9950240" class="footnote" name="idp9950240"><sup class="footnote">[170]</sup></a> Som disse offerlammene oppdaget, vil det alltid
+gammel dame som ikke hadde noe idé om hva fildeling var.<a href="#ftn.idp57043040" class="footnote" name="idp57043040"><sup class="footnote">[171]</sup></a> Som disse offerlammene oppdaget, vil det alltid
koste mer å forsvare seg mot disse søksmålene enn det vil koste å ganske
enkelt inngå forlik. (Tolvåringen, for eksempel, betalte på samme måte som
Jesse Jordan, sine 2 000 dollar i sparepenger for å inngå forlik.)
rettigheter. Det setter vår tradisjon i forlegenhet. Og konsekvensen er at
vårt rettssystem gjør det mulig for dem med makt å utnytte domstolene til å
knuse enhver rettighet de er imot.
-</p><a class="indexterm" name="idp
10024256"></a><p>
+</p><a class="indexterm" name="idp
57117216"></a><p>
Forbudskriger er ikke noe nytt i USA. Denne er bare noe mer ekstrem enn
noen annet vi har sett tidligere. Vi eksperimenterte med alkoholforbud, i
en periode da alkoholkonsum pr. person var 5.7 liter pr. person pr. år.
nivået før forbudet ble innført, men på slutten av forbudstiden var
forbruket kommet opp til 70 prosent av opprinnelig nivå. Amerikanere drakk
akkurat like mye som før, men nå var en stor andel av dem
-kriminelle.<a href="#ftn.idp10027664" class="footnote" name="idp10027664"><sup class="footnote">[171]</sup></a> Vi har satt i gang en krig
+kriminelle.<a href="#ftn.idp57120624" class="footnote" name="idp57120624"><sup class="footnote">[172]</sup></a> Vi har satt i gang en krig
mot narkotika med mål om å redusere forbruket av kontrollerte rusmidler som
-7 prosent (eller 16 millioner) Amerikanere nå bruker.<a href="#ftn.idp10029760" class="footnote" name="idp10029760"><sup class="footnote">[172]</sup></a> Dette er en reduksjon fra toppen i 1979 med 14
+7 prosent (eller 16 millioner) Amerikanere nå bruker.<a href="#ftn.idp57122720" class="footnote" name="idp57122720"><sup class="footnote">[173]</sup></a> Dette er en reduksjon fra toppen i 1979 med 14
prosent av befolkningen. Vi regulerer biler til et nivå der det store
flertall av amerikanere bryter loven hver dag. Vi har et så komplekst
skattesystem at flertallet av kontantbaserte bedrifter jukser
-regelmessig.<a href="#ftn.idp10031872" class="footnote" name="idp10031872"><sup class="footnote">[173]</sup></a> Vi er stolte over å leve i
+regelmessig.<a href="#ftn.idp57124832" class="footnote" name="idp57124832"><sup class="footnote">[174]</sup></a> Vi er stolte over å leve i
et <span class="quote">«<span class="quote">fritt samfunn,</span>»</span> men en endeløs rekke av vanlige oppførsler
er regulert i vårt samfunn. Som et resultat bryter en stor andel av
amerikanere regelmessig en eller annen lov.
-</p><a class="indexterm" name="idp
10034656"></a><p>
+</p><a class="indexterm" name="idp
57127616"></a><p>
Denne situasjonen er ikke helt uten konsekvenser. Det er et spesielt
fremtredende tema for lærere som meg, som har som jobb å lære juss-studenter
om viktigheten av <span class="quote">«<span class="quote">etikk.</span>»</span> Som min kollega Charlie Nesson
ganger narkotika, jobbet ulovlig uten å betale skatt, og kjørt ulovlig.
Dette er unger der det å oppføre seg i strid med loven i stadig større grad
er normen. Og så skal vi, som jussprofessorer, lære dem å oppføre seg etisk
-— hvordan si nei til bestikkelser, til å holde strengt skille mellom
+– hvordan si nei til bestikkelser, til å holde strengt skille mellom
egne og klienters penger, eller støtte et krav om å utlevere et dokument som
-betyr at saken deres stopper fullstendig. Generasjoner av amerikanere
-— mer betydelig i noen deler av USA enn andre, men likefullt over hele
-USA i dag — kan ikke leve sitt liv både normalt og lovlydig, siden
+betyr at saken deres er over. Generasjoner av amerikanere – mer
+betydelig i noen deler av USA enn andre, men likefullt over hele USA i dag
+– kan ikke leve sitt liv både normalt og lovlydig, siden
<span class="quote">«<span class="quote">normalt</span>»</span> innebærer en viss grad av lovbrudd.
</p><p>
Svaret på denne generelle lovløsheten er enten å håndheve lovverket
mening, da mord er galt hver eneste dag i uka. Et samfunn gjør rett i å
alltid bannlyse mord overalt.
</p><p>
-Poenget mitt er i stedet et som demokratier har forstått i generasjoner, men
-som vi nylig har lært å glemme. Rettsikkerheten er avhengig av at folk
-følger loven. Jo oftere og dess flere ganger vi som borgere opplever
-lovbrudd, jo mindre respekterer vi rettsvesenet. I de fleste tilfeller er
-åpenbart det viktige temaet rettsvesenet, og ikke respekt for rettsvesenet.
-Jeg bryr meg ikke om en voldtektsmann respekterer lovverket eller ikke. Jeg
-ønsker at han fanges og bures inne. Men jeg bryr meg om hvorvidt mine
-studenter respekterer rettsvesenet. Og jeg bryr meg hvis lovverket sår
-økende respektmangel på grunn av de ekstreme reguleringene de påfører. Tjue
-millioner amerikanere har vokst til siden Internett introduserte denne nye
-idéen om <span class="quote">«<span class="quote">deling.</span>»</span> Vi må være i stand til å kalle disse tjue
-millionene amerikanere <span class="quote">«<span class="quote">borgere,</span>»</span> ikke
-<span class="quote">«<span class="quote">forbrytere.</span>»</span>
+Poenget mitt er i stedet ett som demokratier har forstått i generasjoner,
+men som vi nylig har lært å glemme. Respekt for loven er avhengig av at
+folk følger loven. Jo oftere og dess flere ganger vi som borgere erfarer å
+bryte loven, jo mindre respekterer vi loven. I de fleste tilfeller er
+åpenbart det viktige temaet loven, og ikke respekt for loven. Jeg bryr meg
+ikke om en voldtektsmann respekterer loven eller ikke. Jeg ønsker at han
+fanges og bures inne. Men jeg bryr meg om hvorvidt mine studenter
+respekterer loven. Og jeg bryr meg hvis lovverket sår økende respektmangel
+på grunn av de ekstreme reguleringene de påfører. Tjue millioner
+amerikanere har vokst til siden Internett introduserte denne nye idéen om
+<span class="quote">«<span class="quote">deling.</span>»</span> Vi må være i stand til å kalle disse tjue millionene
+amerikanere <span class="quote">«<span class="quote">borgere,</span>»</span> ikke <span class="quote">«<span class="quote">forbrytere.</span>»</span>
</p><p>
Når minst førtitre millioner innbyggere laster ned innhold fra Internett, og
når de bruker verktøy for å kombinere det innholdet på måter som ikke er
kjøpt. Rettsvesenet beskytter vår rett til å kjøpe og selge denne
plastikken. Det er ikke å krenke opphavsretten hvis jeg selger alle mine
klassiske plater hos en bruktplatehandel, og kjøper jazzplater for å
-erstatte dem. Det er fritt frem for den <span class="quote">«<span class="quote">bruken</span>»</span> av platene.
+erstatte dem. Det er fritt frem for denne <span class="quote">«<span class="quote">bruken</span>»</span> av platene.
</p><p>
Men som MP3-manien har demonstrert, er det en annen bruk av musikkplater som
også effektivt sett er fritt frem. Da disse platene ble laget uten
at denne <span class="quote">«<span class="quote">friheten</span>»</span> var en rettighet: I en serie reklamefilmer
gikk Apple god for <span class="quote">«<span class="quote">ripp, miks, brenn</span>»</span>-mulighetene til
digitale teknologier.
-</p><a class="indexterm" name="idp
10051760"></a><a class="indexterm" name="idxcdsmix"></a><p>
+</p><a class="indexterm" name="idp
57144656"></a><a class="indexterm" name="idxcdsmix"></a><p>
Denne <span class="quote">«<span class="quote">bruken</span>»</span> av mine plater er helt klart verdifull. Jeg har
begynt en stor prosess hjemme for å rippe (kopiere) alle mine og min kones
-CD-er, og lagrer dem i et arkiv. Dermed kan vi, vet hjelp av iTunes fra
+CD-er, og lagrer dem i et arkiv. Dermed kan vi, ved hjelp av iTunes fra
Apple, eller et praktfullt program ved navn Andromeda, bygge ulike
spillelister for musikken vår: Bach, Barokk, Kjærlighetssanger,
-Kjærlighetssanger til vår kjære — potensialet er uendelig. Og ved å
+Kjærlighetssanger til vår kjære – potensialet er uendelig. Og ved å
redusere kostnaden med å lage spillelister, har disse teknologiene hjulpet
til med å bygge en kreativitet rundt spillelister som uavhengig av dette er
verdifull i seg selv. Samlinger av sanger er kreative og meningsfylte på
egen hånd.
</p><p>
-Denne bruken er muliggjort av ubeskyttede media — enten CD-er eller
+Denne bruken er muliggjort av ubeskyttede media – enten CD-er eller
plater. Men ubeskyttede medier muliggjør også fildeling. Fildeling truer
(eller det tror i hvert fall innholdsindustrien) muligheten skaperne har til
en rimelig inntekt fra sin kreativitet. Og dermed begynner mange å
</p><p>
Hvis disse teknologiene tok av, så ville bygging av store arkiver med egen
-egen musikk bli ganske vanskelig. Du kan henge i hacker-miljøer og få tak i
+musikk bli ganske vanskelig. Du kan henge i hacker-miljøer og få tak i
teknologi som kobler ut teknologiene som beskytter innholdet. Å selge og
kjøpe slike teknologier er forbudt, men kanskje det ikke bryr deg så mye.
Uansett vil disse beskyttelsesteknologiene for de fleste folk effektivt sett
tvinge oss alle tilbake til en verden der vi enten hører på musikk ved å
fikle med plastbiter, eller er del av et svært komplekst <span class="quote">«<span class="quote">digitalt
rettighetsstyringssystem.</span>»</span>
-</p><a class="indexterm" name="idp
10059680"></a><p>
+</p><a class="indexterm" name="idp
57152576"></a><p>
Hvis den eneste måten å sikre at kunstnere fikk betalt var å fjerne all
mulighet til å fritt flytte innhold, så ville disse teknologier som griper
inn i friheten til å flytte innhold kunne forsvares. Men hva hvis det
finnes en annen måte å sikre at kunstnere fikk betalt, uten å låse ned
ethvert innhold? Med andre ord, hva om et annet system kunne sikre
kompensasjon til kunstnere som også beholdt friheten til å enkelt flytte
-innholdt?
+innhold?
</p><p>
Mitt poeng nå er ikke å bevise at det eksisterer et slikt system. Jeg legger
frem en versjon av et slikt system i det siste kapittelet i denne boken. Nå
er det eneste poenget et relativt ukontroversielt et: Hvis et annet system
oppnådde samme legitime mål som det eksisterende opphavsrettssystemet
oppnår, men ga forbrukere og skapere mye mer frihet, så ville vi ha en svært
-god grunn til å forfølge dette alternativet — nemlig frihet. Valget,
+god grunn til å forfølge dette alternativet – nemlig frihet. Valget,
med andre ord, ville ikke være mellom proprietær eller piratvirksomhet.
Valget ville være mellom ulike proprietære systemer og frihetene hver av dem
tillater.
hvorfor vi som demokrati fortsetter å velge som vi gjør. Jack Valenti er
sjarmerende, men ikke så sjarmerende at det rettferdiggjør å gi slipp på en
tradisjon så dyp og viktig som vår tradisjon for fri kultur.
-</p><a class="indexterm" name="idp
10067024"></a><a class="indexterm" name="idxisps"></a><p>
+</p><a class="indexterm" name="idp
57159920"></a><a class="indexterm" name="idxisps"></a><p>
<span class="strong"><strong>Det er et annet</strong></span> aspekt ved denne skaden
som er spesielt viktig for borgerrettigheter, og som følger direkte fra
enhver forbudskrig. Som advokat Fred von Lohmann i Elektronisk
skaden</span>»</span> som <span class="quote">«<span class="quote">oppstår hver gang en gjør en stor andel av
befolkningen til kriminelle.</span>»</span> Dette er den utilsiktede skaden til
borgerrettighetene generelt.
-</p><a class="indexterm" name="idp
10072016"></a><p>
+</p><a class="indexterm" name="idp
57164912"></a><p>
<span class="quote">«<span class="quote">Hvis du kan behandle noen som en antatt lovbryter,</span>»</span> forklarer
von Lohmann:
</p><div class="blockquote"><blockquote class="blockquote"><p>
datamaskin blir brukt til å laste ned musikk tilsvarende en enkelt CD, så
kan familien risikere å måtte betale 2 millioner dollar i erstatning. Dette
stoppet ikke RIAA fra å saksøke et antall av disse familiene, på samme måte
-som de hadde saksøkt Jesse Jordan.<a href="#ftn.idp10079232" class="footnote" name="idp10079232"><sup class="footnote">[174]</sup></a>
+som de hadde saksøkt Jesse Jordan.<a href="#ftn.idp57172128" class="footnote" name="idp57172128"><sup class="footnote">[175]</sup></a>
-</p><p>
+</p><a class="indexterm" name="idxnapsterrecordingindustrytrackingusersof"></a><p>
Selv dette undervurderer spioneringen som blir gjennomført av RIAA. I en
rapport fra CNN sent sist sommer beskriver en strategi som RIAA har adoptert
-for å spore Napster-brukere.<a href="#ftn.idp10085856" class="footnote" name="idp10085856"><sup class="footnote">[175]</sup></a> Ved å
+for å spore Napster-brukere.<a href="#ftn.idp57180672" class="footnote" name="idp57180672"><sup class="footnote">[176]</sup></a> Ved å
bruke en sofistikert hashings-algoritme tok RIAA det som effektivt sett er
et fingeravtrykk av hver eneste sang i Napster-katalogen. Enhver kopi av
-disse MP3-ene vil ha samme <span class="quote">«<span class="quote">fingerprint.</span>»</span>
+disse MP3-ene vil ha samme <span class="quote">«<span class="quote">fingeravtrykk.</span>»</span>
</p><p>
Så se for deg det følgende ikke usannsynlige scenariet: Tenk at en venn gir
-en CD til din datter — en samling med sanger lik de kassettene du
+en CD til din datter – en samling med sanger lik de kassettene du
laget som barn. Hverken du eller din datter vet hvor disse sangene kom
fra. Men hun kopierer disse sangene inn på datamaskinen sin, og tar så
maskinen med seg til universitetet og kobler den på universitetsnettverket.
hun ikke har beskyttet sitt innhold på riktig vis (vet du selv hvordan du
gjør dette?), så vil RIAA kunne identifisere din datter som en
<span class="quote">«<span class="quote">kriminell.</span>»</span> Og i henhold til de reglene som universiteter er
-i gang med å rulle ut,<a href="#ftn.idp10091456" class="footnote" name="idp10091456"><sup class="footnote">[176]</sup></a> så kan din
+i gang med å rulle ut,<a href="#ftn.idp57186272" class="footnote" name="idp57186272"><sup class="footnote">[177]</sup></a> så kan din
datter miste retten til å bruke universitetets datanettverk. Hun kan i noen
tilfeller bli utvist.
-</p><a class="indexterm" name="idp
10099792"></a><a class="indexterm" name="idp10101104"></a><p>
+</p><a class="indexterm" name="idp
57194624"></a><a class="indexterm" name="idp57195936"></a><p>
Nå har hun selvfølgelig rett til å forsvare seg selv. Du kan leie inn en
advokat til henne (til 300 dollar per time, hvis du er heldig), og hun kan
universitetsstudenter allerede har lært, forsvinner vår antagelse om å være
uskyldig inntil det motsatte er bevist når en er midt i en forbudskrig.
Denne krigen er ikke annerledes. Som von Lohmann sier det:
-</p><div class="blockquote"><blockquote class="blockquote"><p>
+</p><
a class="indexterm" name="idp57198112"></a><div class="blockquote"><blockquote class="blockquote"><p>
Når vi snakker om tall som førti til seksti millioner amerikanere som i
essensen bryter opphavsretten, så skaper du en situasjon der
borgerrettighetene til disse folkene i praksis står i fare for å forsvinne.
[Jeg] tror [ikke det finnes noen] tilsvarende tilfeller hvor du kan velge en
tilfeldig person på gata og være trygg på at de har brutt loven på en måte
-som gjør at de risikerer straffedom, eller å måtte betale milloner av dollar
-i sivil erstatning. Vi kjører alle for fort, men å kjøre for fort er ikke
-den type handlinger hvor vi på rutine fratar folk borgerrettigheter. Noen
-folk bruker narkotika, og jeg tror det er den nærmeste analogien, [men]
+som gjør at de risikerer straffedom, eller å måtte betale millioner av
+dollar i sivil erstatning. Vi kjører alle for fort, men å kjøre for fort er
+ikke den type handlinger hvor vi på rutine fratar folk borgerrettigheter.
+Noen folk bruker narkotika, og jeg tror det er den nærmeste analogien, [men]
mange har kommentert at krigen mot narkotika har radert bort alle våre
borgerrettigheter på grunn av at det behandler så mange amerikanere som
kriminelle. Jeg tror det er rimelig å si at fildeling gjelder en
kan skli vekk.
</p></blockquote></div><p>
Når førti til seksti millioner amerikanere ifølge rettsvesenet anses som
-<span class="quote">«<span class="quote">kriminelle,</span>»</span> og når loven kunne oppnå det samme
-målet—sikre rettigheter til forfattere — uten at disse
-millionene anses å være <span class="quote">«<span class="quote">kriminelle,</span>»</span> hvem er det da som er
-skurken? Amerikanerne eller loven? Hva er amerikansk, en konstant krig mot
-vårt eget folk, eller en felles innsats i demokratiet vårt for å endre loven
-vår?
-</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp9738624" class="footnote"><p><a href="#idp9738624" class="para"><sup class="para">[155] </sup></a>
+<span class="quote">«<span class="quote">kriminelle,</span>»</span> og når loven kunne oppnå det samme målet –
+sikre rettigheter til forfattere – uten at disse millionene anses å
+være <span class="quote">«<span class="quote">kriminelle,</span>»</span> hvem er det da som er skurken? Amerikanerne
+eller loven? Hva er amerikansk, en konstant krig mot vårt eget folk, eller
+en felles innsats i demokratiet vårt for å endre loven vår?
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp56826416" class="footnote"><p><a href="#idp56826416" class="para"><sup class="para">[156] </sup></a>
Se Lynne W. Jeter, <em class="citetitle">Disconnected: Deceit and Betrayal at
WorldCom</em> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204;
for detaljer om dette forliket, se pressemelding fra MCI, <span class="quote">«<span class="quote">MCI Wins
U.S. District Court Approval for SEC Settlement</span>»</span> (7. juli 2003),
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
-#37</a>. <a class="indexterm" name="idp9741376"></a>
-</p></div><div id="ftn.idp9743040" class="footnote"><p><a href="#idp9743040" class="para"><sup class="para">[156] </sup></a>
- Lovforslaget, som var modellert etter Californias
+#37</a>. <a class="indexterm" name="idp56829168"></a>
+</p></div><div id="ftn.idp56830832" class="footnote"><p><a href="#idp56830832" class="para"><sup class="para">[157] </sup></a>
+
+Lovforslaget, som var modellert etter Californias
erstatningsrettsreform-modell, ble vedtatt i Representantenes hus, men
stoppet i Senatet i juli 2003. For en oversikt, se Tanya Albert,
<span class="quote">«<span class="quote">Measure Stalls in Senate: `We'll Be Back,' Say Tort
Back Malpractice Caps,</span>»</span> CBSNews.com, 9. juli 2003, tilgjengelig fra
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #39</a>. President Bush
har fortsatt å argumentere for erstatningsrettsreform de siste
-månedene. <a class="indexterm" name="idp9746432"></a>
-</p></div><div id="ftn.idp9750640" class="footnote"><p><a href="#idp9750640" class="para"><sup class="para">[157] </sup></a>
+månedene. <a class="indexterm" name="idp56834224"></a> <a class="indexterm" name="idp56835328"></a>
+</p></div><div id="ftn.idp56839248" class="footnote"><p><a href="#idp56839248" class="para"><sup class="para">[158] </sup></a>
<em class="citetitle">Wired</em>, 7. juli 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #40</a>. For en oversikt over
utstillingen, se <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#41</a>.
-</p></div><div id="ftn.idp9843728" class="footnote"><p><a href="#idp9843728" class="para"><sup class="para">[158] </sup></a>
+</p></div><div id="ftn.idp56932336" class="footnote"><p><a href="#idp56932336" class="para"><sup class="para">[159] </sup></a>
Se Joseph Menn, <span class="quote">«<span class="quote">Universal, EMI Sue Napster Investor,</span>»</span>
1. juni 2001, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #42</a>. Se også Jon Healey,
<span class="quote">«<span class="quote">Online Music Services Besieged,</span>»</span> <em class="citetitle">Los Angeles
Times</em>, 28. mai 2001.
-</p></div><div id="ftn.idp9771648" class="footnote"><p><a href="#idp9771648" class="para"><sup class="para">[159] </sup></a>
+</p></div><div id="ftn.idp56860288" class="footnote"><p><a href="#idp56860288" class="para"><sup class="para">[160] </sup></a>
Rafe Needleman, <span class="quote">«<span class="quote">Driving in Cars with MP3s,</span>»</span>
<em class="citetitle">Business 2.0</em>, 16. juni 2003, tilgjengelig via <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #43</a>. Jeg er takknemlig til
-Dr. Mohammad Al-Ubaydli for dette eksemplet. <a class="indexterm" name="idp9852960"></a>
-</p></div><div id="ftn.idp9874192" class="footnote"><p><a href="#idp9874192" class="para"><sup class="para">[160] </sup></a>
+Dr. Mohammad Al-Ubaydli for dette eksemplet. <a class="indexterm" name="idp56941568"></a>
+</p></div><div id="ftn.idp56962800" class="footnote"><p><a href="#idp56962800" class="para"><sup class="para">[161] </sup></a>
<span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster World,</span>»</span>
GartnerG2 and the Berkman Center for Internet and Society at Harvard Law
School (2003), 33–35, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.
-</p></div><div id="ftn.idp9877472" class="footnote"><p><a href="#idp9877472" class="para"><sup class="para">[161] </sup></a>
+</p></div><div id="ftn.idp56966080" class="footnote"><p><a href="#idp56966080" class="para"><sup class="para">[162] </sup></a>
GartnerG2, 26–27.
-</p></div><div id="ftn.idp9881168" class="footnote"><p><a href="#idp9881168" class="para"><sup class="para">[162] </sup></a>
+</p></div><div id="ftn.idp56969776" class="footnote"><p><a href="#idp56969776" class="para"><sup class="para">[163] </sup></a>
Se David McGuire, <span class="quote">«<span class="quote">Tech Execs Square Off Over Piracy,</span>»</span>
Newsbytes, februar 2002 (Entertainment).
-</p></div><div id="ftn.idp9891360" class="footnote"><p><a href="#idp9891360" class="para"><sup class="para">[163] </sup></a>
+</p></div><div id="ftn.idp56979968" class="footnote"><p><a href="#idp56979968" class="para"><sup class="para">[164] </sup></a>
Jessica Litman, <em class="citetitle">Digital Copyright</em> (Amherst, N.Y.:
-Prometheus Books, 2001). <a class="indexterm" name="idp9892256"></a>
-<a class="indexterm" name="idp9893408"></a>
-</p></div><div id="ftn.idp9901248" class="footnote"><p><a href="#idp9901248" class="para"><sup class="para">[164] </sup></a>
+Prometheus Books, 2001). <a class="indexterm" name="idp56980864"></a>
+<a class="indexterm" name="idp56982016"></a>
+</p></div><div id="ftn.idp56989792" class="footnote"><p><a href="#idp56989792" class="para"><sup class="para">[165] </sup></a>
-<a class="indexterm" name="idp9901632"></a> Det eneste ankekretsunntaket finnes i
+<a class="indexterm" name="idp56990176"></a> Det eneste ankekretsunntaket finnes i
<em class="citetitle">Foreningen for musikkindustri i USA (RIAA)</em> mot
<em class="citetitle">Diamond Multimedia Systems</em>, 180 F. 3d 1072 (9th
Cir. 1999). Der konkluderte den niende ankekrets med at de som lagde
2003), der domstolen fant at koblingen mellom distributør og en hvilken som
helst gitt bruker for svakt til å gjøre distributør ansvarlig for
medvirkende eller vikarierende erstatning for opphavsrettsbrudd.
-</p></div><div id="ftn.idp9906320" class="footnote"><p><a href="#idp9906320" class="para"><sup class="para">[165] </sup></a>
+</p></div><div id="ftn.idp56994864" class="footnote"><p><a href="#idp56994864" class="para"><sup class="para">[166] </sup></a>
-<a class="indexterm" name="idp9906704"></a> <a class="indexterm" name="idp9907808"></a> <a class="indexterm" name="idp9908624"></a> <a class="indexterm" name="idp9909440"></a> I juli 2002 introduserte for eksempel representant
+<a class="indexterm" name="idp56995248"></a> <a class="indexterm" name="idp56996352"></a> <a class="indexterm" name="idp56997168"></a> <a class="indexterm" name="idp56997984"></a> I juli 2002 introduserte for eksempel representant
Howard Berman <span class="quote">«<span class="quote">Peer-to-Peer Piracy Prevention Act</span>»</span> (H.R. 5211)
som ville frita opphavsrettsinnehavere fra erstatningsansvar for skade gjort
på datamaskiner når opphavsrettsinnehaverne brukte teknologi til å stoppe
medie-enheter. Se GartnerG2, <span class="quote">«<span class="quote">Copyright and Digital Media in a
Post-Napster World,</span>»</span> 27. juni 2003, 33–34, tilgjengelig fra
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.
-</p></div><div id="ftn.idp9851072" class="footnote"><p><a href="#idp9851072" class="para"><sup class="para">[166] </sup></a>
+</p></div><div id="ftn.idp56939680" class="footnote"><p><a href="#idp56939680" class="para"><sup class="para">[167] </sup></a>
Lessing, 239.
-</p></div><div id="ftn.idp9930928" class="footnote"><p><a href="#idp9930928" class="para"><sup class="para">[167] </sup></a>
+</p></div><div id="ftn.idp57023520" class="footnote"><p><a href="#idp57023520" class="para"><sup class="para">[168] </sup></a>
Ibid., 229.
-</p></div><div id="ftn.idp9951584" class="footnote"><p><a href="#idp9951584" class="para"><sup class="para">[168] </sup></a>
+</p></div><div id="ftn.idp57044384" class="footnote"><p><a href="#idp57044384" class="para"><sup class="para">[169] </sup></a>
Dette eksemplet ble avledet fra avgifter fastsatt i det opprinnelige
-høringen i panelet for opphavsrettsroyaltyvoldgift (CARP), og utledet fra et
-eksempel fremmet av professor William Fisher. Konferanseforedragssamling,
-iLaw (Stanford), 3. juli 2003, arkivert hos forfatteren. Professorene
-Fisher og Zittrain vitnet i CARP-høringen som ble avvist til slutt. Se
-Johnathan Zittrain, Digital Performance right in Sound Recordings and
-Ephemerial Recordings, Docket No. 2000-9, CARP DTRA 1 og 2, tilgjengelig fra
-<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #45</a>. For en
-utmerket analyse som fremmer et lignende argument, se Randal C. Picker,
+høringen i panelet for opphavsrettsroyaltyvoldgift (Copyright Arbitration
+Royalty Panel, CARP), og utledet fra et eksempel fremmet av professor
+William Fisher. Konferanseforedragssamling, iLaw (Stanford), 3. juli 2003,
+arkivert hos forfatteren. Professorene Fisher og Zittrain vitnet i
+CARP-høringen som ble avvist til slutt. Se Johnathan Zittrain, Digital
+Performance right in Sound Recordings and Ephemerial Recordings, Docket
+No. 2000-9, CARP DTRA 1 og 2, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #45</a>. For en utmerket
+analyse som fremmer et lignende argument, se Randal C. Picker,
<span class="quote">«<span class="quote">Copyright as Entry Policy: The Case of Digital Distribution,</span>»</span>
<em class="citetitle">Antitrust Bulletin</em> (Sommer/høst 2002): 461:
<span class="quote">«<span class="quote">Dette var ikke forvirret, dette var gode gamle sperrer for
nykommere. Analoge radiostasjoner beskyttes fra digitale nykommere, og
nykommere og variasjon reduseres. Ja, dette gjøres for å skaffe
-royalty-betaling til opphavsrettsinnehavere, men, uten ingripen fra mektige
+royalty-betaling til opphavsrettsinnehavere, men, uten inngripen fra mektige
interesse kunne dette vært gjort på en media-nøytral måte.</span>»</span>
-<a class="indexterm" name="idp9955472"></a> <a class="indexterm" name="idp9956576"></a>
-</p></div><div id="ftn.idp10017440" class="footnote"><p><a href="#idp10017440" class="para"><sup class="para">[169] </sup></a>
+<a class="indexterm" name="idp57048256"></a> <a class="indexterm" name="idp57049360"></a>
+</p></div><div id="ftn.idp57110400" class="footnote"><p><a href="#idp57110400" class="para"><sup class="para">[170] </sup></a>
Mike Graziano og Lee Rainie, <span class="quote">«<span class="quote">The Music Downloading Deluge,</span>»</span>
Pew Internet and American Life Project (24. april 2001), tilgjengelig fra
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #46</a>. The Pew
Internet and American Life Project rapporterte at 37 millioner Amerikanere
hadde lastet ned musikkfiler fra Internet før starten av 2001.
-</p></div><div id="ftn.idp9950240" class="footnote"><p><a href="#idp9950240" class="para"><sup class="para">[170] </sup></a>
+</p></div><div id="ftn.idp57043040" class="footnote"><p><a href="#idp57043040" class="para"><sup class="para">[171] </sup></a>
Alex Pham, <span class="quote">«<span class="quote">The Labels Strike Back: N.Y. Girl Settles RIAA
Case,</span>»</span> <em class="citetitle">Los Angeles Times</em>, 10. september 2003,
Business.
-</p></div><div id="ftn.idp10027664" class="footnote"><p><a href="#idp10027664" class="para"><sup class="para">[171] </sup></a>
+</p></div><div id="ftn.idp57120624" class="footnote"><p><a href="#idp57120624" class="para"><sup class="para">[172] </sup></a>
Jeffrey A. Miron og Jeffrey Zwiebel, <span class="quote">«<span class="quote">Alcohol Consumption During
Prohibition,</span>»</span> <em class="citetitle">American Economic Review</em> 81,
no. 2 (1991): 242.
-</p></div><div id="ftn.idp10029760" class="footnote"><p><a href="#idp10029760" class="para"><sup class="para">[172] </sup></a>
+</p></div><div id="ftn.idp57122720" class="footnote"><p><a href="#idp57122720" class="para"><sup class="para">[173] </sup></a>
Nasjonal narkotikakontrollpolitikk: Høring foran Kongressens komite for
myndighetsreform, 108. Kongress, 1. sesjon. (5. mars 2003) (uttalelse fra
John P. Walters, direktør for Nasjonal narkotikakontrollpolitikk).
-</p></div><div id="ftn.idp10031872" class="footnote"><p><a href="#idp10031872" class="para"><sup class="para">[173] </sup></a>
+</p></div><div id="ftn.idp57124832" class="footnote"><p><a href="#idp57124832" class="para"><sup class="para">[174] </sup></a>
Se James Andreoni, Brian Erard, og Jonathon Feinstein, <span class="quote">«<span class="quote">Tax
Compliance,</span>»</span> <em class="citetitle">Journal of Economic Literature</em> 36
(1998): 818 (oversikt over litteratur om bruk i henhold til lovverket).
-</p></div><div id="ftn.idp10079232" class="footnote"><p><a href="#idp10079232" class="para"><sup class="para">[174] </sup></a>
+</p></div><div id="ftn.idp57172128" class="footnote"><p><a href="#idp57172128" class="para"><sup class="para">[175] </sup></a>
-See Frank Ahrens, <span class="quote">«<span class="quote">RIAA's Lawsuits Meet Surprised Targets; Single
+Se Frank Ahrens, <span class="quote">«<span class="quote">RIAA's Lawsuits Meet Surprised Targets; Single
Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</span>»</span>
-<em class="citetitle">Washington Post</em>, 10 September 2003, E1; Chris Cobbs,
+<em class="citetitle">Washington Post</em>, 10. september 2003, E1; Chris Cobbs,
<span class="quote">«<span class="quote">Worried Parents Pull Plug on File `Stealing'; With the Music Industry
Cracking Down on File Swapping, Parents are Yanking Software from Home PCs
to Avoid Being Sued,</span>»</span> <em class="citetitle">Orlando Sentinel
-Tribune</em>, 30 August 2003, C1; Jefferson Graham, <span class="quote">«<span class="quote">Recording
-Industry Sues Parents,</span>»</span> <em class="citetitle">USA Today</em>, 15
-September 2003, 4D; John Schwartz, <span class="quote">«<span class="quote">She Says She's No Music Pirate. No
-Snoop Fan, Either,</span>»</span> <em class="citetitle">New York Times</em>, 25
-September 2003, C1; Margo Varadi, <span class="quote">«<span class="quote">Is Brianna a Criminal?</span>»</span>
-<em class="citetitle">Toronto Star</em>, 18 September 2003, P7.
-</p></div><div id="ftn.idp10085856" class="footnote"><p><a href="#idp10085856" class="para"><sup class="para">[175] </sup></a>
+Tribune</em>, 30. august 2003, C1; Jefferson Graham, <span class="quote">«<span class="quote">Recording
+Industry Sues Parents,</span>»</span> <em class="citetitle">USA Today</em>,
+15. september 2003, 4D; John Schwartz, <span class="quote">«<span class="quote">She Says She's No Music
+Pirate. No Snoop Fan, Either,</span>»</span> <em class="citetitle">New York Times</em>,
+25. september 2003, C1; Margo Varadi, <span class="quote">«<span class="quote">Is Brianna a Criminal?</span>»</span>
+<em class="citetitle">Toronto Star</em>, 18. september 2003, P7.
+</p></div><div id="ftn.idp57180672" class="footnote"><p><a href="#idp57180672" class="para"><sup class="para">[176] </sup></a>
Se Nick Brown, <span class="quote">«<span class="quote">Fair Use No More?: Copyright in the Information
Age,</span>»</span> tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #49</a>.
-</p></div><div id="ftn.idp10091456" class="footnote"><p><a href="#idp10091456" class="para"><sup class="para">[176] </sup></a>
+</p></div><div id="ftn.idp57186272" class="footnote"><p><a href="#idp57186272" class="para"><sup class="para">[177] </sup></a>
-See Jeff Adler, <span class="quote">«<span class="quote">Cambridge: On Campus, Pirates Are Not
-Penitent,</span>»</span> <em class="citetitle">Boston Globe</em>, 18 May 2003, City
+Se Jeff Adler, <span class="quote">«<span class="quote">Cambridge: On Campus, Pirates Are Not
+Penitent,</span>»</span> <em class="citetitle">Boston Globe</em>, 18. mai 2003, City
Weekly, 1; Frank Ahrens, <span class="quote">«<span class="quote">Four Students Sued over Music Sites;
Industry Group Targets File Sharing at Colleges,</span>»</span>
-<em class="citetitle">Washington Post</em>, 4 April 2003, E1; Elizabeth
+<em class="citetitle">Washington Post</em>, 4. april 2003, E1; Elizabeth
Armstrong, <span class="quote">«<span class="quote">Students `Rip, Mix, Burn' at Their Own Risk,</span>»</span>
-<em class="citetitle">Christian Science Monitor</em>, 2 September 2003, 20;
+<em class="citetitle">Christian Science Monitor</em>, 2. september 2003, 20;
Robert Becker and Angela Rozas, <span class="quote">«<span class="quote">Music Pirate Hunt Turns to Loyola;
Two Students Names Are Handed Over; Lawsuit Possible,</span>»</span>
-<em class="citetitle">Chicago Tribune</em>, 16 July 2003, 1C; Beth Cox,
+<em class="citetitle">Chicago Tribune</em>, 16. juli 2003, 1C; Beth Cox,
<span class="quote">«<span class="quote">RIAA Trains Antipiracy Guns on Universities,</span>»</span>
-<em class="citetitle">Internet News</em>, 30 January 2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #48</a>; Benny Evangelista,
-<span class="quote">«<span class="quote">Download Warning 101: Freshman Orientation This Fall to Include
-Record Industry Warnings Against File Sharing,</span>»</span> <em class="citetitle">San
-Francisco Chronicle</em>, 11 August 2003, E11; <span class="quote">«<span class="quote">Raid, Letters
-Are Weapons at Universities,</span>»</span> <em class="citetitle">USA Today</em>, 26
-September 2000, 3D.
+<em class="citetitle">Internet News</em>, 30. januar 2003, tilgjengelig fra
+<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #48</a>; Benny
+Evangelista, <span class="quote">«<span class="quote">Download Warning 101: Freshman Orientation This Fall to
+Include Record Industry Warnings Against File Sharing,</span>»</span>
+<em class="citetitle">San Francisco Chronicle</em>, 11. august 2003, E11;
+<span class="quote">«<span class="quote">Raid, Letters Are Weapons at Universities,</span>»</span> <em class="citetitle">USA
+Today</em>, 26. september 2000, 3D.
</p></div></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-balances"></a>Del IV. Maktfordeling</h1></div></div></div><div class="partintro"><div></div><p>
<span class="strong"><strong>Så her</strong></span> er bildet: Du står på siden av
-veien. Bilen din er på brann. Du er sint og opprørt fordi du delvis bidro
+veien. Bilen din står i brann. Du er sint og opprørt fordi du delvis bidro
til å starte brannen. Nå vet du ikke hvordan du slukker den. Ved siden av
deg er en bøtte, fylt med bensin. Bensin vil åpenbart ikke slukke brannen.
</p><p>
Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper
-hun bøtta, og før du har hatt sjansen til å be henne stoppe — eller
-før hun forstår hvorfor hun bør stoppe — er bøtten i svevet. Bensinen
+hun bøtta, og før du har hatt sjansen til å be henne stoppe – eller
+før hun forstår hvorfor hun bør stoppe – er bøtten i svevet. Bensinen
er på tur mot den brennende bilen, og brannen, som bensinen kommer til å
fyre opp, vil straks sette fyr på alt i omgivelsene.
</p><p>
-<span class="strong"><strong>En krig</strong></span> om opphavsrett pågår over
-alt— og vi fokuserer alle på feil ting. Det er ingen tvil om at
-dagens teknologier truer eksisterende virksomheter. Uten tvil kan de true
+<span class="strong"><strong>En krig</strong></span> om opphavsrett pågår over alt
+– og vi fokuserer alle på feil ting. Det er ingen tvil om at dagens
+teknologier truer eksisterende virksomheter. Uten tvil kan de true
artister. Men teknologier endrer seg. Industrien og teknologer har en
rekke måter å bruke teknologi til å beskytte dem selv mot dagens trusler på
Internett. Dette er en brann som overlatt til seg selv vil brenne ut.
burde holde øynene på veien.
</p><p>
Denne utfordringen har vært livet mitt de siste årene. Det har også vært
-min fallitt. I de to neste kapitlene, beskriver jeg en liten innsats, så
+min fiasko. I de to neste kapitlene, beskriver jeg en liten innsats, så
langt uten suksess, på å finne en måte å endre fokus på denne debatten. Vi
-må forstå disse mislyktede forsøkene hvis vi skal forstå hva som kreves for
+må forstå disse mislykkede forsøkene hvis vi skal forstå hva som kreves for
å lykkes.
</p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred"></a>Kapittel tretten: Eldred</h2></div></div></div><a class="indexterm" name="idxeldrederic"></a><a class="indexterm" name="idxhawthornenathaniel"></a><p>
<span class="strong"><strong>I 1995</strong></span> var en far frustrert over at hans
lenker til bilder og forklarende tekst, ville gjøre denne
nittenhundretallets forfatters verk mer levende.
</p><a class="indexterm" name="idxlibrariesofpublicdomainliterature"></a><a class="indexterm" name="idxpublicdomainlibraryofworksderivedfrom"></a><p>
-Det virket ikke — i hvert fall ikke på hans døtre. De fant ikke
+Det virket ikke – i hvert fall ikke på hans døtre. De fant ikke
Hawthorne noe mer interessant enn tidligere. Men Eldreds eksperiment ga
opphavet til en hobby, og hobbyen hans ga opphav til et kall: Eldred ville
lage et bibliotek over verk i det fri ved å skanne disse og gjøre dem gratis
tilgjengelig.
-</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="idp
10132704"></a><p>
+</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="idp
57228816"></a><p>
Biblioteket til Eldred var ikke bare en kopi av visse verk i det fri, selv
om en kopi ville vært av stor verdi for folk rundt om i verden som ikke kan
avledede verk fra disse allemannseide verkene. På samme måte som Disney
gjorde Grimm om til historier som var mer tilgjengelige i det tjuende
århundret, gjorde Eldred om på Hawthorne og mange andre, til noe mer
-tilgjengelig — teknisk tilgjengelig — i dag.
-</p><a class="indexterm" name="idp
10134640"></a><p>
+tilgjengelig – teknisk tilgjengelig – i dag.
+</p><a class="indexterm" name="idp
57230752"></a><p>
Eldreds frihet til å gjøre dette med Hawthornes verk kom fra samme kilde som
Disneys. Hawthornes <em class="citetitle">Scarlet Letter</em> hadde falt i det
fri i 1907. Alle hadde frihet til å ta det uten tillatelse fra boet etter
(<em class="citetitle">Askepott</em>), og noen ganger uten (<em class="citetitle">Ringeren
i Notre Dame</em>, <em class="citetitle">Treasure Planet</em>). Alle
disse er kommersielle publiseringer av verk i det fri.
-</p><a class="indexterm" name="idp
10138688"></a><a class="indexterm" name="idp10140000"></a><p>
+</p><a class="indexterm" name="idp
57234800"></a><a class="indexterm" name="idp57236112"></a><p>
Internett skapte muligheten for ikke-kommersiell publisering av verk i det
fri. Eldreds publisering er bare ett eksempel. Det finnes bokstavelig talt
tusenvis andre. Hundretusenvis rundt om i verden har oppdaget denne
-platformen for å uttrykke seg, og bruker den til å dele verk som, i henhold
+plattformen for å uttrykke seg, og bruker den til å dele verk som, i henhold
til loven, kan tas fritt. Dette har skapt det vi kan kalle den
<span class="quote">«<span class="quote">ikke-kommersielle forlagsindustrien,</span>»</span> hvilket før Internett
var begrenset til folk med store ego, eller med politiske eller sosiale
kall. Men med Internett inkluderer det en lang rekke med individer og
-grupper som er dedikert til å spre kultur generelt.<a href="#ftn.idp10143200" class="footnote" name="idp10143200"><sup class="footnote">[177]</sup></a>
-</p><a class="indexterm" name="idxcongressuscopyrighttermsextendedby2"></a><a class="indexterm" name="idxcopyrightdurationof6"></a><a class="indexterm" name="idxcopyrightlawtermextensionsin2"></a><a class="indexterm" name="idp
10151824"></a><a class="indexterm" name="idp10152640"></a><a class="indexterm" name="idp10153456"></a><a class="indexterm" name="idxpatentsfuturepatentsvsfuturecopyrightsin"></a><p>
+grupper som er dedikert til å spre kultur generelt.<a href="#ftn.idp57239312" class="footnote" name="idp57239312"><sup class="footnote">[178]</sup></a>
+</p><a class="indexterm" name="idxcongressuscopyrighttermsextendedby2"></a><a class="indexterm" name="idxcopyrightdurationof6"></a><a class="indexterm" name="idxcopyrightlawtermextensionsin2"></a><a class="indexterm" name="idp
57248000"></a><a class="indexterm" name="idp57248816"></a><a class="indexterm" name="idp57249632"></a><a class="indexterm" name="idxpatentsfuturepatentsvsfuturecopyrightsin"></a><p>
Som jeg sa, bor Eldred i New Hapshire. I 1998 skulle diktsamlingen
<em class="citetitle">New Hampshire</em> av Robert Frost falle i det fri. Eldred
ønsket å publisere denne samlingen i sitt fritt og offentlig tilgjengelige
bibliotek. Men Kongressen kom i veien. Som jeg beskrev i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>, utvidet Kongressen
for ellevte gang på førti år, vernetiden for eksisterende opphavsretter
-— denne gang med tjue år. Eldred ville ikke stå fritt til å legge inn
+– denne gang med tjue år. Eldred ville ikke stå fritt til å legge inn
verk nyere enn 1923 til sin samling før 2019. Faktisk vil ikke et eneste
opphavsrettsbeskyttet verk falle i det fri før det året (og ikke en gang da,
-hvis Kongressen utvidet vernetiden igjen). Som kontrast ville mer enn en
+hvis Kongressen utvider vernetiden igjen). Som kontrast ville mer enn en
million patenter falle i det fri i samme periode.
-</p><a class="indexterm" name="idp
10159712"></a><a class="indexterm" name="idp10160960"></a><a class="indexterm" name="idp10162352"></a><a class="indexterm" name="idp10163168"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
+</p><a class="indexterm" name="idp
57255936"></a><a class="indexterm" name="idp57257184"></a><a class="indexterm" name="idp57258576"></a><a class="indexterm" name="idp57259392"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
Dette var Sonny Bono utvidelse av Loven om vernetiden for opphavsrett
(CTEA), lagt frem til minne om kongressrepresentant og tidligere musiker
Sonny Bony, som ifølge hans enke Mari Bony mente at <span class="quote">«<span class="quote">opphavsretten bør
-vare evig.</span>»</span><a href="#ftn.idp10168400" class="footnote" name="idp10168400"><sup class="footnote">[178]</sup></a>
-</p><a class="indexterm" name="idp
10172304"></a><a class="indexterm" name="idp10173744"></a><a class="indexterm" name="idp10174864"></a><a class="indexterm" name="idp10175648"></a><a class="indexterm" name="idp10176496"></a><p>
+vare evig.</span>»</span><a href="#ftn.idp57264720" class="footnote" name="idp57264720"><sup class="footnote">[179]</sup></a>
+</p><a class="indexterm" name="idp
57269792"></a><a class="indexterm" name="idp57271232"></a><a class="indexterm" name="idp57272352"></a><a class="indexterm" name="idp57273136"></a><a class="indexterm" name="idp57273984"></a><p>
Eldred bestemte seg for å sloss mot denne loven. Han valgte først å
bekjempe den gjennom sivil ulydighet. I en serie intervjuer annonserte
Eldred at han kom til å publisere som planlagt, på tross av CTEA. Men på
grunn av en annen lov som ble vedtatt i 1998, NET-loven (Nei til Elektronisk
-Tyveri), så ville det å publisere gjøre Eldred til en kriminell —
+Tyveri), så ville det å publisere gjøre Eldred til en kriminell –
uansett om noen protesterer eller ikke. Dette var en farlig strategi å
gjennomføre for en handikappet programmerer.
-</p><a class="indexterm" name="idp
10177872"></a><a class="indexterm" name="idxcongressusconstitutionalpowersof"></a><a class="indexterm" name="idxconstitutionusprogressclauseof2"></a><a class="indexterm" name="idxprogressclause2"></a><a class="indexterm" name="idxlessiglawrenceeldredcaseinvolvementof"></a><p>
+</p><a class="indexterm" name="idp
57275360"></a><a class="indexterm" name="idxcongressusconstitutionalpowersof"></a><a class="indexterm" name="idxconstitutionusprogressclauseof2"></a><a class="indexterm" name="idxprogressclause2"></a><a class="indexterm" name="idxlessiglawrenceeldredcaseinvolvementof"></a><p>
Det var her jeg ble involvert i Eldreds kamp. Jeg var en grunnlovsforsker
hvis første lidenskap var grunnlovstolkning. Og selv om grunnlovskursene
aldri fokuserer på <span class="quote">«<span class="quote">Fremskrittsbestemmelsen</span>»</span> av Grunnloven, så
Kongressen har myndighet til å fremme utviklingen av vitenskap… ved å
sikre forfattere, i et begrenset tidsrom, … eksklusive rettigheter
til sine … skrifter. …
-</p></blockquote></div><a class="indexterm" name="idp
10190304"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
57287728"></a><p>
Som jeg har beskrevet, er denne bestemmelsen unik innenfor bestemmelsene som
deler ut myndighet i artikkel I, seksjon 8, av Grunnloven vår. Alle de
andre bestemmelsene deler ut myndighet til Kongressen ved å ganske enkelt si
-at Kongressen har myndighet til å gjøre noe — for eksempel til å
+at Kongressen har myndighet til å gjøre noe – for eksempel til å
regulere <span class="quote">«<span class="quote">handel mellom flere stater</span>»</span> eller <span class="quote">«<span class="quote">erklære
-krig.</span>»</span> Men her er dette <span class="quote">«<span class="quote">noe</span>»</span> ganske spesifikt —
-å <span class="quote">«<span class="quote">fremme utviklingen</span>»</span> — gjennom virkemidler som også er
-ganske spesifikke — ved å <span class="quote">«<span class="quote">sikre</span>»</span> <span class="quote">«<span class="quote">eksklusive
+krig.</span>»</span> Men her er dette <span class="quote">«<span class="quote">noe</span>»</span> ganske spesifikt –
+å <span class="quote">«<span class="quote">fremme utviklingen</span>»</span> – gjennom virkemidler som også er
+ganske spesifikke – ved å <span class="quote">«<span class="quote">sikre</span>»</span> <span class="quote">«<span class="quote">eksklusive
rettigheter</span>»</span> (det vil si opphavsretten) <span class="quote">«<span class="quote">i et begrenset
tidsrom.</span>»</span>
-</p><a class="indexterm" name="idp
10195680"></a><a class="indexterm" name="idp10197008"></a><a class="indexterm" name="idp10198272"></a><a class="indexterm" name="idp10199712"></a><p>
+</p><a class="indexterm" name="idp
57293104"></a><a class="indexterm" name="idp57294432"></a><a class="indexterm" name="idp57295632"></a><a class="indexterm" name="idp57297072"></a><p>
I de siste førti årene har Kongressen lagt seg på en praksis med å utvide
eksisterende vernetid i opphavsretten. Det som ga meg hodebry var at hvis
Grunnlovens krav om at vernetiden skulle være <span class="quote">«<span class="quote">begrenset</span>»</span>, ikke
ha noen praktisk effekt. Hvis Kongressen hadde myndighet til å utvide
vernetiden, hver gang vernetiden holder på å gå ut, så kunne Kongressen
-oppnå det Grunnloven tydelig forbyr — evigvarende vernetid <span class="quote">«<span class="quote">på
+oppnå det Grunnloven tydelig forbyr – evigvarende vernetid <span class="quote">«<span class="quote">på
avbetaling,</span>»</span> som professor Peter Jaszi så pent formulerte det.
-</p><a class="indexterm" name="idp
10203072"></a><a class="indexterm" name="idp10204336"></a><a class="indexterm" name="idp10205616"></a><p>
+</p><a class="indexterm" name="idp
57300432"></a><a class="indexterm" name="idp57301696"></a><a class="indexterm" name="idp57302800"></a><p>
Som akademiker var min første reaksjon å rette meg mot bøkene. Jeg husker
at jeg satt på kontoret en kveld og søkte gjennom nettdatabaser etter enhver
seriøs vurdering av spørsmålet. Ingen hadde noen gang utfordret Kongressens
legger opp til at de som har fordeler av det som gjøres i Kongressen, skal
skaffe og gi penger til Kongressen for å legge opp til at bestemte ting blir
gjort. Det er begrenset med tid, og det er så mye Kongressen kan gjøre.
-Hvorfor ikke begrense det den gjør til de tingene den må gjøre — og de
+Hvorfor ikke begrense det den gjør til de tingene den må gjøre – og de
tingene som betaler seg? Å utvide vernetiden i opphavsretten betaler seg.
</p><p>
Hvis det ikke er åpenbart for deg, vurder følgende: La oss si at du er en av
dollar.</span>»</span>
</p><p>
-Du tar raskt poenget — du som styremedlem samt, regner jeg med, du som
+Du tar raskt poenget – du som styremedlem samt, regner jeg med, du som
leser. Hver gang opphavsretten holder på å løpe ut, har hver eneste
mottaker i samme posisjon som arvingene etter Robert Frost det samme valget:
Hvis de bidrar til å få en lov vedtatt som utvider opphavsretten, så vil de
ha stor nytte av den utvidelsen. Så hver eneste gang opphavsretten er i
-ferd med å løpe ut, så er det en massiv lobbying for å få
+ferd med å løpe ut, så er det en massiv lobbyvirksomhet for å få
opphavsrettsvernetiden utvidet.
</p><p>
Dermed har vi en kongressbasert evighetsmaskin: Så lenge lovgiving kan
kjøpes (riktignok indirekte), så vil det være alle incentiver i verden for å
kjøpe ytterligere utvidelser av opphavsretten.
</p><p>
-I lobbyingen som førte til at Sonny Bono utvidelse av Loven om vernetiden
-for opphavsrett ble vedtatt, ble denne <span class="quote">«<span class="quote">teorien</span>»</span> om incentiver
-bevist å være riktig. Ti av de tretten originale sponsorene til loven i
-Overhuset mottok maksimale bidrag fra Disneys politiske handlingskomite. I
-Senatet mottok åtte av de tolv sponsorene bidrag.<a href="#ftn.idp10230288" class="footnote" name="idp10230288"><sup class="footnote">[179]</sup></a> RIAA og MPAA er estimert å ha brukt mer enn 1,5
-lobby-dollarmillioner i 1998-valgperioden. De betalte ut mer enn
-200 000 dollar i kampanjebidrag.<a href="#ftn.idp10222160" class="footnote" name="idp10222160"><sup class="footnote">[180]</sup></a>
-Disney er estimert å ha bidratt med mer enn 800 000 dollar i
-gjenvelgelseskampanjer den perioden.<a href="#ftn.idp10232304" class="footnote" name="idp10232304"><sup class="footnote">[181]</sup></a>
+I lobbyvirksomheten som førte til at Sonny Bono utvidelse av Loven om
+vernetiden for opphavsrett ble vedtatt, ble denne <span class="quote">«<span class="quote">teorien</span>»</span> om
+incentiver bevist å være riktig. Ti av de tretten originale sponsorene til
+loven i Overhuset mottok maksimale bidrag fra Disneys politiske
+handlingskomite. I Senatet mottok åtte av de tolv sponsorene
+bidrag.<a href="#ftn.idp57327568" class="footnote" name="idp57327568"><sup class="footnote">[180]</sup></a> RIAA og MPAA er estimert å ha
+brukt mer enn 1,5 millioner dollar til lobbyvirksomhet i 1998-valgperioden.
+De betalte ut mer enn 200 000 dollar i kampanjebidrag.<a href="#ftn.idp57319424" class="footnote" name="idp57319424"><sup class="footnote">[181]</sup></a> Disney er estimert å ha bidratt med mer enn
+800 000 dollar i gjenvelgelseskampanjer den perioden.<a href="#ftn.idp57329616" class="footnote" name="idp57329616"><sup class="footnote">[182]</sup></a>
</p><p>
<span class="strong"><strong>Forfatningsrett</strong></span> er ikke uvitende om det
utvide eksisterende vernetid, så ville det ikke være noe grunnlovsmessig
krav om at vernetiden skulle være <span class="quote">«<span class="quote">begrenset.</span>»</span> Hvis de kunne
utvide den én gang, så kunne de utvide den igjen og igjen og igjen.
-</p><a class="indexterm" name="idp
10239072"></a><a class="indexterm" name="idp10240400"></a><a class="indexterm" name="idp10241664"></a><p>
+</p><a class="indexterm" name="idp
57336352"></a><a class="indexterm" name="idp57337680"></a><a class="indexterm" name="idp57338944"></a><p>
Det var også min vurdering at <span class="emphasis"><em>denne</em></span> Høyesteretten ikke
ville tillate Kongressen å utvide den eksisterende vernetiden. Som alle som
går ut over myndigheten tildelt dem i Grunnloven. Blant grunnlovsforskere
var det mest berømte eksemplet på denne trenden avgjørelsen fra Høyesterett
i 1995 om å slå ned på en lov som forbød besittelse av våpen nær skoler.
-</p><p>
+</p><a class="indexterm" name="idxcommerceinterstate"></a><a class="indexterm" name="idxcongressusconstitutionalpowersof2"></a><a class="indexterm" name="idxinterstatecommerce"></a><p>
Siden 1937 hadde Høyesterett tolket Kongressens tildelte myndighet svært
bredt. Så mens Grunnloven gir Kongressen myndighet til å kun regulere
-<span class="quote">«<span class="quote">handel mellom stater</span>»</span> (aka <span class="quote">«<span class="quote">mellomstatlig
+<span class="quote">«<span class="quote">handel mellom stater</span>»</span> (også kjent som <span class="quote">«<span class="quote">mellomstatlig
handel</span>»</span>), så hadde Høyesterett tolket den myndigheten til å inneholde
myndigheten til å regulere enhver aktivitet som kun berører mellomstatlig
handel.
</p><p>
Etter hvert som økonomien vokste, betød denne standarden i stadig større
grad at det ikke var noen grenser for Kongressens myndighet til å regulere,
-siden omtrent hver eneste aktivitet, når en vurderte det på nasjonal skala,
-påvirker mellomstatlig handel. En grunnlov utformet for å begrense
+siden stort sett hver eneste aktivitet, når en vurderte det på nasjonal
+skala, påvirker mellomstatlig handel. En grunnlov utformet for å begrense
Kongressens myndighet ble i stedet tolket til å ikke ha noen grense.
-</p><a class="indexterm" name="idp
10247728"></a><p>
+</p><a class="indexterm" name="idp
57350016"></a><a class="indexterm" name="idxunitedstatesvlopez"></a><p>
Høyesterett endret, under ledelse av høyesterettsjustitiarius Rehnquist, det
i <em class="citetitle">United States</em> mot <em class="citetitle">Lopez</em>.
Staten hadde argumentert med at å bære våpen nær skoler påvirket
etterprøve Kongressen.
</p><p>
<span class="quote">«<span class="quote">Vi tar en pause for å vurdere implikasjonene fra regjeringens
-argumenter,</span>»</span> skrev høyesterettsjustitiariusen.<a href="#ftn.idp10251536" class="footnote" name="idp10251536"><sup class="footnote">[182]</sup></a> Hvis alt Kongressen sier er mellomstatlig handel
+argumenter,</span>»</span> skrev høyesterettsjustitiariusen.<a href="#ftn.idp57355344" class="footnote" name="idp57355344"><sup class="footnote">[183]</sup></a> Hvis alt Kongressen sier er mellomstatlig handel
dermed må anses å være mellomstatlig handel, så finnes det ingen
begrensninger i Kongressens myndighet. Avgjørelsen i
<em class="citetitle">Lopez</em> ble bekreftet fire år senere i
<em class="citetitle">United States</em> mot
-<em class="citetitle">Morrison</em>.<a href="#ftn.idp10254960" class="footnote" name="idp10254960"><sup class="footnote">[183]</sup></a>
-</p><p>
+<em class="citetitle">Morrison</em>.<a href="#ftn.idp57358816" class="footnote" name="idp57358816"><sup class="footnote">[184]</sup></a>
+</p><a class="indexterm" name="idp57361456"></a><a class="indexterm" name="idp57362768"></a><p>
Hvis det er et prinsipp som anvendes her, så bør det være like gyldig for
-Fremskrittsbestemmelsen som for Handelsbestemmelsen.<a href="#ftn.idp10257696" class="footnote" name="idp10257696"><sup class="footnote">[184]</sup></a> Og hvis det anvendes på Fremskrittsbestemmelsen,
+Fremskrittsbestemmelsen som for Handelsbestemmelsen.<a href="#ftn.idp57364960" class="footnote" name="idp57364960"><sup class="footnote">[185]</sup></a> Og hvis det anvendes på Fremskrittsbestemmelsen,
bør prinsippet føre til konklusjonen at Kongressen ikke kan utvide en
-eksisternede vernetid. Hvis Kongressen kan utvide en eksisterende vernetid,
-så finnes det intet <span class="quote">«<span class="quote">stopp-punkt</span>»</span> for Kongressens myndighet
-over vernetiden, selv om grunnloven klart sier at det er en slik grense.
+eksisterende vernetid. Hvis Kongressen kan utvide en eksisterende vernetid,
+så finnes det intet <span class="quote">«<span class="quote">endepunkt</span>»</span> for Kongressens myndighet over
+vernetiden, selv om grunnloven klart sier at det finnes en slik grense.
Dermed, hvis det samme prinsippet anvendes på myndigheten til å dele ut
opphavsretter, burde det gjøre at Kongressen ikke får lov til å utvide
vernetiden til eksisterende opphavsretter.
-</p><p>
-Det vil si <span class="emphasis"><em>hvis</em></span> prinsippet annonsert i
-<em class="citetitle">Lopez</em> sto for et prinsipp. Mange mente avgjørelsen i
-<em class="citetitle">Lopez</em> sto for politikk — en konservativ
+</p><a class="indexterm" name="idp57368864"></a><a class="indexterm" name="idxcongressussupremecourtrestrainton2"></a><a class="indexterm" name="idp57371872"></a><p>
+Dette stemmer <span class="emphasis"><em>hvis</em></span> prinsippet lagt frem i
+<em class="citetitle">Lopez</em> var et prinsipp. Mange mente avgjørelsen i
+<em class="citetitle">Lopez</em> var politisk – en konservativ
Høyesterett, som trodde på statenes rettigheter, brukte sin myndighet over
Kongressen til å fremme sine egne personlige politiske preferanser. Men jeg
avviste det synet på avgjørelsen fra Høyesterett. Jeg hadde til og med
som usedvanlig kjedelig. Jeg kom ikke til å dedikere mitt liv til å lære
bort forfatningsrett hvis disse ni dommerne kun skulle være smålige
politikere.
-</p><a class="indexterm" name="idp
10264896"></a><a class="indexterm" name="idp10266032"></a><a class="indexterm" name="idp10267168"></a><a class="indexterm" name="idp10268272"></a><p>
+</p><a class="indexterm" name="idp
57376224"></a><a class="indexterm" name="idp57377584"></a><a class="indexterm" name="idp57378752"></a><a class="indexterm" name="idp57379888"></a><a class="indexterm" name="idp57380992"></a><p>
<span class="strong"><strong>La oss nå ta et øyeblikks pause</strong></span> for å
være sikker på at vi forstår hva argumentet i <em class="citetitle">Eldred</em>
ikke handlet om. Ved å insistere på Grunnlovens begrensning på
opphavsretten, så gikk selvsagt ikke Eldred god for piratvirksomhet.
-Faktisk sloss han, på en åpenbar måte, mot en slags piratvirksomhet —
+Faktisk sloss han, på en åpenbar måte, mot en slags piratvirksomhet –
røving av allemannseiet. Da Robert Frost skrev sine verk, og når Walt
Disney skapte Mikke Mus, så var den maksimale vernetiden bare femtiseks år.
På grunn av endringer i mellomtiden har Forst og Disney allerede nytt godt
av syttifem års monopol på sine verk. De har fått fordelen i avtalen som
Grunnloven ser for seg: I bytte for et monopol beskyttet i femtiseks år, så
-skapte de nye verk. Men nå brukte disse aktørene sin makt — uttrykt
-gjennom strømmen av lobbyeringspenger — til å få tjue års forlengelse
-av monopolet. Denne forlengelsen vil bli tatt fra allemannseiet. Eric
-Eldred sloss mot piratvirksomhet som påvirker oss alle.
-</p><a class="indexterm" name="idp
10270624"></a><p>
+skapte de nye verk. Men nå brukte disse aktørene sin makt – uttrykt
+gjennom strømmen av lobbyvirksomhetens penger – til å få tjue års
+forlengelse av monopolet. Denne forlengelsen vil bli tatt fra
+allemannseiet. Eric Eldred sloss mot piratvirksomhet som påvirker oss alle.
+</p><a class="indexterm" name="idp
57383344"></a><p>
Noen folk ser på allemannseiet med forakt. I innlegget de sendt til
Høyesteretten, skrev Nashville sangforfatterforening at allemannseiet ikke
-var noe annet enn <span class="quote">«<span class="quote">lovlig piratvirksomhet.</span>»</span><a href="#ftn.idp10274224" class="footnote" name="idp10274224"><sup class="footnote">[185]</sup></a> Men det er ikke piratvirksomhet når loven tillater
+var noe annet enn <span class="quote">«<span class="quote">lovlig piratvirksomhet.</span>»</span><a href="#ftn.idp57386960" class="footnote" name="idp57386960"><sup class="footnote">[186]</sup></a> Men det er ikke piratvirksomhet når loven tillater
det. Og i vårt konstituelle system krever loven dette. Noen liker kanskje
ikke paragrafene i Grunnloven vår, men det gjør ikke Grunnloven til en
piratkodeks.
har skapt den perfekte storm for allemannseiet. Opphavsrettene har ikke gått
ut på dato, og vil aldri gå ut på dato, så lenge Kongressen står fritt til å
la seg kjøpe for å utvide dem igjen.
-</p><p>
+</p><a class="indexterm" name="idp57391392"></a><p>
<span class="strong"><strong>Det er verdifull</strong></span> opphavsrett som er
-ansvarlig for at verneperioden blir utvidet. Mikke Mus og <span class="quote">«<span class="quote">Rhapsody
+ansvarlig for at verneperiodene blir utvidet. Mikke Mus og <span class="quote">«<span class="quote">Rhapsody
in Blue.</span>»</span> Disse verkene er for verdifulle til at opphavsrettseierene
kan ignorere dem. Men den reelle skaden fra opphavsrettsutvidelser for
samfunnet vårt er ikke at Mikke Mus forblir Disneys. Glem Mikke Mus. Glem
Robert Frost. Glem alle verk fra 1920-tallet og 1930-tallet som fortsatt
har kommersiell verdi. Den reelle skaden fra utvidelse av vernetiden kommer
ikke fra disse berømte verkene. Den reelle skaden er fra de verkene som
-ikke er berømte, ikke kommersielt utnytttet, og dermed heller ikke lenger
+ikke er berømte, ikke kommersielt utnyttet, og dermed heller ikke lenger
tilgjengelig.
</p><p>
Hvis du ser på arbeider laget i de første tjue årene (1923 til 1942)
har 2 prosent av disse verkene fortsatt kommersielle verdi. Det var
opphavsrettsinnehaverne for disse 2 prosentene som fikk igjennom CTEA. Men
loven og dens effekt var ikke begrenset til disse 2 prosentene. Loven
-utvidet vernetiden til opphavsretten generelt.<a href="#ftn.idp10282048" class="footnote" name="idp10282048"><sup class="footnote">[186]</sup></a>
+utvidet vernetiden til opphavsretten generelt.<a href="#ftn.idp57396176" class="footnote" name="idp57396176"><sup class="footnote">[187]</sup></a>
-</p><p>
+</p><a class="indexterm" name="idp57399056"></a><p>
-Tenk praktisk over konsekvensen av denne utvidelsen — praktisk som en
+Tenk praktisk over konsekvensen av denne utvidelsen – praktisk som en
forretningsmann, ikke som en advokat ivrig etter mer juridisk arbeide. I
1930 ble 10047 bøker publisert. I 2000 var 174 av disse bøkene fortsatt
tilgjengelig fra forlaget. La oss anta at du var Brewster Kahle, og du
ønsket å gjøre de resterende 9873 tilgjengelig for verden i ditt
iArkiv-prosjekt. Hva ville du måtte gjøre?
-</p><a class="indexterm" name="idp
10286608"></a><p>
+</p><a class="indexterm" name="idp
57401504"></a><p>
Vel, først må du finne ut hvilke av disse 9873 bøkene som fortsatt er vernet
av opphavsretten. Det krever at du går til biblioteket (den informasjonen
er ikke tilgjengelig på nettet) og blar igjennom haller med bøker mens du
Men det er ingen liste. Det kan være et navn fra 1930, og deretter i 1959,
for personen som registrerte opphavsretten. Men bare tenkt rundt hvor
utrolig vanskelig det vil være å praktisk spore opp tusenvis av slike
-arkivoppføringer — spesielt siden personen som er registrert ikke
+arkivoppføringer – spesielt siden personen som er registrert ikke
nødvendigvis er den nåværende eier. Og vi snakker kun om 1930!
</p><p>
<span class="quote">«<span class="quote">Men det er ikke generelt en liste over hvem som eier eiendom</span>»</span>
så er det normalt et bilskilt som vil knytte eieren til bilen. Hvis du ser
en haug med barneleker som ligger på plenen forran et hus, så er det rimelig
enkelt å finne ut hvem som eier lekene. Og hvis du tilfeldigvis ser en
-baseball som ligger i grøfta ved siden av veien, så se deg rundt et øyeblikk
-etter unger som spiller ball. Hvis du ikke ser noen barn, så ok: her er det
-en bit eiendom hvis eier vi ikke enkelt kan spore opp. Dette er unntaket
-som bekrefter regelen: at vi normalt vet veldig godt hvem som eier hvilken
-eiendom.
+baseball som ligger i grøfta ved siden av veien, så ser du deg rundt et
+øyeblikk etter unger som spiller ball. Hvis du ikke ser noen barn, så ok:
+her er det en bit eiendom hvis eier vi ikke enkelt kan spore opp. Dette er
+unntaket som bekrefter regelen: at vi normalt vet veldig godt hvem som eier
+hvilken eiendom.
</p><p>
Sammenlign denne historien med immateriell eiendom. Du går inn i et
bibliotek. Biblioteket eier bøkene. Men hvem eier opphavsretten? Som jeg
vite hvem som eier hva så må du hyre en privatdetektiv. Det en sitter igjen
med er at eieren ikke enkelt kan finnes. Og med et regime som vårt, der det
er en forbrytelse å bruke slik eiendom uten tillatelse fra eieren av
-eiendomen, så vil eiendommen ikke bli brukt.
+eiendommen, så vil eiendommen ikke bli brukt.
</p><p>
Konsekvensen for gamle bøker er at de ikke vil bli digitalisert, og dermed
ganske enkelt vil råtne bort på hyller. Men konsekvensen for andre kreative
arbeider er mye mer alvorlig.
-</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="idp
10298928"></a><a class="indexterm" name="idp10299744"></a><a class="indexterm" name="idp10300560"></a><p>
+</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="idp
57413824"></a><a class="indexterm" name="idp57414640"></a><a class="indexterm" name="idp57415456"></a><p>
Se på historien til Michael Agee, styreleder ved Hal Roach Studios, som eier
opphavsrettene for Helan- og Halvan-filmene. Agee har dermed direkte fordel
av Bono-loven. Helan og Halvan-filmene ble laget mellom 1921 og 1951. Kun
begynt å falle i det fri. Da Agee kontrollerer de eksklusive rettighetene
for disse populære filmene, så tjener han en god del penger. Ifølge et
estimat, <span class="quote">«<span class="quote">har Roach solgt omtrent 60 000 videokassetter og
-50 000 DVD-er av filmene til denne stumfilmduoen.</span>»</span><a href="#ftn.idp10303408" class="footnote" name="idp10303408"><sup class="footnote">[187]</sup></a>
+50 000 DVD-er av filmene til denne stumfilmduoen.</span>»</span><a href="#ftn.idp57418304" class="footnote" name="idp57418304"><sup class="footnote">[188]</sup></a>
</p><p>
Likevel gikk Agee mot CTEA. Hans begrunnelse er en sjelden dyd i denne
kulturen: uselviskhet. Han argumenterte i sitt innlegg foran Høyesteretten
</p><p>
Argumentet hans er enkelt. En liten brøkdel av disse verkene har vedvarende
-kommersiell verdi. Resten — i den grad de overlever i det hele tatt
-— ligger i et hvelv og samler støv. Det kan være være at noen av
+kommersiell verdi. Resten – i den grad de overlever i det hele tatt
+– ligger i et hvelv og samler støv. Det kan være være at noen av
disse verkene som nå ikke er kommersielt verdifulle, vil bli vurdert å være
verdifulle av eierne av hvelvene. For at det skal skje, må den kommersielle
gevinsten fra verkene overstige kostnaden med å gjøre verket tilgjengelig
teknologi har redusert disse kostnadene betydelig. Mens det i 1993 kostet
mer enn 10 000 dollar for å restaurere en nittiminutters
sort-hvitt-film, så kan det nå koste så lite som 100 dollar å digitalisere
-én times 8-millimeterfilm.<a href="#ftn.idp10234320" class="footnote" name="idp10234320"><sup class="footnote">[188]</sup></a>
+én times 8-millimeterfilm.<a href="#ftn.idp57331600" class="footnote" name="idp57331600"><sup class="footnote">[189]</sup></a>
</p><p>
Restaureringsteknologien er ikke den eneste kostnaden, og heller ikke den
rettighetene. Og for å sikre seg rettighetene til en film som er vernet av
opphavsretten, så må du finne opphavsrettseieren.
</p><p>
-Eller for å være mer nøyaktig, <span class="emphasis"><em>eiere</em></span>. Som vi har sett
-er det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange.
-Det er ikke en enkelt person som du kan kontakte om disse opphavsrettene.
-Det er like mange som det er opphavsretter knyttet til den, hvilket viser
-seg kan være et ekstremt høyt tall. Dermed blir kostnaden med å klarere
+Eller for å være mer presis, <span class="emphasis"><em>eiere</em></span>. Som vi har sett er
+det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. Det
+er ikke en enkelt person som du kan kontakte om disse opphavsrettene. Det
+er like mange som det er opphavsretter knyttet til den, hvilket viser seg å
+være et ekstremt høyt antall. Dermed blir kostnaden med å klarere
rettighetene for disse filmene eksepsjonelt høy.
</p><p>
<span class="quote">«<span class="quote">Men kan du ikke bare restaurere filmen, distribuere den, og så betale
at gevinsten vil oppveie de juridiske kostnadene. Dermed vil de aller fleste
gamle filmer, argumenterte Agee, ikke bli restaurert og distribuert før
opphavsretten løper ut.
-</p><a class="indexterm" name="idp
10319792"></a><p>
+</p><a class="indexterm" name="idp
57434688"></a><p>
Men innen opphavsretten for disse filmene er utløpt, vil filmen ha gått
tapt. Disse filmene ble produsert på nitratbaserte filmruller, og
nitratfilm går i oppløsning over tid. De vil være borte, og metalleskene
</p><p>
<span class="strong"><strong>Av alle de</strong></span> kreative verk produsert av
mennesker i verden, så er det kun en liten brøkdel som fortsetter å ha
-kommersiell verdi. For en liten brøkdel er opphavsretten en viktig og
-kritisk juridisk mekanisme. For den lille brøkdelen skaper opphavsretten
-incentiver til å produsere og distribuere kreative verk. For den lille
-brøkdelen fungerer opphavsrett som en <span class="quote">«<span class="quote">drivkraft for
+kommersiell verdi. For denne lille brøkdel er opphavsretten et viktig og
+kritisk juridisk virkemiddel. For denne lille brøkdelen skaper
+opphavsretten incentiver til å produsere og distribuere kreativt arbeid.
+For denne lille brøkdelen fungerer opphavsrett som en <span class="quote">«<span class="quote">drivkraft for
uttrykksfrihet.</span>»</span>
</p><p>
Men selv for denne lille brøkdelen, så er den reelle tiden som det kreative
-arbeidet har, et kommersielt liv ekstremt kort. Som jeg antydet tidligere
-blir de fleste bøker utsolgt fra forlaget innen et år. Det samme er
-tilfellet for musikk og film. Kommersiell kultur er som et rovdyr. Den må
-fortsette å bevege seg. Og når et kreativt arbeid ikke lenger får godviljen
-fra en kommersiell distributør, så tar den kommersielle epoken slutt.
+verket har et kommersielt liv ekstremt kort. Som jeg antydet tidligere blir
+de fleste bøker utsolgt fra forlaget innen et år. Det samme er tilfellet
+for musikk og film. Kommersiell kultur er som et rovdyr. Den må fortsette
+å bevege seg. Og når et kreativt verk ikke lenger får godviljen fra en
+kommersiell distributør, så tar dens kommersielle epoke slutt.
</p><p>
-Likevel betyr ikke dette at livet til det kreative arbeidet er over. Vi har
+Likevel betyr ikke dette at livet til det kreative verket er over. Vi har
ikke biblioteker for å konkurrere med Barnes & Noble, og vi har ikke
filmarkiver fordi vi forventer at folk skal velge mellom å tilbringe
fredagskvelden med å se nye filmer, eller tilbringe fredagskvelden med å se
en nyhetsdokumentar fra 1930. Det ikke-kommersielle epoken til kulturen er
-viktig og verdifullt — som underholdning men også, og viktigere, for
+viktig og verdifullt – som underholdning men også, og viktigere, for
kunnskap. For å forstå hvem vi er, hvor vi kom fra og hvordan vi gjorde de
feil vi har gjort, så må vi ha tilgang til denne historien.
</p><p>
bruk som var uavhengig av opphavsrettslov.
</p><p>
Det samme var praktisk sett tilfelle også for film. På grunn av at
-kostnadene med å restaurere en film — de egentlige økonomiske
-kostnadene, ikke advokatkostnadene — var så høye, så var det aldri
+kostnadene med å restaurere en film – de egentlige økonomiske
+kostnadene, ikke advokatkostnadene – var så høye, så var det aldri
praktisk mulig å ta vare på, eller restaurere film. Omtrent som med restene
etter en flott middag, når den er over, så er den over. Når den kommersielle
epoken til en film var over, så kan den ha blitt arkivert en stund, men det
opphavsrettsbeskyttelse for disse verkene ville ikke kommet i veien for noe.
</p><p>
Men denne situasjonen er nå endret.
-</p><a class="indexterm" name="idxarchivesdigital2"></a><p>
+</p><a class="indexterm" name="idx
kahlebrewster2"></a><a class="indexterm" name="idxarchivesdigital2"></a><p>
En veldig viktig konsekvens av fremveksten av digitale teknologier er å
muliggjøre arkivet som Brewster Kahle drømmer om. Digitale teknologier gjør
det nå mulig å ta vare på og gi tilgang til alle typer kunnskap. Når en bok
kommer loven i veien. Og den kommer ikke i veien på grunn av et nyttig
<span class="emphasis"><em>opphavsretts</em></span>formål, som jo er å gjøre det mulig for det
kommersielle markedet å spre kultur. Nei, vi snakker om kultur etter at den
-har levd sin kommersielle epoke. I denne sammenhengen tjener opphavsretten
-ikke noe formål <span class="emphasis"><em>i det hele tatt</em></span>, relatert til spredning
-av kunnskap. I denne sammenhengen er ikke opphavsrett en drivkraft for
-uttrykksfrihet. Opphavsrett er en bremsekloss.
+har levd sin kommersielle epoke. I denne sammenhengen har ikke
+opphavsretten noe formål <span class="emphasis"><em>i det hele tatt</em></span>, relatert til
+spredning av kunnskap. I denne sammenhengen er ikke opphavsrett en
+drivkraft for uttrykksfrihet. Opphavsrett er en bremsekloss.
</p><p>
Du kan godt spørre, <span class="quote">«<span class="quote">Men hvis digitale teknologier reduserer kostnaden
-for Brewster Kahle, så reduserer de også kostnadene for Random House. Vil
-ikke Random House da spre kultur like vidt som Brewster Kahle?</span>»</span>
-</p><p>
-Mulig det. En eller annen dag. Men det finnes ingen indisier som tyder på
-at utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble
+for Brewster Kahle, så reduserer de også kostnadene for Random House (USAs
+største bokforlag). Vil ikke Random House da spre kultur like vidt som
+Brewster Kahle?</span>»</span>
+</p><a class="indexterm" name="idp57457312"></a><p>
+Mulig det. En eller annen dag. Men det finnes intet som tyder på at
+utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble
tilbød utlån av bøker fra sine lager til en lavere pris, ville det eliminere
behovet for biblioteker? Kun hvis du mener at den eneste rollen et
bibliotek skal tjene, er den <span class="quote">«<span class="quote">markedet</span>»</span> etterspør. Men hvis du
-mener bibliotekrollen er større en dette — hvis du mener dets rolle
+mener bibliotekrollen er større en dette – hvis du mener dets rolle
er å arkivere kultur, uavhengig av om det er en etterspørsel etter en
-bestemt bit av den kulturen eller ikke — da kan vi ikke basere oss på
-at det kommersielle markedet vil gjøre biblioteksjobben for oss.
-</p><a class="indexterm" name="idp
10342400"></a><p>
+bestemt bit av den kulturen eller ikke – da kan vi ikke basere oss på
+at det kommersielle markedet vil gjøre bibliotekjobben for oss.
+</p><a class="indexterm" name="idp
57460192"></a><p>
Jeg er blant de første til å være enig i at markedet skal gjøre så mye som
det kan: Vi bør basere oss på markedet så mye som mulig for å spre og gjøre
kultur mulig. Mitt budskap er absolutt ikke imot markedet. Men der vi ser
-at markedet ikke gjør jobben, da bør vi tillate krefter utenfor markedet
+at markedet ikke gjør jobben bør vi tillate krefter utenfor markedet
friheten til å fylle hullene. En forsker beregnet for amerikansk kultur at
94 prosent av filmer, bøker og musikk produsert mellom 1923 og 1946, ikke er
kommersielt tilgjengelig. Uansett hvor mye du elsker markedet, så er 6
-prosent en svikt hvis tilgang er et måleparameter.<a href="#ftn.idp10345344" class="footnote" name="idp10345344"><sup class="footnote">[189]</sup></a>
+prosent en svikt hvis tilgang er et måleparameter.<a href="#ftn.idp57463184" class="footnote" name="idp57463184"><sup class="footnote">[190]</sup></a>
</p><p>
<span class="strong"><strong>I januar 1999</strong></span> anla vi sak på vegne av
saken. Saker tas normalt opp i et kammer med tre deltagere, med unntak av
viktige saker, eller saker som tar opp tema som er spesifikt for kretsen som
helhet, der domstolen vil samles <span class="quote">«<span class="quote">i plenum</span>»</span> for å ta opp saken.
-</p><a class="indexterm" name="idp
10355984"></a><p>
+</p><a class="indexterm" name="idp
57473824"></a><p>
Ankedomstolen avviste vår anmodning om å ta opp saken i plenum. Denne gangen
fikk dommer Sentelle følge av det mest liberale medlemmet av ankekretsen i
skriver disse ordene. Det er fortsatt utrolig vanskelig. Hvis du vet noe
om denne historien, så vet du at vi tapte anken. Og hvis du vet noe mer enn
bare litt, så tror du antagelig at det var ingen måte å vinne denne saken
-på. Etter vårt nederlag fikk jeg jeg bokstavelig talt tusenvis av hilsninger
-fra støttespillere og folk som ville ønske meg lykke til, som takket meg for
-min innsats på vegne av denne noble, men fortapte sak. Og ingen fra denne
+på. Etter vårt nederlag fikk jeg bokstavelig talt tusenvis av hilsninger fra
+støttespillere og folk som ville ønske meg lykke til, som takket meg for min
+innsats på vegne av denne noble, men fortapte sak. Og ingen fra denne
bunken var viktigere for meg enn e-posten fra min klient, Eric Eldred.
</p><p>
Men klienten min, og disse vennene tok feil. Denne saken kunne vært
vunnet. Den burde ha vært vunnet. Og uansett hvor hardt jeg prøver å
fortelle den historien til meg selv, kan jeg aldri slippe unna troen på at
det er min feil at vi ikke vant.
-</p><a class="indexterm" name="idp
10362800"></a><p>
+</p><a class="indexterm" name="idp
57480640"></a><a class="indexterm" name="idxjonesdayreavisandpoguejonesday"></a><p>
<span class="strong"><strong>Feilen</strong></span> ble gjort tidlig, skjønt det ble
først åpenbart på slutten. Saken vår hadde hatt støtte hos en ekstraordinær
sine opphavsrettsbeskyttende klienter på grunn av sin støtte til oss. De
ignorerte dette presset (noe veldig få advokatfirmaer noensinne ville
gjøre), og ga alt de hadde gjennom hele saken.
-</p><a class="indexterm" name="idp
10365664"></a><a class="indexterm" name="idp10366480"></a><a class="indexterm" name="idp10367296"></a><p>
+</p><a class="indexterm" name="idp
57485072"></a><a class="indexterm" name="idp57485888"></a><a class="indexterm" name="idp57486704"></a><p>
Det var tre viktige advokater på saken fra Jones Day. Geoff Stewart var den
første, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og
Ayer spesielt, hadde en felles oppfatning om hvordan denne saken ville bli
synes som om dramatisk skade ble gjort på ytringsfriheten og fri kultur,
ellers ville de aldri stemme mot <span class="quote">«<span class="quote">de mektigste mediaselskapene i
verden.</span>»</span>
-</p><p>
+</p><a class="indexterm" name="idp57489728"></a><p>
Jeg hater dette synet på rettsvesenet. Selvfølgelig mente jeg at Sonny
Bono-loven utgjorde en dramatisk skade på ytringsfriheten og fri kultur.
Det mener jeg fremdeles. Men idéen om at Høyesterett avgjør
</p><p>
Det var derimot én måte der jeg følte at politikk ville bety noe, og hvor
-jeg tenkte et svar var riktig. Jeg var overbevist om at domstolen ikke
-ville høre på våre argumenter hvis den mente at de bare var argumenter fra
-en gruppe med venstrevridde gærninger. Denne Høysteretten kom ikke til å
-stupe inn i et nytt juridisk vurderingsfelt hvis det virket som om dette
+jeg tenkte en appell var hensiktsmessig. Jeg var overbevist om at domstolen
+ikke ville høre på våre argumenter hvis den mente at de bare var argumenter
+fra en gruppe med venstrevridde gærninger. Denne Høyesteretten kom ikke til
+å stupe inn i et nytt juridisk vurderingsfelt hvis det virket som om dette
feltet kun var interessant for en liten politisk minoritet. Selv om mitt
fokus i saken ikke var å demonstrere hvor ille Sonny Bono-loven var, men å
demonstrere at den var i strid med Grunnloven, så var det mitt håp å
argumentere for dette mot en bakgrunn av innlegg som dekket hele spekteret
av politiske ståsteder. For å vise at denne påstanden mot CTEA var fundert
i <span class="emphasis"><em>lovverket</em></span> og ikke i politikken, forsøkte vi derfor å
-samle den videste rekken av troverdige kritikere — ikke troverdige
+samle den videste rekken av troverdige kritikere – ikke troverdige
fordi de var rike og berømte, men fordi de, samlet sett, demonstrerte at
denne loven var i strid med Grunnloven uavhengig av ens politiske syn.
-</p><a class="indexterm" name="idp
10379456"></a><a class="indexterm" name="idp10380128"></a><p>
+</p><a class="indexterm" name="idp
57500208"></a><a class="indexterm" name="idp57500880"></a><p>
Det første steget skjedde helt av seg selv. Organisasjonen til Phyllis
Schlafly, Ørneforumet, hadde vært motstander av CTEA helt fra begynnelsen.
Fru Schlafly så på CTEA som at Kongressen hadde solgt seg. Hun skrev en
-skarp kronikk i november 1998 som angrep den republikanske Kongressen for å
+skarp leder i november 1998 som angrep den republikanske Kongressen for å
tillate at loven ble vedtatt. Der skrev hun <span class="quote">«<span class="quote">Du lurer noen ganger på
hvorfor lovforslag som skaper finansiell medvind til smale særinteresser,
glir så enkelt gjennom den intrikate lovgivende prosessen, mens lovforslag
som gir fordeler til allmennheten generelt ser ut til å stoppe opp?</span>»</span>
-Svaret, slik kommentarartikkelen dokumenterte, er pengenes makt. Schlafly
+Svaret, slik lederartikkelen dokumenterte, er pengenes makt. Schlafly
listet opp bidrag fra Disney til sentrale aktører i komiteene. Det var
penger, ikke rettferdighet, som ga Disney kontroll over Mikke Mus i tjue år
ekstra, hevdet Schlafly.
støttet vår posisjon. Deres innlegg kom med argumentet som ble kjernekravet
i Høyesterett: Hvis Kongressen kunne utvide vernetiden i opphavsretten, så
fantes det ingen begrensninger i Kongressens myndighet til å fastsette
-vernetiden. Dette sterkt konservative argumentet overbeviste en sterk og
+vernetider. Dette sterkt konservative argumentet overbeviste en sterk og
konservativ dommer, Dommer Sentelle.
-</p><a class="indexterm" name="idp
10384400"></a><a class="indexterm" name="idp10385232"></a><a class="indexterm" name="idp10386048"></a><a class="indexterm" name="idp10386864"></a><p>
+</p><a class="indexterm" name="idp
57505152"></a><a class="indexterm" name="idp57505936"></a><a class="indexterm" name="idp57506752"></a><a class="indexterm" name="idp57507568"></a><p>
I Høyesterett var innleggene som støttet vår side så ulike som de kunne
bli. De inkluderte et ekstraordinært historisk innlegg fra Free Software
inkluderte et sterkt innlegg fra Intel om omkostningene ved usikkerhet. Det
var innlegg fra to jussprofessorer, et fra en opphavsrettsakademiker, og et
fra Første grunnlovstillegg-akademikere. Det var et uttømmende og uomtvistet
-innlegg fra verdens ekspert på historien til Fremskritts-bestemmelsen. Og
+innlegg fra verdens ekspert på historien til Fremskrittsbestemmelsen. Og
naturligvis var det et innlegg fra Ørneforumet, som gjentok og styrket sitt
argument.
-</p><a class="indexterm" name="idp
10389680"></a><a class="indexterm" name="idp10390496"></a><p>
+</p><a class="indexterm" name="idp
57510384"></a><a class="indexterm" name="idp57511200"></a><p>
Disse innleggene fremmet et juridisk argument. Og til støtte for det
juridiske argumentet var det en rekke sterke innlegg fra biblioteker og
arkiver, inkludert Internett-arkivet, den amerikanske forening for
juss-biblioteker og den nasjonale skribentunionen.
-</p><a class="indexterm" name="idp10392240"></a><p>
-Men i to av innleggene ble det argumentet best. Ett støttet argumentet jeg
-allerede har beskrevet: Et innlegg fra Hal Roach Studios argumenterte med at
-med mindre loven ble droppet, ville en hel generasjon amerikansk film
-forsvinne. Det andre gjorde det økonomiske argumentet helt klart.
-</p><a class="indexterm" name="idp10394048"></a><a class="indexterm" name="idp10394864"></a><a class="indexterm" name="idp10395680"></a><a class="indexterm" name="idp10396496"></a><a class="indexterm" name="idp10397312"></a><p>
+</p><a class="indexterm" name="idp57512944"></a><p>
+Men to innlegg formidlet argumentet om klok politikk best. Ett støttet
+argumentet jeg allerede har beskrevet: Et innlegg fra Hal Roach Studios
+argumenterte med at med mindre loven ble droppet, ville en hel generasjon
+amerikansk film forsvinne. Det andre gjorde det økonomiske argumentet helt
+klart.
+</p><a class="indexterm" name="idp57514768"></a><a class="indexterm" name="idp57515584"></a><a class="indexterm" name="idp57516400"></a><a class="indexterm" name="idp57517216"></a><a class="indexterm" name="idp57518032"></a><p>
Innlegget fra økonomene var underskrevet av sytten økonomer, derav fem
nobelprisvinnere, inkludert Ronald Coase, James Buchanan, Milton Friedman,
Kenneth Arrow, og George Akerlof. Økonomene, slik listen med
nobelprisvinnere demonstrerer, spredte seg over hele det politiske
spektrum. Deres konklusjon var sterk: Det fantes ingen troverdig påstand om
at å utvide vernetiden for eksisterende opphavsrett, ville øke incentivene
-for å skape. Slik utvidelse var intet mer enn å <span class="quote">«<span class="quote">ta inn
-renter</span>»</span> — det fancy begrepet økonomer bruker for å beskrive
-særinteresselovgivning på villspor.
-</p><a class="indexterm" name="idp10399840"></a><a class="indexterm" name="idp10400592"></a><a class="indexterm" name="idp10401408"></a><a class="indexterm" name="idp10402224"></a><p>
+for å skape. Slik utvidelse var intet mer enn å
+<span class="quote">«<span class="quote">tilkarringsvirksomhet</span>»</span> (på engelsk
+<span class="quote">«<span class="quote">rent-seeking</span>»</span>) – det fancy begrepet økonomer bruker for
+å beskrive særinteresselovgivning på villspor.
+</p><a class="indexterm" name="idp57521024"></a><a class="indexterm" name="idp57521776"></a><a class="indexterm" name="idp57522592"></a><a class="indexterm" name="idp57523408"></a><a class="indexterm" name="idp57524224"></a><p>
Den samme balanserte fremstilling ble reflektert i den juridiske gruppen vi
samlet for å forfatte våre innlegg i saken. Advokatene fra Jones Day hadde
-vært med oss fra starten. Men da saken kom til Høyesterett, ble tre
-advokater til med for å hjelpe oss å forme dette argumentet til domstolen.
-Den ene var Alan Morrison, en advokat fra Washington-grupperingen Public
-Citizen som hadde laget konstitusjonell historie med en rekke banebrytende
-seire i Høysterett i sitt forsvar for individuelle rettigheter. Den andre
-var min kollega og fakultetsleder, Kathleen Sullivan, som hadde lagt fram
-mange saker for domstolen, og som tidlig hadde gitt oss råd om en Første
-grunnlovstilleggsstrategi. Til sist, tidligere regjeringssadvokat Charles
+vært med oss fra starten. Men da saken kom til Høyesterett, la vi til tre
+advokater for å hjelpe oss å forme dette argumentet til domstolen. Den ene
+var Alan Morrison, en advokat fra Washington-grupperingen Public Citizen, en
+gruppe som hadde laget konstitusjonell historie med en rekke banebrytende
+seire i Høyesterett som forsvarte individuelle rettigheter. Den andre var
+min kollega og fakultetsleder, Kathleen Sullivan, som hadde lagt fram mange
+saker for domstolen, og som tidlig hadde gitt oss råd om en Første
+grunnlovstilleggsstrategi. Til sist, tidligere regjeringsadvokat Charles
Fried.
-</p><a class="indexterm" name="idp
10404576"></a><a class="indexterm" name="idp10405360"></a><a class="indexterm" name="idp10406480"></a><p>
+</p><a class="indexterm" name="idp
57526592"></a><a class="indexterm" name="idp57527376"></a><a class="indexterm" name="idp57528496"></a><p>
Fried var en spesiell seier for vår side. Alle de andre tidligere
regjeringsadvokatene var hyret inn av den andre siden for å forsvare
Kongressens rett til å gi mediaselskaper den spesielle gunsten med utvidede
Regjeringen hadde, i sitt forsvar av lovendringen, også sin egen samling
venner. Det er verdt å merke seg at ingen av disse <span class="quote">«<span class="quote">vennene</span>»</span>
inkluderte historikere eller økonomer. Innleggene på den andre siden av
-saken var skrevet ekslusivt av store medieselskaper, kongressmedlemmer og
+saken var skrevet eksklusivt av store medieselskaper, kongressmedlemmer og
opphavsrettsinnehavere.
</p><p>
Medieselskapene overrasket ikke. De hadde mest å tjene på loven.
-Kongressmedlemmene var heller ikke overraskende — de forsvarte sin
+Kongressmedlemmene var heller ikke overraskende – de forsvarte sin
makt og, indirekte, de lettjente pengene som denne makten førte til. Og det
var naturligvis ikke overraskende at opphavsrettsinnehaverne ville forsvare
idéen om at de skulle fortsette å ha retten til å kontrollere hvem som
gjorde hva med innhold de ønsket å kontrollere.
-</p><a class="indexterm" name="idp
10411168"></a><a class="indexterm" name="idp10412976"></a><a class="indexterm" name="idp10413792"></a><p>
+</p><a class="indexterm" name="idp
57533184"></a><a class="indexterm" name="idp57534992"></a><a class="indexterm" name="idp57535808"></a><p>
Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre
at rettighetshaverne etter Dr. Seuss kontrollerte hva som skjedde med
-verkene til Dr. Seuss — bedre enn å la det falle i det fri — på
-grunn av at hvis denne kreativiteten var allemannseie, så ville folk bruke
-dem til å <span class="quote">«<span class="quote">forherlige narkotika og skape
-pornografi.</span>»</span><a href="#ftn.idp10416160" class="footnote" name="idp10416160"><sup class="footnote">[190]</sup></a> Dette var også
+verkene til Dr. Seuss – bedre enn å la de falle i det fri – på
+grunn av at hvis dette kreative arbeidet var allemannseie, så ville folk
+bruke det til å <span class="quote">«<span class="quote">forherlige narkotika og skape
+pornografi.</span>»</span><a href="#ftn.idp57538176" class="footnote" name="idp57538176"><sup class="footnote">[191]</sup></a> Dette var også
motivet til rettighetshaverne etter Gershwin, som forsvarte sin
<span class="quote">«<span class="quote">beskyttelse</span>»</span> av verkene til George Gershwin. De avviste for
eksempel å lisensiere ut <em class="citetitle">Porgy and Bess</em> til enhver
-som nektet å bruke afrikansk-amerikanere i rollelista.<a href="#ftn.idp10419152" class="footnote" name="idp10419152"><sup class="footnote">[191]</sup></a> Det var deres syn på hvordan denne delen av
-amerikansk kultur bør kontrolleres, og de ønsket hjelp fra denne loven til å
-effektuere denne kontrollen.
+som nektet å bruke afrikansk-amerikanere i rollelista.<a href="#ftn.idp57541264" class="footnote" name="idp57541264"><sup class="footnote">[192]</sup></a> Det var deres syn på hvordan denne delen av
+amerikansk kultur burde bli kontrollert, og de ønsket hjelp fra denne loven
+til å effektuere denne kontrollen.
</p><p>
Dette argumentet gjorde klart et tema som sjelden blir lagt merke til i
denne debatten. Når Kongressen beslutter å forlenge vernetiden til
</p><p>
Vi hevdet det samme i et avsluttende innlegg. Ikke bare ville det å
opprettholde CTEA bety at det ikke fantes noen grense for Kongressens
-myndighet til å utvide vernetiden — utvidelser som ytterligere ville
+myndighet til å utvide vernetiden – utvidelser som ytterligere ville
snevre inn markedet. Det ville også bety at det ikke var noen begrensninger
i Kongressens mulighet til å favorisere enkeltaktører, ved hjelp av
opphavsretten, og styre hvem som hadde lov til å ytre seg.
</p><p>
<span class="strong"><strong>Mellom februar</strong></span> og oktober gjorde jeg lite
-annet enn å forberede meg for denne saken. Som jeg nevnte tidligere, satte
-jeg strategien tidlig.
-</p><a class="indexterm" name="idp
10426400"></a><a class="indexterm" name="idp10427216"></a><p>
+annet enn å forberede meg for denne saken. Som jeg nevnte tidligere,
+bestemte jeg strategien tidlig.
+</p><a class="indexterm" name="idp
57548528"></a><a class="indexterm" name="idp57549344"></a><a class="indexterm" name="idp57550160"></a><a class="indexterm" name="idp57550976"></a><a class="indexterm" name="idp57551792"></a><a class="indexterm" name="idp57552608"></a><a class="indexterm" name="idp57553424"></a><a class="indexterm" name="idp57554240"></a><a class="indexterm" name="idp57555056"></a><a class="indexterm" name="idp57556176"></a><a class="indexterm" name="idxsupremecourtusfactionsof"></a><p>
Høyesteretten var delt i to viktige grupper. En gruppe kalte vi <span class="quote">«<span class="quote">de
konservative.</span>»</span> Den andre kalte vi <span class="quote">«<span class="quote">resten.</span>»</span> De
konservative inkluderte høyesterettsjustitiarius Rehnquist, dommer O'Connor,
støttet <em class="citetitle">Lopez/Morrison</em>-rekken av saker som sa at en
opplistet kompetanse måtte tolkes slik at den sikret at Kongressens
kompetanse hadde begrensninger.
-</p><a class="indexterm" name="idp
10430608"></a><a class="indexterm" name="idxginsburg"></a><p>
-
-Resten var de fire dommerne som sterkt hadde vært imot å begrense
-Kongressens myndighet. Disse fire — dommer Stevens, dommer Souter,
-dommer Ginsburg og dommer Breyer — hadde gjentatte ganger argumentert
-med at Grunnloven gir Kongressen svært bredt skjønn til å bestemme hvordan
-den skal best bruke sin myndighet. I sak etter sak hadde disse dommerne
-argumentert domstolens rolle skulle være å overlate den vurderingen til
-andre. Selv om voteringen til disse fire dommerne var voteringene jeg
-personlig hadde vært mest konsekvent enig i, så var de også stemmene det var
-minst sannsynlig at vi ville få.
+</p><a class="indexterm" name="idp
57561840"></a><a class="indexterm" name="idxginsburg"></a><p>
+
+Resten var de fire dommerne som sterkt motsatte seg å begrense Kongressens
+myndighet. Disse fire – dommer Stevens, dommer Souter, dommer
+Ginsburg og dommer Breyer – hadde gjentatte ganger argumentert med at
+Grunnloven gir Kongressen svært bredt skjønn til å bestemme hvordan den skal
+best bruke sin myndighet. I sak etter sak hadde disse dommerne argumentert
+at domstolens rolle skulle være å overlate denne vurderingen til andre.
+Selv om voteringen til disse fire dommerne var voteringene jeg personlig
+hadde vært mest konsekvent enig med, så var de også stemmene det var minst
+sannsynlig at vi ville få.
</p><p>
Spesielt lite sannsynlig var stemmen til dommer Ginsburg. I tillegg til
hennes generelle syn om å overlate vurderingen til Kongressen (unntatt der
forventet at hun ville være enig med skriftene til datteren: at Kongressen
hadde myndighet i denne sammenhengen til å gjøre som den ønsket, selv om det
Kongressen ønsket ikke ga mening.
-</p><a class="indexterm" name="idp
10436016"></a><p>
-Tett bak dommer Gunsburg var to dommere som vi også så på som usannsynlige
+</p><a class="indexterm" name="idp
57567440"></a><p>
+Tett bak dommer Ginsburg var to dommere som vi også så på som usannsynlige
allierte, men vi kunne bli overrasket. Dommer Souter favoriserte sterkt å
la Kongressen bestemme, og det samme gjorde dommer Breyer. Men begge var
også svært følsomme for ytringsfrihetsbekymringer. Og vi trodde sterkt at
det var viktige ytringsfrihetsargumenter mot disse tilbakevirkende
utvidelsene.
-</p><a class="indexterm" name="idp
10437904"></a><p>
+</p><a class="indexterm" name="idp
57569216"></a><a class="indexterm" name="idp57570496"></a><p>
Den eneste stemmen vi kunne være trygg på var den til dommer Stevens.
Historien viser at dommer Stevens er en av de største dommerne i denne
-domstolen. Hans stemmer har vært konsistent selektiv, hvilket bare betyr at
-ikke noen enkel ideologi forklarer hvordan han vil stille seg. Men han
+domstolen. Hans stemmer har vært konsistent eklektisk, hvilket bare betyr
+at ikke noen enkel ideologi forklarer hvordan han vil stille seg. Men han
hadde konsistent argumentert for begrensninger i sammenheng med immateriell
eiendom generelt. Vi var rimelig sikre på at han ville kjenne igjen
begrensningene her.
være: på de konservative. For å vinne denne saken måtte vi lage en sprekk
mellom disse fem, og få i hvert fall et flertall over på vår side. Dermed
ble det ene overstyrende argument som ga liv til vår påstand hvilende på de
-konservatives viktigste rettsvitenskapelige nyskapning — argumentet
+konservatives viktigste rettsvitenskapelige nyskapning – argumentet
som dommer Sentelle hadde basert seg på i ankedomstolen, at Kongressens
-kompetanse måte tolkes slik at kompetansene som var listet opp hadde
+kompetanse måtte tolkes slik at kompetansene som var listet opp hadde
begrensninger.
-</p><p>
+</p><a class="indexterm" name="idp57573392"></a><a class="indexterm" name="idp57575328"></a><a class="indexterm" name="idp57576080"></a><a class="indexterm" name="idp57576896"></a><a class="indexterm" name="idp57578016"></a><a class="indexterm" name="idxcongressuscopyrighttermsextendedby5"></a><a class="indexterm" name="idp57580736"></a><p>
-Dette var dermed kjernen i vår strategi — en strategi som jeg er
+Dette var dermed kjernen i vår strategi – en strategi som jeg er
ansvarlig for. Vi ville få retten til å se at akkurat som i
<em class="citetitle">Lopez</em>-saken, så ville Kongressen ifølge regjeringens
-argumentasjon alltid ha ubegrenset makt til å utvide eksisterende vernetid.
-Hvis noe var klart om Kongressens makt i henhold til
-Fremskritts-bestemmelsen, så var det at makten var ment å være
-<span class="quote">«<span class="quote">begrenset.</span>»</span> Vår mål ville være å få retten til å avstemme
+argumentasjon alltid ha ubegrenset makt til å utvide eksisterende
+vernetider. Hvis noe var klart om Kongressens makt i henhold til
+Fremskrittsbestemmelsen, så var det at makten var ment å være
+<span class="quote">«<span class="quote">begrenset.</span>»</span> Vår målsetting ville være å få retten til å forene
<em class="citetitle">Eldred</em> med <em class="citetitle">Lopez</em>: Hvis
-Kongressens makt til å regulere handel var begrenset, så måtte også
-Kongressens makt til å regulere opphavsretten være begrenset.
+Kongressens myndighet til å regulere handel var begrenset, så måtte også
+Kongressens myndighet til å regulere opphavsretten være begrenset.
</p><p>
<span class="strong"><strong>Argumentet</strong></span> på regjeringens side kokte ned
til dette: Kongressen har gjort det før, og bør få lov til å gjøre det
igjen. Regjeringen hevdet at helt fra starten har Kongressen utvidet
vernetiden til eksisterende opphavsrett. Derfor, argumenterte regjeringen,
-burde ikke retten nå si at praksisen var forfatningsstridig.
-</p><p>
+burde ikke domstolen nå si at praksisen var forfatningsstridig.
+</p><a class="indexterm" name="idp57587264"></a><p>
Det var noe sant i regjeringens påstand, men ikke mye. Vi var helt klart
-enig i at Kongressen hadde utvidet verntiden i 1831 og i 1909. Og i 1962,
-selvfølgelig, begynte Kongressen regelmessig å utvide eksisterende vernetid
-— elleve ganger på førti år.
+enig i at Kongressen hadde utvidet verntiden i 1831 og i 1909. Og
+selvfølgelig i 1962, da Kongressen begynte å regelmessig utvide eksisterende
+vernetid – elleve ganger på førti år.
</p><p>
Men denne <span class="quote">«<span class="quote">konsistensen</span>»</span> bør en se på i perspektiv. Kongressen
utvidet gjeldende vernetid en gang de første hundre årene av republikken.
-Deretter utvidet de den gjeldende vernetid en gang til de neste femti.
-Disse sjeldne utvidelsene står i kontrast til den nå vanlige prasis for å
-utvide gjeldende vernetid. Uansett hva slags selvbeherskelse Kongressen
-hadde tidligere, så er denne selvbeherskelsen nå borte. Kongressen var nå i
-en syklus med utvidelser, og det var ingen grunn til å forvente at syklusen
-skulle ta slutt. Denne domstolen hadde ikke nølt med å gripe inn når
-Kongressen var i lignende utvidelses-sykluser. Det var ingen grunn til at
-de ikke kunne gripe inn her.
+Deretter utvidet de den gjeldende vernetid enda en gang i løpet av de neste
+femti. Disse sjeldne utvidelsene står i kontrast til dagens praksis om å
+regelmessig utvide gjeldende vernetid. Uansett hva slags selvbeherskelse
+Kongressen hadde tidligere, så er denne selvbeherskelsen nå borte.
+Kongressen var nå i en syklus med utvidelser, og det var ingen grunn til å
+forvente at denne syklusen kom til å ta slutt. Denne domstolen hadde ikke
+nølt med å gripe inn når Kongressen var i lignende utvidelses-sykluser. Det
+var ingen grunn til at de ikke kunne gripe inn her.
</p><p>
<span class="strong"><strong>Muntlig argumentasjon</strong></span> var fastsatt til
</p><p>
Jeg var overbevist om at for å vinne, måtte jeg holde domstolen fokusert på
et enkelt poeng: hvis denne utvidelsen ble akseptert, så ville det ikke være
-noen grenser for myndigheten til å vedta vernetid. Å være enig med
-regjeringen ville bety at vernetiden effektivt sett ville være uten
-begrensing. Å være enig med oss ville gi Kongressen en klar linje å følge:
-Ikke utvid den eksisterende vernetiden. Opponeringsrundene var effektiv
-trening. Jeg fant måter å bringe hvert eneste spørsmål tilbake til den
-sentrale idéen.
-</p><a class="indexterm" name="idp10454464"></a><a class="indexterm" name="idp10455280"></a><a class="indexterm" name="idp10456096"></a><p>
-En opponeringsrunde var foran advokatene hos Jones Day. Don Ayer var
+noen grenser for myndigheten til å vedta vernetider. Å være enig med
+regjeringen ville bety at vernetider effektivt sett ville være ubegrenset. Å
+være enig med oss ville gi Kongressen en klar linje å følge: Ikke utvid
+eksisterende vernetider. Opponeringsøktene var effektiv trening. Jeg fant
+måter å bringe hvert eneste spørsmål tilbake til den sentrale idéen.
+</p><a class="indexterm" name="idp57595744"></a><a class="indexterm" name="idp57596560"></a><a class="indexterm" name="idp57597376"></a><a class="indexterm" name="idp57598192"></a><p>
+Én opponeringsøkt var foran advokatene hos Jones Day. Don Ayer var
skeptikeren. Han hadde tjenestegjort i Justisdepartementet under Reagen med
regjeringsadvokat Charles Fried. Han hadde presentert mange saker foran
-Høyesterett. Og i sin oppsummering av opponeringsrunden kom han med sin
+Høyesterett. Og i sin oppsummering av opponeringsøkten kom han med sin
bekymring:
</p><p>
<span class="quote">«<span class="quote">Jeg er bare redd for at med mindre de virkelig ser skaden, så vil de
ikke være villige til å bryte denne praksisen som regjeringen sier har vært
-konsistent praksis for to hundre år. Du må få dem til å se skaden —
-med ettertrykk få dem til å se skaden. Hvis de ikke ser den, så har vi
+konsistent praksis i to hundre år. Du må få dem til å se skaden –
+ettertrykkelig få dem til å se skaden. Hvis de ikke ser den, så har vi
ingen sjanse til å vinne.</span>»</span>
-</p><a class="indexterm" name="idp
10458560"></a><p>
+</p><a class="indexterm" name="idp
57600624"></a><p>
Han hadde kanskje lagt frem mange saker foran denne domstolen, tenkte jeg,
men han hadde ikke forstått dens sjel. Som en funksjonær hadde jeg sett
-dommerne gjøre det riktige — ikke på grunn av politikk, men fordi det
+dommerne gjøre det riktige – ikke på grunn av politikk, men fordi det
var riktig. Som en jussprofessor hadde jeg brukt livet på å lære mine
-studenter at denne domstolen gjør det som er riktig — ikke på grunn av
+studenter at denne domstolen gjør det som er riktig – ikke på grunn av
politikk, men fordi det var riktig. Mens jeg hørte på Ayers lidenskapelige
-bønn om politisk press, forsto jeg poenget, og forkastet det. Vårt argument
-var riktig. Det var nok. La politikerne lære at det også var godt.
+bønn om politisk press, forsto jeg hans poeng, og jeg forkastet det. Vårt
+argument var riktig. Det var nok. La politikerne lære at det også var
+godt.
</p><p>
<span class="strong"><strong>Natten før</strong></span> argumentasjonen begynte en kø
Høyesterett for å sikre seg et sete.
</p><p>
Alle måtte ikke vente i kø. Folk som kjenner dommerne kan be om plasser de
-kontrollerer. (Jeg ba dommer Scalias kontor om plass for mine foreldre, for
+kontrollerer. (Jeg ba dommer Scalias kontor om plass til mine foreldre, for
eksempel.) Medlemmer med møterett i Høyesterett kan be om en plass i en
-spesiell del reservert for dem. Og senatorer og kongressmedlemmer har en
+spesiell del forbeholdt dem. Og senatorer og kongressmedlemmer har en
spesiell plass der de også kan sitte. Og til slutt har naturligvis pressen
et galleri på samme måte som kontorpersonell som jobber for dommerne i
domstolen. Da vi ankom den morgenen, var det ingen plasser som var ledig.
Dette var en diskusjon om immaterialrett, og likevel var hallene helt
fulle. Da jeg gikk inn for å ta min plass foran domstolen, så jeg mine
foreldre sittende på venstre side. Da jeg satte meg ned ved bordet, så jeg
-Jack Valenti sittende i den spesielle delen normalt reservert for familien
-til dommerne.
+Jack Valenti sittende i den spesielle delen normalt forbeholdt familien til
+dommerne.
</p><p>
Da høyesterettsjustitiariusen ba meg om å starte på min argumentasjon,
begynte jeg der jeg planla å holde meg: ved spørsmålet om begrensningene i
Kongressens makt. Dette var en sak om de opplistede kompetansene, sa jeg,
og hvorvidt disse opplistede kompetansene har grenser.
-</p><a class="indexterm" name="idp
10466768"></a><p>
+</p><a class="indexterm" name="idp
57608944"></a><p>
Dommer O'Connor stoppet meg før det jeg var kommet ett minutt inn i
åpningsforedraget mitt. Historien plaget henne.
</p><div class="blockquote"><blockquote class="blockquote"><p>
-Dommer O'Connor: Kongressen har utvidet vernetiden så mange ganger etter
-hvert. Hvis du har rett, risikerer vi ikke å forstyrre tidligere utvidelser
-av vernetiden? Jeg mener, dette virker å være en praksis som startet med
-den aller første lovendringen?
+Dommer O'Connor: Kongressen har gjennom tiden utvidet vernetiden så mange
+ganger. Hvis du har rett, risikerer vi ikke å forstyrre tidligere
+utvidelser av vernetiden? Jeg mener, dette virker å være en praksis som
+startet med den aller første lovendringen?
</p></blockquote></div><p>
Hun var ganske villig til å innrømme <span class="quote">«<span class="quote">at dette går rett i synet på det
grunnlovsforfatterne hadde i tankene.</span>»</span> Men min respons igjen og
igjen var å understreke begrensningene i Kongressens myndighet.
</p><div class="blockquote"><blockquote class="blockquote"><p>
-Mr. Lessig: Vel, hvis det går rett i synet på det grunnlovsforfatterne hadde
-i tankene så er spørsmålet, er det en måte å tolke deres ord som gir
+Herr Lessig: Vel, hvis det går rett i synet på det grunnlovsforfatterne
+hadde i tankene så er spørsmålet, er det en måte å tolke deres ord som gir
effekten de hadde i tankene, og svaret er ja.
</p></blockquote></div><p>
Det var to poenger i dette argumentet der jeg burde ha sett hvor retten var
på vei. Det første var et spørsmål fra dommer Kennedy, som observerte:
</p><div class="blockquote"><blockquote class="blockquote"><p>
-Dommer Kennedy: Vel, jeg antar at det er implisitt i argumentet at 76-loven
-også bør bli kjent ugyldig, og at vi kan la den være for å unngå
+Dommer Kennedy: Vel, jeg antar at det er implisitt i argumentet at endringen
+fra 1976 også bør bli kjent ugyldig, og at vi kan la den være for å unngå
forstyrrelsen, er at i alle disse årene som loven har hemmet fremgang i
vitenskap og nyttige kunstarter, så ser jeg intet empirisk bevis for dette.
</p></blockquote></div><p>
Her følger min åpenbare feil. Som en professor som korrigerer en student,
svarte jeg:
</p><div class="blockquote"><blockquote class="blockquote"><p>
-Mr. Lessig: Dommer, det er ikke en empirisk påstand i det hele
+Herr Lessig: Dommer, det er ikke en empirisk påstand i det hele
tatt. Ingenting i påstanden om vår opphavsrettsbestemmelse baserer seg på
den empiriske antagelsen om å hindre fremgang. Vårt eneste argument er at
dette er en strukturell begrensning som er nødvendig for å sikre at det som
-ellers ville være en evigvarende vernetid ikke blir tillatt i
+i praksis ville være en evigvarende vernetid ikke blir tillatt i
opphavsrettsloven.
-</p></blockquote></div><a class="indexterm" name="idp
10476400"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
57618624"></a><p>
Det var et riktig svar, men det var ikke det riktige svaret. Det riktige
-svaret var i stedet at skaden var åpenbar og dyptgripende. En rekke
-orienteringer var blitt skrevet om den. Han ønsket å høre det. Og det var
-her rådet fra Don Ayer burde ha hatt betydning. Dette var en lett pasning,
-og mitt svar bommet fullstendig.
-</p><p>
+svaret var i stedet at skaden var åpenbar og dyptgripende. En rekke innlegg
+var blitt skrevet om den. Han ønsket å høre det. Og det var her rådet fra
+Don Ayer burde ha hatt betydning. Dette var en lett pasning, og mitt svar
+bommet fullstendig.
+</p><a class="indexterm" name="idp57620464"></a><p>
Det andre kom fra høyesterettsjustitiariusen, som hele saken hadde blitt
utformet for. For høyesterettsjustitiariusen hadde utformet
<em class="citetitle">Lopez</em>-avgjørelsen og vi håpet at han ville se at
Høyesterettsjustitiarius: Vel, men du ønsker mer enn det. Du ønsker å ha
lov til å ordrett kopiere andre folks bøker, gjør du ikke?
</p><p>
-Hr. Lessig: Vi ønsker retten til å ordrett kopiere verk som bør være
+Herr Lessig: Vi ønsker retten til å ordrett kopiere verk som bør være
allemannseie, og ville vært allemannseie hadde det ikke vært for en
lovpraksis som ikke kan rettferdiggjøres med vanlig analyse av det første
grunnlovstillegg, eller med korrekt lesning av begrensningene som er bygd
inn i opphavsrettsbestemmelsen.
-</p></blockquote></div><a class="indexterm" name="idp
10482720"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
57625744"></a><p>
Ting gikk bedre for oss da regjeringen presenterte sitt åpningsforedrag.
For nå tok retten tak i kjernen i våre påstander. Dommer Scalia spurte
regjeringsadvokat Olson:
Kongressens myndighet over opphavsrett og patenter. Som alltid som en
professor og ikke en talsmann, avsluttet jeg med å peke på domstolens lange
historie med å innføre begrensninger i Kongressens myndighet over
-opphavsretts- og patentbestemmelsen i Grunnloven — faktisk var det
+opphavsretts- og patentbestemmelsen i Grunnloven – faktisk var det
første tilfellet der en lov fra Kongressen ble funnet å gå ut over en
spesifikk opplistet kompetanse basert på opphavsretts- og
patentbestemmelsen. Alt sant, men det kom ikke til å vinne domstolen over på
<span class="strong"><strong>Da jeg dro</strong></span> fra retten den dagen, visste
jeg det var hundrevis av ting jeg skulle ønske jeg hadde gjort på nytt. Det
var hundrevis av spørsmål jeg skulle ønske jeg hadde svart annerledes. Men
-en måte å tenke på denne saken gjorde jeg optimistisk.
+én måte å tenke på denne saken gjorde meg optimistisk.
</p><p>
Regjeringen hadde blitt spurt om og om igjen, hvor er grensen? Og igjen og
igjen hadde den svart at det var ingen grense. Det var nettopp svaret jeg
kunne komme til at Kongressens myndighet ifølge handelsbestemmelsen var
begrenset mens den under opphavsrettsbestemmelsen var ubegrenset. I de
sjeldne øyeblikk der jeg lot meg selv tro at vi hadde nådd frem, var det på
-grunn av at jeg opplevde at denne domstolen — spesielt de konservative
-— ville se at de selv ble rammet av begrensningene av den rettspraksis
+grunn av at jeg opplevde at denne domstolen – spesielt de konservative
+– ville se at de selv ble rammet av begrensningene av den rettspraksis
den allerede hadde etablert.
</p><p>
<span class="strong"><strong>På morgenen</strong></span> 15. januar 2003 var jeg fem
minutter for sent til kontoret, og gikk glipp av 07:00-oppringingen fra
-kontoristen til Høyesterett. Jeg forsto øyeblikkelig, bare ved å høre på
+rettsskriveren i Høyesterett. Jeg forsto øyeblikkelig, bare ved å høre på
meldingen på telefonsvareren, at hun kom med dårlige nyheter. Høyesteretten
hadde bekreftet avgjørelsen fra ankedomstolen. Syv dommere hadde utgjort
flertallet, og det var to dissenser.
telefonrøret av kroken, la ut en kunngjøring på bloggen vår, og satte meg så
ned for å se hvor jeg hadde tatt feil i min argumentasjon.
</p><p>
-Min <span class="emphasis"><em>argumentasjon</em></span>. Her var et tilfelle der alle
-pengene i verden var satt opp mot<span class="emphasis"><em>argumentasjon</em></span>. Og her
-satt den siste naive juss-professor og trålet gjennom sidene på jakt etter
+Min <span class="emphasis"><em>argumentasjon</em></span>. Her var en sak som satset all
+verdens penger på at <span class="emphasis"><em>argumentasjon</em></span> ville tape. Og her
+satt den siste naive jussprofessoren og trålet gjennom sidene på jakt etter
argumentasjon.
-</p><p>
+</p><a class="indexterm" name="idxunitedstatesvlopez2"></a><p>
Først trålet jeg domsavsigelsen for å finne hvordan domstolen ville skille
prinsippet i denne saken fra prinsippet i <em class="citetitle">Lopez</em>. Jeg
fant ikke argumentet noe sted. Saken var ikke en gang sitert. Argumentet
som var kjerneargumentet i vår sak var ikke en gang til stede i domstolens
domsavsigelsen.
-</p><a class="indexterm" name="idp
10496528"></a><p>
+</p><a class="indexterm" name="idp
57641136"></a><p>
-Dommer Gunsburg ignorerte ganske enkelt argumentet om opplistede
-kompetanser. Konsistent med hennes syn om at Kongressens makt generelt ikke
-var begrenset, hadde hun konkludert med at Kongressens makt ikke var
-begrenset her.
+Dommer Ginsburg ignorerte ganske enkelt argumentet om opplistede
+kompetanser. Konsistent med hennes syn om at Kongressens makt ikke var
+begrenset generelt, hadde hun konkludert med at Kongressens myndighet ikke
+var begrenset her.
</p><p>
-Hennes betenkning var helt rimelig — for henne og for dommer
+Hennes betenkning var helt rimelig – for henne og for dommer
Souter. Ingen av dem tror på <em class="citetitle">Lopez</em>. Det ville være
for mye å forvente at de skulle skrive en rettsbetenkning som anerkjente,
langt mindre forklarte, den doktrinen som de hadde jobbet så hardt for å
</p><p>
Men etter hvert som jeg innså hva som hadde skjedd, så kunne jeg ikke helt
tro det jeg leste. Jeg hadde sagt at det ikke var mulig for domstolen å
-avstemme begrenset myndighet for Handelsbestemmelsen og ubegrenset myndighet
-for Fremskrittsbestemmelsen. Det hadde aldri slått meg at de kunne avstemme
-de to ved å ganske enkelt å <span class="emphasis"><em>ikke bry seg om
-argumentet</em></span>. Det var ingen manglende konsistens ganske enkelt
-fordi de lot være å omtale de to sammen. Det var dermed ikke noe prinsipp
-som fulgte fra <em class="citetitle">Lopez</em>-saken: I den sammenhengen var
-Kongressens myndighet begrenset, men i denne sammenhengen var den ikke
-begrenset.
-</p><p>
+forene begrenset myndighet for Handelsbestemmelsen og ubegrenset myndighet
+for Fremskrittsbestemmelsen. Det hadde aldri slått meg at de kunne forene
+disse to ved å ganske enkelt å <span class="emphasis"><em>ikke ta hensyn til
+argumentet</em></span>. Det skapte ikke inkonsistens ganske enkelt fordi de
+lot være å omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte
+fra <em class="citetitle">Lopez</em>-saken: I den sammenhengen var Kongressens
+myndighet begrenset, men i denne sammenhengen var den ikke begrenset.
+</p><a class="indexterm" name="idp57646560"></a><p>
Likevel, med hvilken rett får de velge hvilke av grunnlovsforfatternes
-verdier de skulle respektere? Med hvilken rett fikk de — de tause fem
-— velge hvilken del av Konstitusjonen de ville håndheve basert på
-verdiene de mente var viktige? Vi var helt tilbake til argumentet som jeg
-sa jeg hatet i starten: Jeg hadde feilet i å overbevise dem om at temaet her
-var viktig, og jeg hadde feilet i å innse at uansett hvor mye jeg hater et
+verdier de skulle respektere? Med hvilken rett fikk de – de tause fem
+– velge hvilken del av Grunnloven de ville håndheve basert på verdiene
+de mente var viktige? Vi var helt tilbake til det argumentet som jeg sa jeg
+hatet i starten: Jeg hadde feilet i å overbevise dem om at problemet her var
+viktig, og jeg hadde feilet i å innse at uansett hvor mye jeg hater et
system der domstolen kan velge hvilke konstitusjonelle verdier den vil
respektere, så er det systemet vi har.
-</p><a class="indexterm" name="idp
10502400"></a><p>
-Dommerne Breyer og Stevens skrev en svært sterk dissens. Stevens betenkning
+</p><a class="indexterm" name="idp
57648272"></a><p>
+Dommerne Breyer og Stevens skrev svært sterke dissenser. Stevens betenkning
var utformet basert på lovverket: Han argumenterte med at tradisjonen til
immateriallretten ikke burde støtte denne uberettigede utvidelsen av
vernetiden. Han baserte sitt argument på en parallell analyse som hadde
styrt i patentsammenheng (slik vi gjorde). Men resten av domstolen avviste
-denne parallellen — uten å forklare hvordan nøyaktig de samme ordene i
-Fremskritts-bestemmelsen kunne bety noe helt annet avhengig av hvorvidt de
-handlet om patenter eller opphavsrett. Domstolen lot dommer Stevens påstand
+denne parallellen – uten å forklare hvordan nøyaktig de samme ordene i
+Fremskrittsbestemmelsen kunne bety noe helt annet avhengig av hvorvidt de
+handlet om patenter eller opphavsrett. Domstolen lot dommer Stevens anklage
stå ubesvart.
-</p><a class="indexterm" name="idp
10504464"></a><p>
+</p><a class="indexterm" name="idp
57650336"></a><p>
Dommer Breyers betenkning, kanskje den beste betenkningen han noensinne har
-skrevet, var uavhengig av Konstitusjonen. Han argumenterte med at
-vernetiden i opphavsretten hadde blitt så lang at den effektivt sett var
-uten begrensning. Vi hadde sagt at under de nåværende vilkårene ga
-opphavsretten en forfatter 99,8 prosent av verdien for en uendelig
-vernetid. Breyer sa vi tok feil, at det faktiske tallet var 99,9997 prosent
-av en uendelig vernetid. Uansett var poenget klart: Hvis Konstitusjonen sa
-at vernetiden måtte være <span class="quote">«<span class="quote">begrenset,</span>»</span> og den eksisterende
-vernetiden var så lang at den effektivt sett var ubegrenset, så var den i
-strid med Grunnloven.
-</p><p>
+skrevet, var uavhengig av Grunnloven. Han argumenterte med at vernetiden i
+opphavsretten hadde blitt så lang at den effektivt sett var ubegrenset. Vi
+hadde sagt at under de nåværende vilkårene ga opphavsretten en forfatter
+99,8 prosent av verdien til en uendelig vernetid. Breyer sa vi tok feil, at
+det faktiske tallet var 99,9997 prosent av en uendelig vernetid. Uansett
+var poenget klart: Hvis Grunnloven sa at vernetiden måtte være
+<span class="quote">«<span class="quote">begrenset,</span>»</span> og den eksisterende vernetiden var så lang at den
+i praksis var ubegrenset, så var den grunnlovstridig.
+</p><a class="indexterm" name="idxunitedstatesvlopez3"></a><p>
Disse to dommerne forsto alle argumentene vi hadde kommet med. Men fordi
ingen av dem trodde på <em class="citetitle">Lopez</em>-saken, var ingen av dem
villig til å bruke den som en grunn til å avvise denne utvidelsen. Saken
<span class="strong"><strong>Tap gir depresjon</strong></span>. De sier det er et
sunnhetstegn når depresjon må vike for sinne. Mitt sinne kom raskt, men det
kurerte ikke depresjonen. Sinnet gikk i to retninger.
-</p><a class="indexterm" name="idp
10512272"></a><p>
+</p><a class="indexterm" name="idp
57659664"></a><p>
Det var først sinne mot de fem <span class="quote">«<span class="quote">Konservative.</span>»</span> Det ville vært
en ting om de hadde forklart hvorfor prinsippet i
<em class="citetitle">Lopez</em> ikke skulle anvendes i dette tilfellet. Jeg
tror ikke det ville ikke vært et veldig overbevisende argument, etter å ha
lest det fremmet av andre, og forsøkt å fremføre det selv. Men det ville i
-hvert fall vært en handling med integritet. Disse dommerne i særdeleshet
-hadde gjentatte ganger sagt at den riktige måten å tolke Grunnloven på var
-<span class="quote">«<span class="quote">orginalisme</span>»</span> — å først forstå grunnlovsforfatternes
+hvert fall vært en handling med integritet. Spesielt disse dommerne hadde
+gjentatte ganger sagt at den riktige måten å tolke Grunnloven på var
+<span class="quote">«<span class="quote">originalisme</span>»</span> – å først forstå grunnlovsforfatternes
tekst, tolket i deres sammenheng, i lys av strukturen i Grunnloven. Den
metoden hadde ført til <em class="citetitle">Lopez</em> og mange andre
-<span class="quote">«<span class="quote">orginalisme</span>»</span>-avgjørelser. Hvor var deres
-<span class="quote">«<span class="quote">orginalisme</span>»</span> nå?
-</p><p>
+<span class="quote">«<span class="quote">originalistiske</span>»</span> avgjørelser. Hvor var deres
+<span class="quote">«<span class="quote">originalisme</span>»</span> nå?
+</p><a class="indexterm" name="idp57664752"></a><p>
Her hadde de samlet seg om en betenkning som ikke en eneste gang forsøkte å
forklare hva grunnlovsforfatterne hadde ment ved å utforme
Mitt sinne mot de konservative ga raskt etter for sinnet mot meg selv. For
jeg hadde latt en holdning til loven som jeg likte forstyrre en holdning til
loven slik den er.
-</p><a class="indexterm" name="idp
10520416"></a><p>
+</p><a class="indexterm" name="idp
57669104"></a><p>
De fleste advokater, og de fleste jussprofessesorer, har liten tålmodighet
for idealisme om domstolene generelt, og denne Høyesteretten spesielt. De
-fleste har et mer pragmatisk syn. Da Don Ayer sa at denne saken kunne
-vinnes basert på om vi kunne overbevise dommerne om at grunnlovsforfatternes
-verdier var viktige, kjempet jeg mot idéen, fordi jeg ikke ønsket å tro at
-dette var hvordan domstolen tok avgjørelser. Jeg insisterte på å
-argumentere for denne saken som om det var en enkel anvendelse av et sett
-med prinsipper. Jeg hadde et argument som fulgte den logikken. Jeg trengte
-ikke å kaste bort tiden min ved å vise at det også fulgte folkemeningen.
+fleste har et mer pragmatisk syn. Da Don Ayer sa at denne saken ville
+vinnes basert på om jeg kunne overbevise dommerne om at
+grunnlovsforfatternes verdier var viktige, kjempet jeg mot idéen, fordi jeg
+ikke ønsket å tro at dette var hvordan denne domstolen tok avgjørelser. Jeg
+insisterte på å argumentere for denne saken som om det var en enkel
+anvendelse av et sett med prinsipper. Jeg hadde et argument som fulgte av
+logikken. Jeg trengte ikke å kaste bort tiden min ved å vise at det også
+burde følge av folkemeningen.
</p><p>
Når jeg igjen leser igjennom avskriften fra argumentasjonen i oktober, ser
jeg hundrevis av plasser hvor svarene kunne ha tatt samtalen i andre
-retninger, hvor sannheten om skaden som denne ukontrollerte myndigheten
-ville forårsake kunne vært klargjort for domstolen. Dommer Kennedy ønsket i
-god tro å bli vist dette. Jeg, idiotisk nok, korrigerte spørsmålet hans.
+retninger, hvor sannheten om skaden som denne ukontrollerte myndigheten vil
+forårsake kunne vært klargjort for domstolen. Dommer Kennedy ønsket i god
+tro å bli vist dette. Jeg, idiotisk nok, korrigerte spørsmålet hans.
Dommer Souter ville i god tro bli vist skadene relatert til Første
grunnlovstillegg. Jeg, som en mattelærer, omrammet spørsmålet for å legge
-frem et logisk poeng. Jeg hadde vist dem hvordan de kunne slå ned på denne
-loven hvis de ønsket det. Det var hundrevis av steder hvor jeg kunne ha
-hjulpet dem til å ønske det, men min vrangvilje, det at jeg aldri ga meg,
+frem det logisk poenget. Jeg hadde vist dem hvordan de kunne slå ned på
+denne loven hvis de ønsket det. Det var hundrevis av steder hvor jeg kunne
+ha hjulpet dem til å ønske det, men min vrangvilje, det at jeg aldri ga meg,
hindret meg. Jeg hadde stått foran hundrevis av publikum og forsøkt å
overtale dem. Jeg hadde brukt lidenskap i mitt forsøk på å overtale, men jeg
nektet å stå foran dette publikumet og forsøke å overtale dem med den
lidenskapen jeg hadde brukt andre steder. Det var ikke på et slikt grunnlag
-en domstol skulle avgjøre saken.
-</p><a class="indexterm" name="idp
10524896"></a><a class="indexterm" name="idp10525680"></a><p>
+en domstol burde avgjøre denne saken.
+</p><a class="indexterm" name="idp
57673584"></a><a class="indexterm" name="idp57674368"></a><p>
Ville det gått annerledes hvis jeg hadde argumentert litt forskjellig?
Ville det ha gått annerledes hvis Don Ayer hadde argumentert? Eller Charles
Fried? Eller Kathleen Sullivan?
Mine venner samlet seg rundt meg for å insistere på at det ville det ikke.
Domstolen var ikke klar, insisterte vennene mine. Det var et tap bestemt av
skjebnen. Det ville kreve mye mer for å vise samfunnet vårt hvorfor
-grunnlovsforsamlingen hadde rett. Og når vi gjør det, så vil vi være i
-stand til å vise det til domstolen.
+grunnlovsforsamlingen hadde rett. Og når vi gjør dette, så vil vi være i
+stand til å vise det til denne domstolen.
</p><p>
Mulig det, men jeg tviler. Disse dommerne hadde ingen økonomiske interesser
-i å gjøre noe annet en det som var riktig. De blir ikke lobbyert. De har
-liten interesse i å ikke gjøre det som er riktig. Jeg klarer ikke la være å
-tenke at om jeg hadde gitt slipp på mitt pene bilde av jussen uten følelser,
-så hadde jeg overbevist dem.
-</p><a class="indexterm" name="idp
10529424"></a><p>
+i å gjøre noe annet enn det som var riktig. De blir ikke utsatt for
+lobbyvirksomhet. De har liten interesse i og unngå å gjøre det som er
+riktig. Jeg klarer ikke la være å tenke at om jeg hadde gitt slipp på mitt
+pene bilde av jussen uten følelser, så hadde jeg overbevist dem.
+</p><a class="indexterm" name="idp
57678144"></a><p>
Men selv om jeg ikke kunne det, så unnskylder dette ikke det som skjedde i
januar. For i starten av denne saken hadde en av USAs ledende professorer
-innen immaterialretten uttalt offentlig at det var jeg gjorde en feil ved å
-fremme denne saken. <span class="quote">«<span class="quote">Domstolen er ikke klar</span>»</span>, hadde Peter
-Jaszi sagt, og fulgte opp med <span class="quote">«<span class="quote">dette temaet bør ikke tas opp før den
-er det.</span>»</span>
+innen immaterialretten uttalt offentlig at jeg gjorde en feil ved å fremme
+denne saken. <span class="quote">«<span class="quote">Domstolen er ikke klar</span>»</span>, hadde Peter Jaszi sagt,
+og fulgte opp med <span class="quote">«<span class="quote">dette temaet bør ikke tas opp før den er
+det.</span>»</span>
</p><p>
Etter argumentasjonen og etter avgjørelsen sa Peter til meg, og offentlig,
at han tok feil. Men hvis domstolen faktisk ikke kunne bli overbevist, så
-er det igjen alt bevis som trengs for å vite at her hadde Peter nok en gang
-rett. Enten var ikke jeg klar til å argumentere for denne saken på en måte
-som ville bidra positivt, eller så var de ikke klare for å ta opp denne
-saken på en måte som ville bidra positivt. Uansett var avgjørelsen om å
-fremme denne saken feil — en avgjørelse jeg hadde tatt fire år
-tidligere.
+er det alt bevis som trengs for å vite at her hadde Peter nok en gang rett.
+Enten var ikke jeg klar til å argumentere for denne saken på en måte som
+ville bidra positivt, eller så var de ikke klare for å ta opp denne saken på
+en måte som ville bidra positivt. Uansett var avgjørelsen om å fremme denne
+saken – en avgjørelse jeg hadde tatt fire år tidligere – feil.
</p><p>
<span class="strong"><strong>Mens reaksjonen</strong></span> på Sonny Bono-loven selv
-var nesten enstemming negativ, så var reaksjonen på domstolens avgjørelse
+var nesten enstemmig negativ, så var reaksjonen på domstolens avgjørelse
blandet. Ikke en eneste, i hvert fall i pressen, forsøkte å si at det var
en god idé å utvide vernetiden i opphavsretten. Vi hadde vunnet kampen om
idéen. Avgjørelsen fikk støtte fra aviser som hadde vært skeptisk til
Effekten er at beslutningen i Høyesterett gjør det sannsynlig at vi ser
starten på slutten for allemannseie, og fødselen til evig opphavsrett.
Allemannseie har vært et storslått eksperiment, som ikke bør få lov til å
-dø. Evnen til å trekke uten begrensning på hele den kreative produksjonen
-til menneskeheten er en av grunnene til at vi lever i en tid med så
-fruktbart kreativt vekstmiljø.
+dø. Evnen til å fritt utnytte hele den kreative produksjonen til
+menneskeheten er en av grunnene til at vi lever i en tid med så fruktbart
+kreativt vekstmiljø.
</p></blockquote></div><p>
De beste responsene dukket opp i tegneseriene. Det var en haug veldig
-morsomme tegninger — av Mikke i fengsel og dets like. Det beste fra
+morsomme tegninger – av Mikke i fengsel og dets like. Det beste fra
mitt ståsted i saken, var fra Ruben Bolling, gjengitt i figur <a class="xref" href="#fig-18" title="Figur 13.1.">13.1</a>. Tekstlinjen om <span class="quote">«<span class="quote">mektig og
rik</span>»</span> er litt urettferdig. Men slaget i ansiktet føltes akkurat slik
-ut.<a class="indexterm" name="idp10539888"></a>
-</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-18"></a><p class="title"><b>Figur 13.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="100%"><tr><td align="center"><img src="images/tom-the-dancing-bug.png" align="middle" width="100%"></td></tr></table></div><a class="indexterm" name="idp
10543104"></a></div></div><br class="figure-break"></div><p>
+ut.<a class="indexterm" name="idp57688000"></a>
+</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-18"></a><p class="title"><b>Figur 13.1. </b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="100%"><tr><td align="center"><img src="images/tom-the-dancing-bug.png" align="middle" width="100%"></td></tr></table></div><a class="indexterm" name="idp
57691216"></a></div></div><br class="figure-break"></div><p>
Bildet som for alltid står inne i hodet mitt er det som ble utløst av et
sitat fra <em class="citetitle">New York Times</em>. At <span class="quote">«<span class="quote">det store
eksperimentet</span>»</span> vi kaller <span class="quote">«<span class="quote">allemannseie</span>»</span> er over? Når
Grunnloven.</span>»</span> Men jeg klarer sjelden å ta lett på det. Vi hadde i
Grunnloven vår en forpliktelse til å frigjøre kultur. I den saken som jeg
hadde ansvar for, ga Høyesterett effektivt avkall på den forpliktelsen. En
-bedre advokat ville fått dem til å annerledes på det.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp10143200" class="footnote"><p><a href="#idp10143200" class="para"><sup class="para">[177] </sup></a>
+bedre advokat ville fått dem til å se annerledes på det.
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp57239312" class="footnote"><p><a href="#idp57239312" class="para"><sup class="para">[178] </sup></a>
-<a class="indexterm" name="idp10143584"></a> Det er en parallell her til
+<a class="indexterm" name="idp57239696"></a> Det er en parallell her til
pornografi som er litt vanskelig å beskrive, men som er veldig sterk. Et
fenomen som Internett skapte var en verden av ikke-kommersiell pornografi
-— folk som distribuerte porno men som ikke tjente penger direkte eller
+– folk som distribuerte porno men som ikke tjente penger direkte eller
indirekte fra denne distribusjonen. Noe slikt eksisterte ikke før Internett
dukket opp, på grunn av at kostnaden med å distribuere porno var så høy.
Likevel fikk denne nye klassen av distributører spesiell oppmerksomhet fra
gjelde for ikke-kommersielle utgivere etter at Internett dukket opp. Alle
Eric Eldred-ene i verden før Internettet var ekstremt få. Likevel skulle en
tro at det er minst like viktig å beskytte alle Eldred-ene i verden som det
-er å beskytte ikke-kommersielle pornografer.</p></div><div id="ftn.idp10168400" class="footnote"><p><a href="#idp10168400" class="para"><sup class="para">[178] </sup></a>
-
-<a class="indexterm" name="idp10169104"></a> <a class="indexterm" name="idp10170176"></a> Hele teksten er: <span class="quote">«<span class="quote">Sonny [Bono] ønsket at vernetiden i
-opphavsretten skulle vare evig. Jeg er informert av ansatte at en slik
-endring ville være i strid med Grunnloven. Jeg inviterer dere alle til å
-jobbe sammen med meg for å styrke våre opphavsrettslover på alle måter som
-er tilgjengelig for oss. Som dere vet, er det også et forslag fra Jack
-Valenti om en vernetid som varer evig minus en dag. Kanskje komiteen kan se
-på i neste periode.</span>»</span> 144 Kongr. Ref. H9946, 9951-2 (7. oktober 1998).
-</p></div><div id="ftn.idp10230288" class="footnote"><p><a href="#idp10230288" class="para"><sup class="para">[179] </sup></a>
+er å beskytte ikke-kommersielle pornografer.</p></div><div id="ftn.idp57264720" class="footnote"><p><a href="#idp57264720" class="para"><sup class="para">[179] </sup></a>
+
+<a class="indexterm" name="idp57265424"></a> <a class="indexterm" name="idp57266496"></a> <a class="indexterm" name="idp57267312"></a> Hele teksten er:
+<span class="quote">«<span class="quote">Sonny [Bono] ønsket at vernetiden i opphavsretten skulle vare evig.
+Jeg er informert av ansatte at en slik endring ville være i strid med
+Grunnloven. Jeg inviterer dere alle til å jobbe sammen med meg for å styrke
+våre opphavsrettslover på alle måter som er tilgjengelig for oss. Som dere
+vet, er det også et forslag fra Jack Valenti om en vernetid som varer evig
+minus en dag. Kanskje komiteen kan se på i neste periode.</span>»</span> 144
+Kongr. Ref. H9946, 9951-2 (7. oktober 1998).
+</p></div><div id="ftn.idp57327568" class="footnote"><p><a href="#idp57327568" class="para"><sup class="para">[180] </sup></a>
Associated Press, <span class="quote">«<span class="quote">Disney Lobbying for Copyright Extension No Mickey
Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</span>»</span>
<em class="citetitle">Chicago Tribune</em>, 17. oktober 1998, 22.
-</p></div><div id="ftn.idp10222160" class="footnote"><p><a href="#idp10222160" class="para"><sup class="para">[180] </sup></a>
+</p></div><div id="ftn.idp57319424" class="footnote"><p><a href="#idp57319424" class="para"><sup class="para">[181] </sup></a>
Se Nick Brown, <span class="quote">«<span class="quote">Fair Use No More?: Copyright in the Information
Age,</span>»</span> tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #49</a>.
-</p></div><div id="ftn.idp10232304" class="footnote"><p><a href="#idp10232304" class="para"><sup class="para">[181] </sup></a>
+</p></div><div id="ftn.idp57329616" class="footnote"><p><a href="#idp57329616" class="para"><sup class="para">[182] </sup></a>
Alan K. Ota, <span class="quote">«<span class="quote">Disney in Washington: The Mouse That Roars,</span>»</span>
<em class="citetitle">Congressional Quarterly This Week</em>, 8. august 1990,
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#50</a>.
-</p></div><div id="ftn.idp10251536" class="footnote"><p><a href="#idp10251536" class="para"><sup class="para">[182] </sup></a>
+</p></div><div id="ftn.idp57355344" class="footnote"><p><a href="#idp57355344" class="para"><sup class="para">[183] </sup></a>
<em class="citetitle">United States</em> mot <em class="citetitle">Lopez</em>, 514
U.S. 549, 564 (1995).
-</p></div><div id="ftn.idp10254960" class="footnote"><p><a href="#idp10254960" class="para"><sup class="para">[183] </sup></a>
-
+</p></div><div id="ftn.idp57358816" class="footnote"><p><a href="#idp57358816" class="para"><sup class="para">[184] </sup></a>
<em class="citetitle">United States</em> mot <em class="citetitle">Morrison</em>,
-529 U.S. 598 (2000).
-</p></div><div id="ftn.idp10257696" class="footnote"><p><a href="#idp10257696" class="para"><sup class="para">[184] </sup></a>
+529 U.S. 598 (2000). <a class="indexterm" name="idp57360096"></a>
+</p></div><div id="ftn.idp57364960" class="footnote"><p><a href="#idp57364960" class="para"><sup class="para">[185] </sup></a>
Hvis det er et prinsipp om opplistede kompetanser, så bør dette prinsippet
kunne overføres fra en opplistet kompetanse til den neste. Det
utslagsgivende poenget når det gjaldt handelsbestemmelsen, var at tolkningen
staten kom med, ville gi staten ubegrenset kompetanse til å regulere handel
-— på tross av begrensningen om mellomstatlig handel. Også i denne
+– på tross av begrensningen om mellomstatlig handel. Også i denne
sammenehengen ville statens tolkning gi staten ubegrenset kompetanse til å
-regulere opphavsrett — på tross av begrensningen om <span class="quote">«<span class="quote">et
+regulere opphavsrett – på tross av begrensningen om <span class="quote">«<span class="quote">et
begrenset tidsrom.</span>»</span>
-</p></div><div id="ftn.idp10274224" class="footnote"><p><a href="#idp10274224" class="para"><sup class="para">[185] </sup></a>
+</p></div><div id="ftn.idp57386960" class="footnote"><p><a href="#idp57386960" class="para"><sup class="para">[186] </sup></a>
-Innlegg fra Nashvillesangforfatterforening, <em class="citetitle">Eldred</em>
+Innlegg fra Nashville sangforfatterforening, <em class="citetitle">Eldred</em>
mot <em class="citetitle">Ashcroft</em>, 537 U.S. 186 (2003) (No. 01-618),
n.10, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#51</a>.
-</p></div><div id="ftn.idp10282048" class="footnote"><p><a href="#idp10282048" class="para"><sup class="para">[186] </sup></a>
+</p></div><div id="ftn.idp57396176" class="footnote"><p><a href="#idp57396176" class="para"><sup class="para">[187] </sup></a>
Tallet 2 prosent er en ekstrapolering fra en undersøkelse gjort av
Kongressens forskningstjeneste, med bakgrunn i de estimerte
fornyelsespennene. Se Brief of Petitioners, <em class="citetitle">Eldred</em>
mot <em class="citetitle">Ashcroft</em>, 7, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #52</a>.
-</p></div><div id="ftn.idp10303408" class="footnote"><p><a href="#idp10303408" class="para"><sup class="para">[187] </sup></a>
+</p></div><div id="ftn.idp57418304" class="footnote"><p><a href="#idp57418304" class="para"><sup class="para">[188] </sup></a>
Se David G. Savage, <span class="quote">«<span class="quote">High Court Scene of Showdown on Copyright
David Streitfeld, <span class="quote">«<span class="quote">Classic Movies, Songs, Books at Stake; Supreme
Court Hears Arguments Today on Striking Down Copyright Extension,</span>»</span>
<em class="citetitle">Orlando Sentinel Tribune</em>, 9. oktober 2002.
-</p></div><div id="ftn.idp10234320" class="footnote"><p><a href="#idp10234320" class="para"><sup class="para">[188] </sup></a>
+</p></div><div id="ftn.idp57331600" class="footnote"><p><a href="#idp57331600" class="para"><sup class="para">[189] </sup></a>
Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the
12. Se også Brief of Amicus Curiae filed on behalf of Petitioners by the
Internet Archive, <em class="citetitle">Eldred</em>
v. <em class="citetitle">Ashcroft</em>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #53</a>.
-</p></div><div id="ftn.idp10345344" class="footnote"><p><a href="#idp10345344" class="para"><sup class="para">[189] </sup></a>
+</p></div><div id="ftn.idp57463184" class="footnote"><p><a href="#idp57463184" class="para"><sup class="para">[190] </sup></a>
Jason Schultz, <span class="quote">«<span class="quote">The Myth of the 1976 Copyright `Chaos' Theory,</span>»</span>
20. desember 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #54</a>.
-</p></div><div id="ftn.idp10416160" class="footnote"><p><a href="#idp10416160" class="para"><sup class="para">[190] </sup></a>
+</p></div><div id="ftn.idp57538176" class="footnote"><p><a href="#idp57538176" class="para"><sup class="para">[191] </sup></a>
Innlegg fra Amici Dr. Seuss Enterprise et al., <em class="citetitle">Eldred</em>
v. <em class="citetitle">Ashcroft</em>, 537 U.S. (2003) (No. 01-618), 19.
-</p></div><div id="ftn.idp10419152" class="footnote"><p><a href="#idp10419152" class="para"><sup class="para">[191] </sup></a>
+</p></div><div id="ftn.idp57541264" class="footnote"><p><a href="#idp57541264" class="para"><sup class="para">[192] </sup></a>
Dinitia Smith, <span class="quote">«<span class="quote">Immortal Words, Immortal Royalties? Even Mickey Mouse
1998, B7.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred-ii"></a>Kapittel fjorten: Eldred II</h2></div></div></div><p>
<span class="strong"><strong>Dagen</strong></span> <em class="citetitle">Eldred</em> ble
-avgjort, ville skjebnen det at jeg skulle reise til Washington, D.C. (Dagen
-da en forespørsel om ny høring for <em class="citetitle">Eldred</em> ble avslått
-— som betød at saken endelig var avsluttet — skjebnen gjorde at
-jeg holdt en tale til teknologer ved Disney World.) Dette var en spesielt
-lang flytur til byen jeg setter minst pris på. Kjøreturen inn til byen fra
-Dulles flyplass var forsinket på grunn av trafikken, sa jeg åpnet opp
-datamaskinen og skrev en kronikk.
-</p><a class="indexterm" name="idp
10551888"></a><p>
-Det var en botsøvelse. Gjennom hele flyturen fra San Francisco til
+avgjort, ville skjebnen at jeg skulle reise til Washington, D.C. (Dagen da
+en forespørsel om ny høring for <em class="citetitle">Eldred</em> ble avslått
+– som betød at saken endelig var ferdig – skjebnen gjorde at jeg
+holdt en tale til teknologer ved Disney World.) Dette var en spesielt lang
+flytur til den byen jeg setter minst pris på. Trafikk forsinket kjøreturen
+fra Dulles flyplass til byen, så jeg åpnet min datamaskinen og skrev en
+kronikk.
+</p><a class="indexterm" name="idp
57699920"></a><p>
+Jeg hadde dårlig samvittighet. Gjennom hele flyturen fra San Francisco til
Washington hadde jeg i mitt indre øre hørt om og om igjen det samme rådet
-fra Don Ayer: Du må få dem til å forstå hvorfor det er viktig. Og innimellom
-dette rådet var spørsmålet fra dommer Kennedy: <span class="quote">«<span class="quote">I alle disse årene som
-loven har hemmet fremgang i vitenskap og nyttige kunstarter, så ser jeg
-intet empirisk bevis for dette.</span>»</span> Og dermed, etter å ha feilet i å
-argumentere med konstituelle prinsipper, forsøkte jeg til slutt meg med å
+fra Don Ayer: Du må få dem til å forstå hvorfor dette er viktig. Og
+innimellom dette rådet var spørsmålet fra dommer Kennedy: <span class="quote">«<span class="quote">I alle
+disse årene som loven har hemmet fremgang i vitenskap og nyttige kunstarter,
+så ser jeg intet empirisk bevis for dette.</span>»</span> Og dermed, etter å ha
+feilet i å argumentere med konstitusjonelle prinsipper, forsøkte jeg å
argumentere politisk.
</p><p>
-<em class="citetitle">New York Times</em> publiserte stykket. I det foreslo jeg
-en enkel fiks: Femti år etter at et verk har blitt publisert, bør
+<em class="citetitle">New York Times</em> publiserte kronikken. I den foreslo
+jeg en enkel fiks: Femti år etter at et verk har blitt publisert, bør
opphavsrettseieren være nødt til å registrere verket og betale en liten
-avgift. Hvis han betalte avgiften, fikk han fordelene av hele vernetiden
-for opphavstiden. Hvis han ikke gjorde det, falt verket i det fri.
+avgift. Hvis han betalte avgiften, fikk han fordelene av hele
+opphavsrettsvernetiden. Hvis han ikke gjorde det, ble verket allemannseie.
</p><p>
Vi kalte dette Eldred-loven, men det var kun for å gi det et navn. Eric
Eldred var snill nok til å la sitt navn brukes nok en gang, men han sa tidig
tilgang og spredning av kunnskap. La den eksistere så lenge som Kongressen
tillater det for de verk der verdien er minst en dollar. For alt annet,
slipp innholdet fri.
-</p><a class="indexterm" name="idp
10559136"></a><p>
+</p><a class="indexterm" name="idp
57707216"></a><a class="indexterm" name="idp57707968"></a><a class="indexterm" name="idp57708784"></a><p>
Reaksjonen på denne idéen var utrolig sterk. Steve Forbes gikk god for den
-i en leder, og jeg mottok et skred av e-post og brev med støtte. Når du
+i en leder, og jeg mottok et skred av støttende e-post og brev. Når man
fokuserer temaet på tapt kreativitet, så ser folk at opphavsrettssystemet
ikke gir mening. En god republikaner kunne si at her kommer ganske enkelt
myndighetsregulering i veien for nyskapning og kreativitet. Og en god
-demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang og
-spredning av kunnskap. Det er faktisk ingen reell forskjell mellom
+demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang til
+og spredning av kunnskap. Det er faktisk ingen reell forskjell mellom
demokrater og republikanere rundt dette temaet. Enhver kan gjenkjenne de
idiotiske skadene som dagens ordning gir.
</p><p>
Faktisk ser mange de åpenbare fordelene med registreringskravet. For en av
de vanskeligste tingene med dagens system for folk som ønsker å lisensiere
innhold er at det ikke er noen åpenbar plass å slå opp gjeldende
-opphavsrettseiere. Siden registrering ikke er påkrevd, så er det ofte
-blokkerende vanskelig å spore opp opphavsrettseiere for å spørre om
-tillatelse til å bruke eller lisensiere deres verk. Dette systemet ville
-redusere disse kostnadene ved å etablere i hvert fall et register hvor
-opphavsrettseierene kan identifiseres.
-</p><a class="indexterm" name="idp
10562688"></a><a class="indexterm" name="idp10563504"></a><p>
+opphavsrettseiere. Siden registrering ikke er påkrevd, så blokkeres ofte
+fremgangen på å spore opp opphavsrettseiere for å be om tillatelse til å
+bruke eller lisensiere deres verk. Dette systemet ville redusert slike
+kostnader ved å etablere et register hvor opphavsrettseierene i hvertfall
+kan identifiseres.
+</p><a class="indexterm" name="idp
57712352"></a><a class="indexterm" name="idp57713168"></a><p>
Som jeg beskrev i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a> ble formaliteter fjernet fra opphavsrettsloven i
1976, da kongressen fulgte etter europeerne i å avskaffe alle formelle krav
-før opphavsretten ble innvilget.<a href="#ftn.idp10565920" class="footnote" name="idp10565920"><sup class="footnote">[192]</sup></a>
+før opphavsretten ble innvilget.<a href="#ftn.idp57715536" class="footnote" name="idp57715536"><sup class="footnote">[193]</sup></a>
Europeerne sies å anse opphavsrett som en <span class="quote">«<span class="quote">naturlig rettighet.</span>»</span>
-Naturlige rettigheter trenger ingen formaliterer for å eksistere.
-Tradisjoner lik den angloamerikanske, som har krevd at opphavsrettseiere må
-følge visse formaliteter hvis deres rettigheter skal bli beskyttet, mente
-europeerne ikke respekterte forfatterens verdighet skikkelig. Mine
-rettigheter som skaper stammer fra min kreativitet, ikke noe som deles ut av
-myndighetene.
+Naturlige rettigheter trenger ingen formaliteter for å
+eksistere. Angloamerikanske, og liggende, tradisjoner har krevd at
+opphavsrettseiere må følge visse formaliteter for at deres rettigheter skal
+bli beskyttet, mens europeerne mente at slikt ikke tilstrekkelig respekterte
+forfatterens verdighet. Mine rettigheter som skaper stammer fra min
+kreativitet, og er ikke noe som deles ut av myndighetene.
</p><p>
Det er flott retorikk, og det høres vidunderlig romantisk ut. Men det er
absurd opphavsrettspolitikk. Det er absurd spesielt for forfattere, fordi
-en verden uten formaliterer skader den som skaper. Muligheten til å spre
-<span class="quote">«<span class="quote">Walt Disney-kreativitet</span>»</span> er fjernet når det ikke er noen enkel
+en verden uten formaliteter skader den som skaper. Muligheten til å spre
+<span class="quote">«<span class="quote">Walt Disney-kreativitet</span>»</span> forsvinner når det ikke er noen enkel
måte å vite hva som er beskyttet, og hva som ikke er det.
-</p><a class="indexterm" name="idp
10573616"></a><p>
+</p><a class="indexterm" name="idp
57723312"></a><p>
Kampen mot formaliteter oppnådde sin første virkelige seier i Berlin i
1908. Internasjonale opphavsrettsadvokater fikk på plass et tillegg i
-Bern-konvensjonen i 1909 som krevde opphavsrettslig verneperiode som rakk
-hele livet pluss femti år, i tillegg til å avskaffe
-opphavsrettsformaliteter. Formalitetene var hatet på grunn av historiene om
-utilsiktet tap som ble mer og mer vanlige. Det var som om en karakter fra
-Charles Dickens drev alle opphavsrettskontorene, og å glemme å sette prikken
-over en <em class="citetitle">i</em> eller glemme å streke gjennom en
+Bernkonvensjonen i 1908 som krevde opphavsrettsvernetid ut forfatterens liv
+pluss femti år, i tillegg til å avskaffe opphavsrettsformaliteter.
+Formalitetene var hatet på grunn av historiene om utilsiktet tap som ble mer
+og mer vanlige. Det var som om en karakter fra Charles Dickens drev alle
+opphavsrettskontorene, og det å glemme å sette prikken over en
+<em class="citetitle">i</em> eller glemme å streke gjennom en
<em class="citetitle">t</em> førte til at en enke mistet sin eneste inntekt.
</p><p>
-Disse klagene var reelle og fornuftige. Og hvor strengt formalitetene ble
-håndhevd, spesielt i USA, var absurd. Loven bør alltid ha måter å tilgi
-uskyldige feil. Det er ingen grunn til at ikke også åndsverksloven skulle
-kunne det. I stedet for å droppe formaliteter helt, så burde responsen i
-Berlin vært å omfavne et mer rettverdig registreringssystem.
+Disse klagene var reelle og fornuftige. Og det var absurd hvor strengt
+formalitetene ble håndhevd, spesielt i USA. Loven bør alltid ha måter å
+tilgi uskyldige feil. Det er ingen grunn til at ikke også åndsverksloven
+skulle kunne det. I stedet for å droppe formaliteter helt, så burde
+responsen i Berlin vært å omfavne et mer rettverdig registreringssystem.
</p><p>
-Selv det ville dog fått motstand, på grunn av at registrering fortsatt var
-kostbart i det nittende og tjuende århundret. Det var også en plage.
-Avviklingen av formaliteter ga ikke bare lovnad om å redde sultende enker,
-men også å redusere en unødvendig regulatorisk belastning som var påtvunget
-skapere.
+Selv det ville fått motstand, på grunn av at registrering fortsatt var
+kostbart og plagsomt i det nittende og tjuende århundret. Avviklingen av
+formaliteter lovde ikke bare å redde sultende enker, men også det å redusere
+en unødvendig regulatorirsk belastning som var påtvunget skapere.
</p><p>
-I tillegg til de praktiske klagene fra forfatterne i 1908, så var det også
-moralske innsigelser. Det var ingen grunn til at kreative
+I tillegg til de praktiske klagene fra forfatterne i 1908, så fantes det
+også moralske innsigelser. Det var ingen grunn til at kreative
eiendomsrettigheter skulle være en annenrangs type eiendom. Hvis en snekker
lager et bord, så er ikke hans rettigheter over dette bordet avhengig av at
han sender inn et skjema til myndighetene. Han har en
</p><p>
Dette argumentet er riktig, men dets implikasjoner er misvisende. For
argumenter i favør av formaliteter er ikke avhengig av at kreativ eiendom er
-annerangs eiendom. Argumentet i favør av formaliteter kretser rundt de
+annenrangs eiendom. Argumentet i favør av formaliteter kretser rundt de
spesielle problemene som kreativ eiendom gir oss. Loven om formaliteter er
-et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for a
+et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for å
sikre at den kan spres effektivt og rettferdig.
</p><p>
-For eksempel er det ingen som mener at landområder er annenklasses eiendom
-kun fordi du må tinglyse et skjøte hvis ditt salg av land skal få effekt.
-Og få mener at en bil er annenklasses eiendom bare på grunn av at du må
-registrere bilen hos Biltilsynet, og merke den med et bilskilt. I begge
-disse tilfellene ser alle at det er viktige grunner til å kreve registrering
-— både på grunn av at det gjør markedet mer effektivt, og på grunn av
+For eksempel er det ingen som mener at landområder er annenrangs eiendom kun
+fordi du må tinglyse et skjøte hvis ditt salg av land skal få effekt. Og få
+mener at en bil er annenklasses eiendom bare på grunn av at du må registrere
+bilen hos Biltilsynet, og merke den med et bilskilt. I begge disse
+tilfellene ser alle at det er viktige grunner til å kreve registrering
+– både på grunn av at det gjør markedet mer effektivt, og på grunn av
at det bedre sikrer rettighetene til eieren. Uten et registreringssystem
for landområder måtte landeiere hele tiden vokte sin eiendom. Med
registrering kan de ganske enkelt vise politiet et skjøte. Uten et
opphavsrettslovgiving. I motsetning til en snekkers bord, er det ingenting
i naturen som gjør det relativt åpenbart hvem som kan eie en bestemt bit av
kreativ eiendom. Et opptak av Lyle Lovetts siste album kan eksistere en
-milliard steder uten at noe nødvendigvis peker tilbake til en bestemt eier.
-Og på samme måte som en bil, er det ingen måte å være trygg ved kjøp og salg
-av kreativ eiendom med mindre det finnes en enkel måte å bekrefte hvem som
-er forfatteren, og hvilke rettigheter han har. Enkle transaksjoner blir
-umulige i en verden uten formaliteter. Kompliserte, dyre,
-<span class="emphasis"><em>advokat</em></span>-transaksjoner trer inn i stedet. <a class="indexterm" name="idp10585296"></a>
+milliard steder uten at noe nødvendigvis peker det tilbake til en bestemt
+eier. Og på samme måte som en bil, er det ingen måte å være trygg ved kjøp
+og salg av kreativ eiendom med mindre det finnes en enkel måte å bekrefte
+hvem som er skaperen, og hvilke rettigheter han har. Enkle transaksjoner
+blir umulige i en verden uten formaliteter. Kompliserte, dyre,
+<span class="emphasis"><em>advokat</em></span>-transaksjoner trer inn i stedet. <a class="indexterm" name="idp57734928"></a>
</p><p>
Dette var forståelsen av problemet med Sonny Bono-loven som vi forsøkte å
demonstrere for retten. Dette var den delen som den ikke
-<span class="quote">«<span class="quote">tok.</span>»</span> Fordi vi lever i et system uten formaliteter, så er det
-ikke noen enkel måte å bygge på, eller bruke kulturen fra vår fortid. Hvis
-vernetiden i opphavsretten var, slik dommer Story sa den ville være,
+<span class="quote">«<span class="quote">skjønte.</span>»</span> Fordi vi lever i et system uten formaliteter, så er
+det ikke noen enkel måte å bygge på, eller bruke kulturen fra vår fortid.
+Hvis vernetiden i opphavsretten var, slik dommer Story sa den ville være,
<span class="quote">«<span class="quote">kort,</span>»</span> da ville ikke dette bety stort. I fjorten år, ifølge
systemet til de som skrev grunnloven, ville et verk kunne antas å være
kontrollert. Etter fjorten år kunne en anta at det ikke var kontrollert.
</p><p>
-Men nå når opphavsretten kan vare omtrent et århundre, så er den manglende
+Men nå når opphavsretten kan vare nesten et århundre, så er den manglende
evnen til å vite hva som er beskyttet og hva som ikke er beskyttet blitt en
stor og åpenbar byrde på den kreative prosessen. Hvis den eneste måten et
bibliotek kan legge frem en Internett-utstilling om New Deal, er ved å hyre
inn en advokat til å klarere rettighetene til hvert eneste bilde og hver
eneste lydinnspilling, så belaster opphavsrettssystemet kreativiteten på en
-måte som aldri før er observert, <span class="emphasis"><em>fordi det ikke er noen
+måte som aldri før er observert, <span class="emphasis"><em>fordi det ikke finnes noen
formaliteter</em></span>.
</p><p>
Eldred-loven var utformet for å svare på akkurat dette problemet. Hvis det
</p><p>
Hvis det ikke er verdt det for deg å registrere verket for å få fordelene av
en utvidet vernetid, så bør det heller ikke være verdt det for myndighetene
-å forsvare ditt monopol over det samme verket. Verket bør falle i det fri
-der enhver kan kopiere det, eller lage arkiver med det, eller lage en film
-basert på det. Det bør frigjøres hvis det ikke er verdt en dollar for deg.
+å forsvare ditt monopol over det samme verket. Verket bør bli allemannseie
+slik at enhver kan kopiere det, eller lage arkiver med det, eller lage en
+film basert på det. Det bør frigjøres hvis det ikke er verdt en dollar for
+deg.
</p><p>
Noen bekymrer seg over byrden på forfattere. Gjør ikke byrden med å
registrere verket at beløpet 1 dollar egentlig er misvisende? Er ikke
</p><p>
Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nå er
-grufult. Jeg er helt enig i at opphavsrettskontoret har gjort en
+grufullt. Jeg er helt enig i at opphavsrettskontoret har gjort en
forferdelig jobb (uten tvil på grunn av at de har forferdelig dårlig
finansiering) i å gjøre registrering enkelt og billig. En skikkelig løsning
på problemet med formaliteter må adressere det egentlige problemet med
registrering kun krever ett klikk. Eldred-loven foreslo en enkel,
ettklikks-registrering, femti år etter at et verk var publisert. Basert på
historiske data ville dette systemet få opp mot 98 prosent av kommersielle
-verk, kommersielle verk som ikke lenger har et kommersielt liv, til å falle
-i det fri etter femti år. Hva tror du?
-</p><a class="indexterm" name="idp
10596016"></a><p>
+verk, kommersielle verk som ikke lenger har et kommersielt liv, til å bli
+allemannseie etter femti år. Hva tror du?
+</p><a class="indexterm" name="idp
57745648"></a><p>
<span class="strong"><strong>Da Steve Forbes</strong></span> støttet idéen, begynte
enkelte i Washington å følge med. Mange kontaktet meg med tips til
representanter som kan være villig til å introdusere en Eldred-lov, og jeg
hadde noen få som foreslo direkte at de kan være villige til å ta det første
skrittet.
-</p><a class="indexterm" name="idp
10598448"></a><p>
+</p><a class="indexterm" name="idp
57748080"></a><p>
En representant, Zoe Lofgren fra California, gikk så langt som å få
lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal
lov. Det påla de enklest mulige forutsetninger på innehaverne av
-opphavsretter. I mai 2003 så det ut som om loven skulle være introdusert.
+opphavsretter. I mai 2003 så det ut som om loven kom til å bli introdusert.
16. mai postet jeg på Eldred Act-bloggen, <span class="quote">«<span class="quote">vi er nære.</span>»</span> Det
oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje
her.
-</p><p>
+</p><a class="indexterm" name="idp57750496"></a><p>
Men på dette stadiet begynte lobbyister å bryte inn. Jack Valenti og MPAAs
sjefsjurist kom til kongressrepresentantens kontor for å gi MPAAs syn på
-saken. Veiledet av sin advokat, fortalte Valenti meg, informerte Valenti
-kongressrepresentanten om at MPAA ville motsette seg Eldred-loven.
-Begrunnelsen var pinlig tynn. Enda viktigere er det at deres spinkelhet
+saken. Veiledet av sin advokat, slik Valenti har fortalte meg, informerte
+Valenti kongressrepresentanten om at MPAA ville motsette seg Eldred-loven.
+Begrunnelsen var pinlig knapp. Enda viktigere er det at deres knapphet
viser noe klart om hva denne debatten egentlig handler om.
</p><p>
MPAAs første argument var at Kongressen <span class="quote">«<span class="quote">bestemt hadde avvist det
-sentrale konseptet i lovforslaget</span>»</span> — at opphavsretter skal
+sentrale konseptet i lovforslaget</span>»</span> – om at opphavsretter skal
fornyes. Det er riktig, men irrelevant, etter som Kongressen <span class="quote">«<span class="quote">bestemt
hadde avvist</span>»</span> dette lenge før Internett gjorde påfølgende bruk mye
mer sannsynlig. Det andre argumentet var at forslaget ville skade fattige
-opphavsrettseiere — tilsynelatende de som ikke har råd til en avgift
+opphavsrettseiere – tilsynelatende de som ikke har råd til en avgift
på en dollar. Det tredje argumentet var at Kongressen hadde konkludert med
at å utvide vernetiden i opphavsretten, ville oppmuntre til å restaurere
verk. Det kan stemme for den lille prosentandelen verk vernet av
helt klart lavere enn kostnadene med å klarere rettigheter for en
opphavsrett der eieren er ukjent. Det femte argumentet var at de var
bekymret over risikoen hvis opphavsretten til en historie som lå til grunn
-for en film skulle falle i det fri. Men hva slags risiko er dette? Hvis
-den er falt i det fri, så er filmen gyldig avledet bruk.
+for en film skulle bli allemannseie. Men hva slags risiko er dette? Hvis
+den er allemannseie, så er filmen gyldig avledet bruk.
</p><p>
-Til slutt hevdet MPAA at eksisterende lovgiving gjorde det mulig for
+Til slutt hevdet MPAA at eksisterende lovverk gjorde det mulig for
opphavsrettseiere å gjøre dette hvis de ønsket det. Men hele poenget er at
det er tusenvis av opphavsrettseiere som ikke engang vet at de har en
opphavsrett å gi bort. Hvorvidt de står fritt til å gi bort opphavsretten
-eller ikke — uansett en kontroversiell påstand — så med mindre
-de vet om en opphavsrett, så er det lite sannsynlig at de vil gjøre det.
+eller ikke – som i og for seg er en kontroversiell påstand – så
+med mindre de vet om en opphavsrett, så er det lite sannsynlig at de vil
+gjøre det.
</p><p>
<span class="strong"><strong>I begynnelsen</strong></span> av denne boken fortalte jeg
to historier om hvordan loven reagerte på endringer i teknologien. I den
ene vant sunn fornuft frem. I den andre ble sunn fornuft forsinket.
-Forskjellen mellom de to historiene var hvor mektig opposisjonen var —
-hvor mektig siden som sloss for å forsvare status quo var. I begge
+Forskjellen mellom de to historiene er styrken til opposisjonen –
+styrken til den siden som sloss for å forsvare status quo. I begge
tilfellene truet ny teknologi gamle interesser. Men i kun ett av tilfellene
hadde disse interessene nok makt til å beskytte seg mot denne nye
konkurransemessige trusselen.
Når problemet er piratvirksomhet, så er det riktig at loven støtter
opphavsrettseierne. Den kommersielle piratvirksomheten som jeg har
-beskrevet er galt og skadelig, og loven bør jobbe for å eliminere den. Når
-problemet er p2p-deling, så er det enkelt å forstå hvorfor loven fortsatt
-støtter eierne. Mye av denne delingen er galt, selv om mye er harmløst. Når
-problemet er opphavsrettsvernetiden for Mikke Mus-ene i verden, så er det
-forsatt mulig å forstå hvorfor loven favoriserer Hollywood: De fleste
-kjenner ikke igjen grunner til å begrense vernetiden for opphavsretten. Det
-er dermed forsatt mulig å se god tro i motstanden.
-</p><a class="indexterm" name="idp
10612448"></a><p>
+beskrevet er uriktig og skadelig, og loven bør jobbe for å eliminere
+den. Når problemet er p2p-deling, så er det enkelt å forstå hvorfor loven
+fortsatt støtter eierne. Mye av denne delingen er uriktig, selv om mye er
+harmløst. Når problemet er opphavsrettsvernetiden for Mikke Mus-ene i
+verden, så er det forsatt mulig å forstå hvorfor loven favoriserer
+Hollywood: De fleste kjenner ikke igjen grunner til å begrense vernetiden
+for opphavsretten. Det er dermed forsatt mulig å se god tro i motstanden.
+</p><a class="indexterm" name="idp
57763216"></a><p>
Men når opphavsrettseiere motsetter seg et forslag som Eldred-loven, så er
det endelig et eksempel som eksponerer den nakne egeninteressen som holder
denne krigen i gang. Dette lovforslaget ville frigjøre en ekstraordinær
Hva ønsker denne industrien egentlig?
</p><p>
Med svært liten innsats kunne krigerne beskytte sitt innhold. Så innsatsen
-for å blokkere noe à la Eldred-loven er ikke egentlig om å beskytte
+for å blokkere noe tilsvarende Eldred-loven er ikke egentlig om å beskytte
<span class="emphasis"><em>deres</em></span> innhold. Innsatsen for å blokkere Eldred-loven
-er en innsats for å sikre at ingenting faller i det fri mer. Det er et nytt
-steg for å sikre at allemannseiet aldri vil konkurrere, at det ikke vil være
-noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke vil
-være noe kommersiell bruk av innhold som ikke først krever
+er en innsats for å sikre at ingenting nytt blir allemannseie. Det er et
+nytt steg for å sikre at allemannseiet aldri vil konkurrere, at det ikke vil
+være noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke
+vil være noe kommersiell bruk av innhold som ikke først krever
<span class="emphasis"><em>deres</em></span> tillatelse.
</p><p>
Motstanden mot Eldred-loven avslører hvor ekstrem den andre siden er. Den
-mektigste, sexy og høyt elskede av lobbyorganisasjoner har som mål ikke å
+mektigste, sexy og høyt elskede av lobbyvirksomhetene har som mål ikke å
beskytte <span class="quote">«<span class="quote">eiendom</span>»</span>, men å bli kvitt en tradisjon. Deres mål er
ikke bare å beskytte det som er deres. <span class="emphasis"><em>Deres mål er å sikre at
alt som finnes er det som er deres.</em></span>
allemannseiet knyttet til Internett på en eller mannen måte kunne knuses.
På samme måte som RCA fryktet konkurransen fra FM, frykter de konkurransen
fra allemannseiet knyttet til en befolkning som nå har mulighet til å skape
-med den, og dele sine egne kreasjoner.
-</p><a class="indexterm" name="idp
10620912"></a><a class="indexterm" name="idp10621696"></a><p>
+med den, og dele sine egne verk.
+</p><a class="indexterm" name="idp
57771696"></a><a class="indexterm" name="idp57772480"></a><p>
Det som er vanskelig å forstå er hvorfor folket har dette synet. Det er som
om loven gjorde at flymaskiner tok seg inn på annen manns eiendom. MPAA
står side om side med Causbyene og krever at deres fjerne og ubrukelige
</p><p>
Alt dette ser ut til å lett følge fra å ukritisk akseptere
<span class="quote">«<span class="quote">eiendoms</span>»</span>biten av immateriell eiendom. Sunn fornuft støtter
-det, og så lenge den gjør det vil overfallene regne ned over teknologiene på
-Internett. Konsekvensene vil være mer og mer et
+det, og så lenge den gjør det vil teknologiene på Internett være under
+angrep. Konsekvensene vil være mer og mer et
<span class="quote">«<span class="quote">tillatelsessamfunn.</span>»</span> Fortiden kan kun kultiveres hvis du kan
finne eieren og be om tillatelse til å bygge på hans verk. Fremtiden vil bli
-kontrollert av denne døde (og ofte forsvunnede) hånd fra fortiden.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp10565920" class="footnote"><p><a href="#idp10565920" class="para"><sup class="para">[192] </sup></a>
+kontrollert av denne døde (og ofte bortfalne) hånd fra fortiden.
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp57715536" class="footnote"><p><a href="#idp57715536" class="para"><sup class="para">[193] </sup></a>
-<a class="indexterm" name="idp10566592"></a>Før Berlin revideringen av
+<a class="indexterm" name="idp57716208"></a>Før Berlin-revideringen av
Bernkonvensjonen i 1908, så hendte det at nasjonal opphavsrettslov gjorde
-beskyttelsen avhenging av formaliteter som registrering, deponering og
+beskyttelsen avhengig av formaliteter som registrering, deponering og
merking av at forfatteren gjorde krav på kopibeskyttelse. Derimot har alle
revisjoner etter 1908 forutsatt at <span class="quote">«<span class="quote">Nytelsen og utøvelsen</span>»</span> av
rettigheter garantert av konvensjonen <span class="quote">«<span class="quote">er ikke betinget av at noen
formalitet iakttas.</span>»</span> Forbudet mot formaliteter finnes i dag som
-paragraf 5(2) av Bernkonvensjonen — Paristeksten. Mange land
+paragraf 5(2) av Bernkonvensjonen – Paristeksten. Mange land
fortsetter å kreve en eller annen form for deponering eller registrering,
men ikke som et krav til opphavsrett. Fransk lov, for eksempel, krever et
-depositum av kopier av verket til nasjonale oppbevaringsteder, hovedsakelig
-nasjonalmuseet. Kopier av bøker publisert i Storbritannia må deponeres til
+eksemplardepositum til nasjonale oppbevaringsteder, hovedsakelig
+Nasjonalmuseet. Kopier av bøker publisert i Storbritannia må deponeres til
det Britiske Biblioteket. Den tyske opphavsrettsloven sørger for et
forfatterregister der forfatterens offisielle navn kan bli fylt inn for
anonyme og pseudonyme verk. Paul Goldstein, <em class="citetitle">International
Det finnes ingen kur for AIDS, men det finnes legemidler som kan hemme
sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt
eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA øker
-AIDS-pasienter, som regelmessig tar en cocktail av disse legemidlene, sin
-levealder med ti til tjue år. For noen gjør legemidlene sykdommen nesten
+levealderen til AIDS-pasienter, som regelmessig tar en cocktail av disse
+legemidlene, med ti til tjue år. For noen gjør legemidlene sykdommen nesten
usynlig.
</p><p>
Disse legemidlene er dyre. Da de først ble introdusert i USA, kostet de
-mellom 10 000 og 15 000 dollar pr. person hvert år. I dag koster
-noen av dem 25 000 dollar pr. år. Med disse prisene har, selvfølgelig,
+mellom 10 000 og 15 000 dollar per person hvert år. I dag koster
+noen av dem 25 000 dollar per år. Med slike priser har, selvfølgelig,
ingen afrikansk stat råd til legemidlene for det store flertall av sine
-innbyggere: 15 000 dollar er tredve ganger brutto nasjonalprodukt
-pr. innbygger i Zimbabwe. Med slike priser er disse legemidlene fullstendig
-utilgjengelig.<a href="#ftn.idp10640624" class="footnote" name="idp10640624"><sup class="footnote">[193]</sup></a>
+innbyggere: 15 000 dollar er tredve ganger brutto nasjonalprodukt per
+innbygger i Zimbabwe. Med slike priser er disse legemidlene fullstendig
+utilgjengelig.<a href="#ftn.idp57791440" class="footnote" name="idp57791440"><sup class="footnote">[194]</sup></a>
</p><a class="indexterm" name="idxpatentsonpharmaceuticals"></a><a class="indexterm" name="idxpharmaceuticalpatents"></a><p>
klareste tilfelle der patenter er nødvendig. Patenter gir et farmasøytisk
firma en viss forsikring om at hvis det lykkes i å finne opp et nytt
medikament som kan behandle en sykdom, vil det kunne tjene tilbake
-investeringen, og mer til. Dette er et ekstremt verdifullt sosialt
+investeringen, og vel så det. Dette er sosialt sett et ekstremt verdifullt
incentiv. Jeg er den siste personen som vil argumentere for at loven skal
avskaffe dette, i det minste uten andre endringer.
</p><p>
Men det er én ting å støtte patenter, selv patenter på legemidler. Det er en
annen ting å avgjøre hvordan en best skal håndtere en krise. Og idet
afrikanske ledere begynte å erkjenne ødeleggelsen AIDS brakte, begynte de å
-se etter måter å importere HIV-medisiner til kostnader betydelig under
+se etter måter å importere HIV-medisiner til kostnader betydelig lavere enn
markedspris.
</p><a class="indexterm" name="idxinternationallaw2"></a><a class="indexterm" name="idxparallelimportation"></a><a class="indexterm" name="idxsouthafricarepublicofpharmaceuticalimportsby"></a><p>
I 1997 forsøkte Sør-Afrika seg på en tilnærming. Landet vedtok en lov som
tillot import av patenterte legemidler som hadde blitt produsert og solgt i
en annen nasjons marked med godkjenning fra patenteieren. For eksempel,
hvis legemidler var solgt i India, så kunne de bli importert inn til Afrika
-fra India. Dette kalles <span class="quote">«<span class="quote">parallellimport</span>»</span> og er generelt
-tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den
-europeiske union.<a href="#ftn.idp10656624" class="footnote" name="idp10656624"><sup class="footnote">[194]</sup></a>
-</p><a class="indexterm" name="idp
10659872"></a><p>
+fra India. Dette kalles <span class="quote">«<span class="quote">parallellimport</span>»</span> og er stort sett
+tillatt i internasjonal handelsbestemmelser, og spesifikt tillatt innad den
+europeiske unionen.<a href="#ftn.idp57807712" class="footnote" name="idp57807712"><sup class="footnote">[195]</sup></a>
+</p><a class="indexterm" name="idp
57810960"></a><p>
Men USA var imot lovendringen. Og de nøyde seg ikke med å være imot. Som
International Intellectual Property Association karakteriserte det,
<span class="quote">«<span class="quote">Myndighetene i USA presset Sør-Afrika … til å ikke tillate
-tvungen lisensiering eller parallellimport.</span>»</span><a href="#ftn.idp10105616" class="footnote" name="idp10105616"><sup class="footnote">[195]</sup></a> Gjennom kontoret til USAs handelsrepresentant
-(USTR), ba myndighetene Sør-Afrika om å endre loven — og for å legge
+tvungen lisensiering eller parallellimport.</span>»</span><a href="#ftn.idp57201856" class="footnote" name="idp57201856"><sup class="footnote">[196]</sup></a> Gjennom kontoret til USAs handelsrepresentant
+(USTR), ba myndighetene Sør-Afrika om å endre loven – og for å legge
press bak den forespørselen, listet USTR i 1998 opp Sør-Afrika som et land
som burde vurderes for handelsrestriksjoner. Samme år gikk mer enn førti
farmasiselskaper til retten for å utfordre myndighetenes handlinger. USA
fikk selskap av andre myndigheter fra EU. Deres påstand, og påstanden til
farmasiselskapene, var at Sør-Afrika brøt sine internasjonale forpliktelser
-ved å diskriminere mot en bestemt type patenter — farmasøytiske
+ved å diskriminere mot en bestemt type patenter – farmasøytiske
patenter. Kravet fra disse myndighetene, med USA i spissen, var at
Sør-Afrika skulle respektere disse patentene på samme måte som alle andre
patenter, uavhengig av eventuell effekt på behandlingen av AIDS i
-Sør-Afrika.<a href="#ftn.idp10664448" class="footnote" name="idp10664448"><sup class="footnote">[196]</sup></a>
-</p><a class="indexterm" name="idp
10667728"></a><p>
-Vi bør sette intervensjonen til USA i sammenheng. Det er ingen tvil om at
+Sør-Afrika.<a href="#ftn.idp57815536" class="footnote" name="idp57815536"><sup class="footnote">[197]</sup></a>
+</p><a class="indexterm" name="idp
57818912"></a><p>
+Vi bør sette USAs innblanding i sammenheng. Det er ingen tvil om at
patenter ikke er den viktigste årsaken til at afrikanere ikke har tilgang
til legemidler. Fattigdom og den totale mangel på effektivt helsevesen
betyr mer. Men uansett om patenter er den viktigste grunnen eller ikke, så
en kan ta kjemikalier som finnes i Afrika, og gjøre disse kjemikaliene om
til legemidler som kan redde 15 til 30 millioner liv.
</p><p>
-Intervensjonen fra USA ville heller ikke beskytte fortjenesten til
-legemiddelselskapene i USA — i hvert fall ikke betydelig. Det var jo
+Innblandingen fra USA ville heller ikke beskytte fortjenesten til
+legemiddelselskapene i USA – i hvert fall ikke betydelig. Det var jo
ikke slik at disse landene hadde mulighet til å kjøpe legemidlene til de
prisene som legemiddelselskapene forlangte. Igjen var afrikanerne for
fattige til å ha råd til disse legemidlene til de tilbudte prisene. Å
</p><p>
I stedet var argumentet til fordel for restriksjoner på denne flyten av
informasjon, som var nødvendig for å redde millioner av liv, et argument om
-eiendoms ukrenkelighet.<a href="#ftn.idp10673136" class="footnote" name="idp10673136"><sup class="footnote">[197]</sup></a> Det var på
+eiendoms ukrenkelighet.<a href="#ftn.idp57824320" class="footnote" name="idp57824320"><sup class="footnote">[198]</sup></a> Det var på
grunn av at <span class="quote">«<span class="quote">intellektuell eiendom</span>»</span> ville bli krenket, at disse
legemidlene ikke skulle strømme inn til Afrika. Det var prinsippet om
viktigheten av <span class="quote">«<span class="quote">intellektuell eiendom</span>»</span> som fikk disse
-myndighetsaktørene til å intervenere mot Sør-Afrikas mottiltak mot AIDS.
-</p><a class="indexterm" name="idp
10681040"></a><p>
+myndighetsaktørene til å innblande seg mot Sør-Afrikas mottiltak mot AIDS.
+</p><a class="indexterm" name="idp
57832032"></a><p>
La oss ta et skritt tilbake for et øyeblikk. En gang om tredve år vil våre
barn se tilbake på oss og spørre, hvordan kunne vi la dette skje? Hvordan
kunne vi tillate å gjennomføre en politikk hvis direkte kostnad var å få 15
dør for en slik abstraksjon?
</p><a class="indexterm" name="idxcorporationsinpharmaceuticalindustry"></a><p>
Noen skylder på farmasiselskapene. Det gjør ikke jeg. De er selskaper, og
-deres ledere er lovpålagt å tjene penger for selskapene. De presser på for
-en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er dette
-som gjør at de tjener mest penger. Og dette gjør kun at de tjener mest
-penger på grunn av en slags korrupsjon i vårt politiske system — en
-korrupsjon som farmasiselskapene helt klart ikke er ansvarlige for.
+deres ledere er lovpålagt å tjene penger for sitt selskapet. De presser på
+for en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er
+dette som gjør at de tjener mest penger. Og dette gjør kun at de tjener
+mest penger på grunn av en slags korrupsjon i vårt politiske system –
+en korrupsjon som farmasiselskapene helt klart ikke er ansvarlige for.
</p><p>
Denne korrupsjonen er våre egne politikeres manglende integritet. For
-legemiddelprodusentene ville elske — sier de selv, og jeg tror dem
-— å selge sine legemidler så billig som de kan til land i Afrika og
-andre steder. Det er utfordringer de må løse, å sikre at legemidlene ikke
-kommer tilbake til USA. Men dette er bare teknologiske utfordring. De kan
-bli overvunnet.
+legemiddelprodusentene ville elske – sier de selv, og jeg tror dem
+– å selge sine legemidler så billig som de kan til land i Afrika og
+andre steder. Det er utfordringer de må løse for å sikre at legemidlene ikke
+kommer tilbake til USA. Men disse er bare teknologiske utfordring, og slike
+kan bekjempes.
</p><a class="indexterm" name="idxintellectualpropertyrightsofdrugpatents"></a><p>
Et annet problem kan derimot ikke løses. Det er frykten for at en politiker
som skal vise seg, og kaller inn lederne hos legemiddelprodusentene til
høring i Senatet eller representantenes hus og spør, <span class="quote">«<span class="quote">hvordan har det
-seg at du kan selge HIV-medisinen i Afrika for bare 1 dollar pr. pille, mens
-samme pille koster en amerikansker 1 500 dollar?</span>»</span> Da det ikke
+seg at du kan selge HIV-medisinen i Afrika for bare 1 dollar per pille, mens
+samme pille koster en amerikaner 1 500 dollar?</span>»</span> Da det ikke
finnes et <span class="quote">«<span class="quote">kjapt svar</span>»</span> på det spørsmålet, ville effekten bli
regulering av priser i Amerika. Legemiddelprodusentene unngår dermed denne
spiralen ved å sikre at det første steget ikke tas. De forsterker idéen om
at eierrettigheter skal være ukrenkelige. De legger seg på en rasjonell
strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at
kanskje millioner dør. Og den rasjonelle strategien rammes dermed inn ved
-hjelp av dette ideal — ukrenkeligheten til en idé som kalles
+hjelp av dette ideal – ukrenkeligheten til en idé som kalles
<span class="quote">«<span class="quote">immaterielle rettigheter.</span>»</span>
-</p><a class="indexterm" name="idp
10692624"></a><a class="indexterm" name="idp10695088"></a><a class="indexterm" name="idp10696352"></a><a class="indexterm" name="idp10697664"></a><a class="indexterm" name="idp10699040"></a><a class="indexterm" name="idp10700288"></a><a class="indexterm" name="idp10701600"></a><p>
+</p><a class="indexterm" name="idp
57843568"></a><a class="indexterm" name="idp57846000"></a><a class="indexterm" name="idp57847264"></a><a class="indexterm" name="idp57848576"></a><a class="indexterm" name="idp57850016"></a><a class="indexterm" name="idp57851264"></a><a class="indexterm" name="idp57852576"></a><p>
Så når du blir konfrontert med ditt barns sunne fornuft, hva vil du si? Når
den sunne fornuften hos en generasjon endelig gjør opprør mot hva vi har
gjort, hvordan vil vi rettferdiggjøre det? Hva er argumentet?
markedsprisen. En fornuftig politikk kan en dermed si kunne være en
balansert politikk. I det meste av vår historie har både opphavsretts- og
patentpolitikken i denne forstand vært balansert.
-</p><a class="indexterm" name="idp
10705776"></a><a class="indexterm" name="idp10707120"></a><a class="indexterm" name="idp10708464"></a><p>
+</p><a class="indexterm" name="idp
57856752"></a><a class="indexterm" name="idp57858096"></a><a class="indexterm" name="idp57859440"></a><p>
Men vi som kultur har mistet denne følelsen for balanse. Vi har mistet det
kritiske blikket som hjelper oss til å se forskjellen mellom sannhet og
ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vår
-tradisjon, hersker nå i vår kultur — sært, og med konsekvenser mer
+tradisjon, hersker nå i vår kultur – sært, og med konsekvenser mer
alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk
enkeltavgjørelse vi som demokrati kan fatte.
-</p><a class="indexterm" name="idp
10709984"></a><p>
+</p><a class="indexterm" name="idp
57860960"></a><p>
<span class="strong"><strong>En enkel idé</strong></span> blender oss, og under dekke
av mørket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt
med. Så ukritisk aksepterer vi idéen om eierskap til idéer at vi ikke
-engang legger merke til hvor uhyrlig det er å nekte tilgang til idéer for et
-folk som dør uten dem. Så ukritisk aksepterer vi idéen om eiendom til
-kulturen at vi ikke engang stiller spørsmål ved når kontrollen over denne
-eiendommen fjerner vår evne, som folk, til å utvikle vår kultur
+engang legger merke til hvor forferdelig det er å nekte tilgang til idéer
+for et folk som dør uten dem. Så ukritisk aksepterer vi idéen om eiendom
+til kulturen at vi ikke engang stiller spørsmål ved når kontrollen over
+denne eiendommen fjerner vår evne, som folk, til å utvikle vår kultur
demokratisk. Blindhet blir vår sunne fornuft, og utfordringen for enhver
som vil gjenvinne retten til å dyrke vår kultur er å finne en måte å få
denne sunne fornuften til å åpne øynene sine.
Hittil sover sunn fornuft. Det er intet opprør. Sunn fornuft ser ennå ikke
hva det er å gjøre opprør mot. Ekstremismen som nå dominerer denne
debatten, resonnerer med idéer som virker naturlige, og resonansen er
-forsterket av våre moderne RCA-ene. De fører en frenetisk krig for å
-bekjempe <span class="quote">«<span class="quote">piratvirksomhet</span>»</span>, og knuser kreativitetskultur. De
-forsvarer idéen om <span class="quote">«<span class="quote">kreativt eierskap,</span>»</span> mens de endrer ekte
-skapere til moderne leilendinger. De blir fornærmet av idéen om at
-rettigheter skulle være balanserte, selv om hver av hovedaktørene i denne
-innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet
-rår. Men i en by som Washington blir ikke hykleriet en gang lagt merke
-til. Mektige lobbyister, kompliserte problemer, og MTV-oppmerksomhetsspenn
-gir en <span class="quote">«<span class="quote">perfekt storm</span>»</span> for fri kultur.
-</p><a class="indexterm" name="idp10718416"></a><a class="indexterm" name="idp10719232"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp10721984"></a><a class="indexterm" name="idp10723088"></a><a class="indexterm" name="idp10723920"></a><a class="indexterm" name="idp10724768"></a><a class="indexterm" name="idp10725616"></a><a class="indexterm" name="idp10726736"></a><a class="indexterm" name="idp10727568"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp10730096"></a><a class="indexterm" name="idp10730912"></a><a class="indexterm" name="idp10731744"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
+forsterket av våre moderne RCA-er. De fører en panisk krig for å bekjempe
+<span class="quote">«<span class="quote">piratvirksomhet</span>»</span>, og knuser en kultur som tilrettelegger for
+kreativitet i kryssilden. De forsvarer idéen om <span class="quote">«<span class="quote">kreativt
+eierskap,</span>»</span> mens de endrer ekte skapere til moderne leilendinger. De
+blir fornærmet av idéen om at rettigheter bør være balanserte, selv om hver
+av hovedaktørene i denne innholdskrigen selv hadde fordeler av et mer
+balansert ideal. Hykleriet rår. Men i en by som Washington blir ikke
+hykleriet en gang lagt merke til. Mektige lobbyvirksomheter, kompliserte
+problemer, og MTV-oppmerksomhetsspenn gir en <span class="quote">«<span class="quote">perfekt storm</span>»</span>
+for fri kultur.
+</p><a class="indexterm" name="idp57869472"></a><a class="indexterm" name="idp57870288"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp57873040"></a><a class="indexterm" name="idp57874144"></a><a class="indexterm" name="idp57874976"></a><a class="indexterm" name="idp57875824"></a><a class="indexterm" name="idp57876672"></a><a class="indexterm" name="idp57877792"></a><a class="indexterm" name="idp57878624"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp57881152"></a><a class="indexterm" name="idp57881968"></a><a class="indexterm" name="idp57882800"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
<span class="strong"><strong>I august 2003</strong></span> brøt en kamp ut i USA om en
avgjørelse fra Verdens opphavsrettsorganisasjon (WIPO) om å avlyse et
-møte.<a href="#ftn.idp10735520" class="footnote" name="idp10735520"><sup class="footnote">[198]</sup></a> På forespørsel fra en lang rekke
+møte.<a href="#ftn.idp57886624" class="footnote" name="idp57886624"><sup class="footnote">[199]</sup></a> På forespørsel fra en lang rekke
interessenter hadde WIPO bestemt å avholde et møte for å diskutere
<span class="quote">«<span class="quote">åpne og samarbeidende prosjekter for å skape goder for
-felleskapet.</span>»</span> Disse prosjektene hadde lyktes i å produsere goder for
-fellesskapet uten å basere seg eksklusivt på bruken av proprietære
+fellesskapet.</span>»</span> Disse prosjektene hadde lyktes i å produsere goder
+for fellesskapet uten å basere seg eksklusivt på bruken av proprietære
immaterielle rettigheter. Eksempler inkluderer Internett og verdensveven,
-begge utviklet på grunnlag av protokoller i allemannseie. Det hadde med en
-begynnende trend for å støtte åpne akademiske tidsskrifter, og inkluderte
-Public Library of Science-prosjektet som jeg beskriver i kapittel <a class="xref" href="#c-afterword" title="Etterord"></a>.Det inkluderte et
-prosjekt for å utvikle enkeltnukleotidforskjeller (SNPs), som er antatt å få
-stor betydning i biomedisinsk forskning. (Dette ikke-kommersielle
-prosjektet besto av et konsortium av Wellcome Trust og farmasøytiske og
-teknologiske selskaper, inkludert Amersham Biosciences, AstraZeneca,
-Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline,
-IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt
-posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig på 1980-tallet. Og
-det inkluderte <span class="quote">«<span class="quote">åpen kildekode og fri programvare.</span>»</span>
-</p><a class="indexterm" name="idp10744992"></a><p>
+begge utviklet på grunnlag av protokoller i allemannseie. Agendaen
+inkluderte den begynnende trend for å støtte åpne akademiske tidsskrifter
+blant annet Public Library of Science-prosjektet som jeg beskriver i
+kapittel <a class="xref" href="#c-afterword" title="Etterord"></a>.Den
+inkluderte et prosjekt for å utvikle enkeltnukleotidforskjeller (SNPs), som
+er antatt å få stor betydning i biomedisinsk forskning. (Dette
+ikke-kommersielle prosjektet besto av et konsortium av Wellcome Trust og
+farmasøytiske og teknologiske selskaper, inkludert Amersham Biosciences,
+AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche,
+Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, og Searle.) Den
+inkluderte Globalt posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig
+på 1980-tallet. Og den inkluderte <span class="quote">«<span class="quote">åpen kildekode og fri
+programvare.</span>»</span>
+</p><a class="indexterm" name="idp57896096"></a><p>
Formålet med møtet var å vurdere denne rekken av prosjekter fra et felles
perspektiv: at ingen av disse prosjektene hadde som grunnlag immateriell
ekstremisme. I stedet, hos alle disse, ble immaterielle rettigheter
begrensninger på hvordan proprietære krav kan bli brukt.
</p><a class="indexterm" name="idxlessiglawrenceininternationaldebateonintellectualproperty"></a><p>
Dermed var, i forhold til perspektivet i denne boken, denne konferansen
-ideell.<a href="#ftn.idp10749696" class="footnote" name="idp10749696"><sup class="footnote">[199]</sup></a> Prosjektene innenfor temaet var
+ideell.<a href="#ftn.idp57900800" class="footnote" name="idp57900800"><sup class="footnote">[200]</sup></a> Prosjektene innenfor temaet var
både kommersielle og ikke-kommersielle verk. De involverte i hovedsak
vitenskapen, men fra mange perspektiver. Og WIPO var et ideelt sted for
denne diskusjonen, siden WIPO var den fremstående internasjonale aktør som
så hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed
virket møtet om <span class="quote">«<span class="quote">åpne og samarbeidende prosjekter for å skape
fellesgoder</span>»</span> å passe perfekt for WIPOs agenda.
-</p><a class="indexterm" name="idp
10758128"></a><a class="indexterm" name="idp10759552"></a><a class="indexterm" name="idp10760928"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp10763920"></a><a class="indexterm" name="idxmicrosoftonfreesoftware"></a><p>
+</p><a class="indexterm" name="idp
57909184"></a><a class="indexterm" name="idp57910608"></a><a class="indexterm" name="idp57911984"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp57914992"></a><a class="indexterm" name="idxmicrosoftonfreesoftware"></a><p>
Men det er ett prosjekt i listen som er svært kontroversielt, i hvert fall
-blant lobbyister. Dette prosjektet er <span class="quote">«<span class="quote">åpen kildekode og fri
+blant lobbyistene. Dette prosjektet er <span class="quote">«<span class="quote">åpen kildekode og fri
programvare.</span>»</span> Microsoft spesielt er skeptisk til diskusjon om
emnet. Fra deres perspektiv, ville en konferanse for å diskutere åpen
kildekode og fri programvare være som en konferanse for å diskutere Apples
utforske krav om at de skal bruke åpen kildekode eller fri programvare, i
stedet for <span class="quote">«<span class="quote">proprietær programvare,</span>»</span> til sine egne interne
behov.
-</p><a class="indexterm" name="idp
10768896"></a><a class="indexterm" name="idp10770000"></a><a class="indexterm" name="idp10770832"></a><a class="indexterm" name="idp10771648"></a><p>
+</p><a class="indexterm" name="idp
57920032"></a><a class="indexterm" name="idp57921136"></a><a class="indexterm" name="idp57921968"></a><a class="indexterm" name="idp57922784"></a><p>
Jeg mener ikke å gå inn i den debatten her. Det er viktig kun for å gjøre
det klart at skillet ikke er mellom kommersiell og ikke-kommersiell
programvare. Det er mange viktige selskaper som er fundamentalt avhengig av
fri programvare, der IBM er den mest fremtredende. IBM har i stadig større
grad skiftet sitt fokus til GNU/Linux-operativsystemet, den mest berømte
-biten av <span class="quote">«<span class="quote">fri programvare</span>»</span> — og IBM er helt klart en
+biten av <span class="quote">«<span class="quote">fri programvare</span>»</span> – og IBM er helt klart en
kommersiell aktør. Dermed er det å støtte <span class="quote">«<span class="quote">fri programvare</span>»</span>
ikke å motsette seg kommersielle aktører. Det er i stedet å støtte en måte
-å drive programvareutvikling som er forskjellig fra Microsofts.<a href="#ftn.idp10774672" class="footnote" name="idp10774672"><sup class="footnote">[200]</sup></a>
-</p><a class="indexterm" name="idp
10780688"></a><a class="indexterm" name="idp10782176"></a><a class="indexterm" name="idp10783008"></a><p>
+å drive programvareutvikling som er forskjellig fra Microsofts.<a href="#ftn.idp57925808" class="footnote" name="idp57925808"><sup class="footnote">[201]</sup></a>
+</p><a class="indexterm" name="idp
57931824"></a><a class="indexterm" name="idp57933312"></a><a class="indexterm" name="idp57934144"></a><p>
Mer viktig for vårt formål, er at å støtte <span class="quote">«<span class="quote">åpen kildekode og fri
programvare</span>»</span>, ikke er å motsette seg opphavsrett. <span class="quote">«<span class="quote">Åpen
programvare. Hvis opphavsretten ikke råder over programvare, så kunne ikke
fri programvare pålegge slike krav på de som tar i bruk programvaren. Den
er dermed like avhengig av åndsverksloven som Microsoft.
-</p><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof2"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo2"></a><a class="indexterm" name="idxkrimjonathan"></a><a class="indexterm" name="idp
10792624"></a><p>
+</p><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof2"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo2"></a><a class="indexterm" name="idxkrimjonathan"></a><a class="indexterm" name="idp
57943536"></a><p>
Det er dermed forståelig at Microsoft, som utviklere av proprietær
programvare, gikk imot et slikt WIPO-møte, og like fullt forståelig at de
bruker sine lobbyister til å få USAs myndigheter til å gå imot møtet. Og
ganske riktig, det er akkurat dette som ifølge rapporter hadde skjedd. I
følge Jonathan Krim i <em class="citetitle">Washington Post</em>, lyktes
Microsofts lobbyister i å få USAs myndigheter til å legge ned veto mot et
-slikt møte.<a href="#ftn.idp10795296" class="footnote" name="idp10795296"><sup class="footnote">[201]</sup></a> Og uten støtte fra USA ble
+slikt møte.<a href="#ftn.idp57946208" class="footnote" name="idp57946208"><sup class="footnote">[202]</sup></a> Og uten støtte fra USA ble
møtet avlyst.
</p><p>
Jeg klandrer ikke Microsoft for å gjøre det de kan for å fremme sine egne
interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er
-åpenbart i samsvar med loven. Det er ikke noe overraskende her med deres
-lobbyvirksomhet, og ikke veldig overraskende at den mektigste
+åpenbart i samsvar med loven. Deres lobbyvirksomhet er ikke overraskende i
+dette tilfellet, og der er ikke ikke veldig overraskende at den mektigste
programvareprodusenten i USA har lyktes med sin lobbyvirksomhet.
-</p><a class="indexterm" name="idp
10798640"></a><a class="indexterm" name="idp10800032"></a><p>
+</p><a class="indexterm" name="idp
57949552"></a><a class="indexterm" name="idp57950880"></a><a class="indexterm" name="idxpatentandtrademarkofficeus"></a><p>
Det som var overraskende var USAs regjerings begrunnelse for å være imot
møtet. Igjen, sitert av Krim, forklarte Lois Boland, direktør for
internasjonale forbindelser ved USAs patent- og varemerkekontor, at
<span class="quote">«<span class="quote">Å holde et møte som har som formål å fraskrive seg eller frafalle
slike rettigheter synes for oss å være i strid med formålene til
WIPO.</span>»</span>
-</p><a class="indexterm" name="idp
10802928"></a><p>
+</p><a class="indexterm" name="idp
57955296"></a><p>
Disse utsagnene er forbløffende på flere nivåer.
-</p><a class="indexterm" name="idp
10804640"></a><p>
+</p><a class="indexterm" name="idp
57957072"></a><p>
For det første er de ganske enkelt ikke riktige. Som jeg beskrev, er det
meste av åpen kildekode og fri programvare fundamentalt avhengig av den
immaterielle retten kalt <span class="quote">«<span class="quote">opphavsrett.</span>»</span> Uten den vil
begrensningene definert av disse lisensene ikke fungere. Dermed er det å si
at de <span class="quote">«<span class="quote">går imot</span>»</span> formålet om å fremme immaterielle rettigheter
-å avsløre en ekstraordinær mangel på forståelse — den type feil som er
+å avsløre en ekstraordinær mangel på forståelse – den type feil som er
tilgivelig hos en førsteårs jusstudent, men pinlig fra en høyt plassert
statstjenestemann som håndterer utfordringer rundt immaterielle rettigheter.
-</p><a class="indexterm" name="idp
10773792"></a><a class="indexterm" name="idp10809712"></a><a class="indexterm" name="idp10810832"></a><a class="indexterm" name="idp10811648"></a><p>
+</p><a class="indexterm" name="idp
57924928"></a><a class="indexterm" name="idp57962144"></a><a class="indexterm" name="idp57963264"></a><a class="indexterm" name="idp57964080"></a><p>
For det andre, hvem har noen gang hevdet at WIPOs eksklusive mål var å
<span class="quote">«<span class="quote">fremme</span>»</span> immaterielle rettigheter maksimalt? Som jeg fikk
kjeft for på den forberedende konferansen til WSIS, skal WIPO vurdere, ikke
basert på legemidler med patenter som er utløpt) er i strid med WIPOs
oppdrag? Svekker allemannseie immaterielle rettigheter? Ville det vært
bedre om Internetts protokoller hadde vært patentert?
-</p><a class="indexterm" name="idp
10814448"></a><p>
+</p><a class="indexterm" name="idp
57966880"></a><p>
For det tredje, selv om en tror at formålet med WIPO var å maksimere
immaterielle rettigheter, så innehas immaterielle rettigheter, i vår
tradisjon, av individer og selskaper. De får bestemme hva som skal gjøres
heller tvert i mot, akkurat hva eiendomssystemet er ment å oppnå, at
individer har retten til å bestemme hva de vil gjøre med
<span class="emphasis"><em>sin</em></span> eiendom.
-</p><a class="indexterm" name="idxboland"></a><p>
+</p><a class="indexterm" name="idxboland
lois"></a><p>
Når Fru Boland sier at det er noe galt med et møte <span class="quote">«<span class="quote">som har som sitt
formål å fraskrive eller frafalle slike rettigheter,</span>»</span> så sier hun at
folkene og eiendommene som de kontrollerte til det frie markedet.
Føydalismen var avhengig av maksimal kontroll og konsentrering. Det sloss
mot enhver frihet som kunne forstyrre denne kontrollen.
-</p><a class="indexterm" name="idp
10828224"></a><a class="indexterm" name="idp10829040"></a><p>
+</p><a class="indexterm" name="idp
57980544"></a><a class="indexterm" name="idp57981360"></a><p>
Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget
-vi nå gjør om immaterielle rettigheter.<a href="#ftn.idp10830368" class="footnote" name="idp10830368"><sup class="footnote">[202]</sup></a>
+vi nå gjør om immaterielle rettigheter.<a href="#ftn.idp57982688" class="footnote" name="idp57982688"><sup class="footnote">[203]</sup></a>
Vi kommer til å få et informasjonssamfunn. Så mye er sikkert. Vårt eneste
valg nå er hvorvidt dette informasjonssamfunnet skal være
<span class="emphasis"><em>fritt</em></span> eller <span class="emphasis"><em>føydalt</em></span>. Trenden er
mot det føydale.
-</p><a class="indexterm" name="idp
10833808"></a><a class="indexterm" name="idp10835120"></a><p>
-Da denne bataljen brøt ut, blogget jeg om dette. En heftig debatt brøt ut i
+</p><a class="indexterm" name="idp
57986128"></a><a class="indexterm" name="idp57987376"></a><p>
+Da denne kampen brøt ut, blogget jeg om dette. En heftig debatt brøt ut i
kommentarfeltet. Fru Boland hadde en rekke støttespillere som forsøkte å
vise hvorfor hennes kommentarer ga mening. Men det var spesielt en
kommentar som gjorde meg trist. En anonym kommentator skrev:
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
10837744"></a><a class="indexterm" name="idp10839104"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
57990000"></a><a class="indexterm" name="idp57991376"></a><p>
George, du misforstår Lessig: Han snakker bare om verden slik den burde være
(<span class="quote">«<span class="quote">målet til WIPO, og målet til enhver regjering, bør være å fremme den
ingen illusjoner når det gjelder ekstremismen hos våre myndigheter, uansett
om de er republikanere eller demokrater. Min eneste tilsynelatende illusjon
er hvorvidt våre myndigheter bør snakke sant eller ikke.)
-</p><a class="indexterm" name="idp
10843952"></a><p>
+</p><a class="indexterm" name="idp
57996224"></a><p>
Det var derimot åpenbart at den som postet meldingen ikke støttet idéen. I
stedet latterliggjorde forfatteren selve idéen om at i den virkelig verden
skulle <span class="quote">«<span class="quote">målet</span>»</span> til myndighetene være <span class="quote">«<span class="quote">å fremme den
sannheten. Det kan være galskap å tro at myndighetenes politikk skal gjøre
mer enn å tjene de mektigstes interesser. Det kan være galskap å argumentere
for å bevare en tradisjon som har vært en del av vår tradisjon for
-mesteparten av vår historie — fri kultur.
-</p><p>
+mesteparten av vår historie – fri kultur.
+</p><a class="indexterm" name="idp58003536"></a><p>
Hvis dette er galskap, så la det bli flere gærninger. Snart.
-</p><a class="indexterm" name="idp
10851936"></a><a class="indexterm" name="idp10852720"></a><a class="indexterm" name="idp10853536"></a><p>
+</p><a class="indexterm" name="idp
58005552"></a><a class="indexterm" name="idp58006368"></a><a class="indexterm" name="idp58007184"></a><p>
<span class="strong"><strong>Det finnes øyeblikk</strong></span> av håp i denne
kampen. Og øyeblikk som overrasker. Da FCC vurderte mindre strenge
eierskapsregler, som ville ytterligere konsentrere medieeierskap, dannet det
Faren med mediekonsentrering kommer ikke fra selve konsentreringen, men
kommer fra føydalismen som denne konsentreringen fører til når den kobles
til endringer i opphavsretten. Det er ikke kun det at noen mektige selskaper
-styrer en stadig voksende andel av mediene. Det er at denne konsentreringen
-kan påkalle en like oppsvulmet rekke rettigheter — eiendomsrettigheter
-i en historisk ekstrem form— som gjør størrelsen ille.
+styrer en stadig voksende andel av mediene. Det er det at denne
+konsentreringen kan påkalle en like oppsvulmet rekke rettigheter –
+eiendomsrettigheter i en historisk ekstrem form – som gjør størrelsen
+ille.
</p><p>
Det er derfor betydningsfullt at så mange vil kjempe for å kreve konkurranse
-og økt mangfold. Likevel, hvis kampanjen blir forstått til å kun gjelde
+og økt mangfold. Likevel, hvis kampanjen oppfattes som om den kun omhandler
størrelse, så er ikke det veldig overraskende. Vi amerikanere har en lang
historie med å slåss mot <span class="quote">«<span class="quote">stort,</span>»</span> klokt eller ikke. At vi kan
-være motivert til å slåss mot <span class="quote">«<span class="quote">store</span>»</span>, er igjen ikke noe nytt.
+være motivert til å slåss mot <span class="quote">«<span class="quote">det store</span>»</span>, er igjen ikke noe
+nytt.
</p><p>
Det ville vært noe nytt, og noe veldig viktig, hvis like mange kan være med
på en kampanje for å bekjempe økende ekstremisme bygget inn i idéen om
<span class="quote">«<span class="quote">intellektuell eiendom.</span>»</span> Ikke fordi balanse er fremmed for vår
tradisjon. Jeg argumenterer for at balanse er vår tradisjon. Men fordi
evnen til å tenke kritisk på omfanget av alt som kalles
-<span class="quote">«<span class="quote">eiendom</span>»</span> ikke er lenger er godt trent i denne tradisjonen.
+<span class="quote">«<span class="quote">eiendom</span>»</span> ikke lenger er godt trent i denne tradisjonen.
</p><p>
-Hvis vi var Akilles, så ville dette være vår hæl. Dette ville være stedet
+Hvis vi var Akilles, så ville dette vært vår hæl. Dette ville være stedet
for våre tragedie.
-</p><a class="indexterm" name="idp
10864400"></a><p>
+</p><a class="indexterm" name="idp
58018016"></a><p>
<span class="strong"><strong>Mens jeg skriver</strong></span> disse avsluttende
ordene, er nyhetene fylt med historier om at RIAA saksøker nesten tre hundre
-individer.<a href="#ftn.idp10866384" class="footnote" name="idp10866384"><sup class="footnote">[203]</sup></a> Eminem har nettopp blitt
-saksøkt for å ha <span class="quote">«<span class="quote">samplet</span>»</span> noen andres musikk.<a href="#ftn.idp10873744" class="footnote" name="idp10873744"><sup class="footnote">[204]</sup></a> Historien om hvordan Bob Dylan har
+individer.<a href="#ftn.idp58020000" class="footnote" name="idp58020000"><sup class="footnote">[204]</sup></a> Eminem har nettopp blitt
+saksøkt for å ha <span class="quote">«<span class="quote">samplet</span>»</span> noen andres musikk.<a href="#ftn.idp58027360" class="footnote" name="idp58027360"><sup class="footnote">[205]</sup></a> Historien om hvordan Bob Dylan har
<span class="quote">«<span class="quote">stjålet</span>»</span> fra en japansk forfatter har nettopp gått verden
-over.<a href="#ftn.idp10876416" class="footnote" name="idp10876416"><sup class="footnote">[205]</sup></a> En på innsiden i Hollywood
-— som insisterer på at han må forbli anonym — rapporterer
+over.<a href="#ftn.idp58030032" class="footnote" name="idp58030032"><sup class="footnote">[206]</sup></a> En på innsiden i Hollywood
+– som insisterer på at han må forbli anonym – rapporterer
<span class="quote">«<span class="quote">en utrolig samtale med disse studiofolkene. De har fantastisk
[gammelt] innhold som de ville elske å bruke, men det kan de ikke på grunn
av at de først må klarere rettighetene. De har hauger med ungdommer som
snakker om å gi datavirus politimyndighet for å ta ned datamaskiner som
antas å bryte loven. Universiteter truer med å utvise ungdommer som bruker
en datamaskin for å dele innhold.
-</p><a class="indexterm" name="idp
10880928"></a><a class="indexterm" name="idp10881680"></a><a class="indexterm" name="idp10882496"></a><a class="indexterm" name="idp10883280"></a><a class="indexterm" name="idp10884096"></a><a class="indexterm" name="idp10884912"></a><a class="indexterm" name="idp10885728"></a><p>
+</p><a class="indexterm" name="idp
58034544"></a><a class="indexterm" name="idp58035296"></a><a class="indexterm" name="idp58036112"></a><a class="indexterm" name="idp58036896"></a><a class="indexterm" name="idp58037712"></a><a class="indexterm" name="idp58038528"></a><a class="indexterm" name="idp58039344"></a><p>
Imens, på andre siden av Atlanteren, har BBC nettopp annonsert at de vil
-bygge opp et <span class="quote">«<span class="quote">kreativt arkiv</span>»</span> som britiske borgere kan laste
-ned BBC-innhold fra, og rippe, mikse og brenne det ut.<a href="#ftn.idp10888032" class="footnote" name="idp10888032"><sup class="footnote">[206]</sup></a> Og i Brasil har kulturministeren, Gilberto Gil, i
-seg selv en folkehelt i brasiliansk musikk, slått seg sammen med Creative
-Commons for å gi ut innhold og frie lisenser i dette latinamerikanske
-landet.<a href="#ftn.idp10890448" class="footnote" name="idp10890448"><sup class="footnote">[207]</sup></a> Jeg har fortalt en mørk
-historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet.
-Sakte begynner noen å forstå at denne friheten trenger ikke å bety anarki.
-Vi kan få med oss fri kultur inn i det tjueførste århundre, uten at artister
-taper, og uten at potensialet for digital teknologi blir knust. Det vil
-kreve omtanke, og viktigere, det vil kreve at noen omformer RCA-ene av i dag
-til Causbyere.
+bygge opp et <span class="quote">«<span class="quote">kreativt arkiv</span>»</span> der britiske borgere kan laste
+ned BBC-innhold, og rippe, mikse og brenne det.<a href="#ftn.idp58041648" class="footnote" name="idp58041648"><sup class="footnote">[207]</sup></a> Og i Brasil har kulturministeren, Gilberto Gil, i seg selv en
+folkehelt i brasiliansk musikk, slått seg sammen med Creative Commons for å
+gi ut innhold og frie lisenser i dette latinamerikanske landet.<a href="#ftn.idp58044064" class="footnote" name="idp58044064"><sup class="footnote">[208]</sup></a> Jeg har fortalt en mørk historie. Sannheten er
+mer blandet. En teknologi har gitt oss mer frihet. Sakte begynner noen å
+forstå at denne friheten trenger ikke å bety anarki. Vi kan få med oss fri
+kultur inn i det tjueførste århundre, uten at artister taper, og uten at
+potensialet for digital teknologi blir knust. Det vil kreve omtanke, og
+viktigere, det vil kreve at noen omformer RCA-ene av i dag til Causbyere.
</p><p>
Sunn fornuft må gjøre opprør. Den må reagere for å frigjøre kulturen. Og
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp10640624" class="footnote"><p><a href="#idp10640624" class="para"><sup class="para">[193] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp57791440" class="footnote"><p><a href="#idp57791440" class="para"><sup class="para">[194] </sup></a>
Commission on Intellectual Property Rights, <span class="quote">«<span class="quote">Final Report: Integrating
Intellectual Property Rights and Development Policy</span>»</span> (London, 2002),
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#55</a>. Ifølge en pressemelding fra verdens helseorganisasjon sendt ut
-9. juli 2002, mottar kun 320 000 av de 6 millioner som trenger legemidler i
-utviklingsland dem de trenger — og halvparten av dem er i Brasil.
-</p></div><div id="ftn.idp10656624" class="footnote"><p><a href="#idp10656624" class="para"><sup class="para">[194] </sup></a>
+9. juli 2002, mottar kun 230 000 av de 6 millioner som trenger legemidler i
+utviklingsland pengene de trenger – og halvparten av dem er i Brasil.
+</p></div><div id="ftn.idp57807712" class="footnote"><p><a href="#idp57807712" class="para"><sup class="para">[195] </sup></a>
Se Peter Drahos og John Braithwaite, Information Feudalism: <em class="citetitle">Who
Owns the Knowledge Economy?</em> (New York: The New Press, 2003),
-37. <a class="indexterm" name="idp10657696"></a> <a class="indexterm" name="idp10658800"></a>
-</p></div><div id="ftn.idp10105616" class="footnote"><p><a href="#idp10105616" class="para"><sup class="para">[195] </sup></a>
+37. <a class="indexterm" name="idp57808784"></a> <a class="indexterm" name="idp57809888"></a>
+</p></div><div id="ftn.idp57201856" class="footnote"><p><a href="#idp57201856" class="para"><sup class="para">[196] </sup></a>
International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
-Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en
-rapport forberedt for Verdens opphavsrettsorganisasjon</em>
+Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a
+Report Prepared for the World Intellectual Property Organization</em>
(Washington, D.C., 2000), 14, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #56</a>. For en førstehånds
-beskrivelse av kampen om Sør-Afrika, se Høring foran underkomite for
+beskrivelse av kampen om Sør-Afrika, se Høring foran underkomiteen for
kriminalomsorg, medikamentregelverk og menneskelige ressurser, House
Committee on Government Reform, H. Rep., 1. økt., Ser. No. 106-126 (22. juli
1999), 150–57 (uttalelse fra James Love).
-</p></div><div id="ftn.idp10664448" class="footnote"><p><a href="#idp10664448" class="para"><sup class="para">[196] </sup></a>
+</p></div><div id="ftn.idp57815536" class="footnote"><p><a href="#idp57815536" class="para"><sup class="para">[197] </sup></a>
International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
-Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en
-rapport forberedt for Verdens opphavsrettsorganisasjon</em>
-(Washington, D.C., 2000), 15. </p></div><div id="ftn.idp10673136" class="footnote"><p><a href="#idp10673136" class="para"><sup class="para">[197] </sup></a>
+Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a
+Report Prepared for the World Intellectual Property Organization</em>
+(Washington, D.C., 2000), 15. </p></div><div id="ftn.idp57824320" class="footnote"><p><a href="#idp57824320" class="para"><sup class="para">[198] </sup></a>
Intellectual Property Rights and Compassion, a Synopsis,</span>»</span>
<em class="citetitle">Widener Law Symposium Journal</em> (våren 2001): 175.
-</p></div><div id="ftn.idp10735520" class="footnote"><p><a href="#idp10735520" class="para"><sup class="para">[198] </sup></a>
+</p></div><div id="ftn.idp57886624" class="footnote"><p><a href="#idp57886624" class="para"><sup class="para">[199] </sup></a>
Jonathan Krim, <span class="quote">«<span class="quote">The Quiet War over Open-Source,</span>»</span>
<em class="citetitle">Washington Post</em>, august 2003, E1, tilgjengelig fra
#60</a>; William New, <span class="quote">«<span class="quote">U.S. Official Opposes `Open Source' Talks
at WIPO,</span>»</span> <em class="citetitle">National Journal's Technology Daily</em>,
19. august 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #61</a>.
-</p></div><div id="ftn.idp10749696" class="footnote"><p><a href="#idp10749696" class="para"><sup class="para">[199] </sup></a>
+</p></div><div id="ftn.idp57900800" class="footnote"><p><a href="#idp57900800" class="para"><sup class="para">[200] </sup></a>
Jeg bør nevne at jeg var en av folkene som ba WIPO om dette møtet.
-</p></div><div id="ftn.idp10774672" class="footnote"><p><a href="#idp10774672" class="para"><sup class="para">[200] </sup></a>
+</p></div><div id="ftn.idp57925808" class="footnote"><p><a href="#idp57925808" class="para"><sup class="para">[201] </sup></a>
Microsofts posisjon om åpen kildekode og fri programvare er mer
Microsoft senior vice president, <em class="citetitle">The Commercial Software
Model</em>, diskusjon ved New York University Stern School of
Business (3. mai 2001), tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #63</a>.
-</p></div><div id="ftn.idp10795296" class="footnote"><p><a href="#idp10795296" class="para"><sup class="para">[201] </sup></a>
+</p></div><div id="ftn.idp57946208" class="footnote"><p><a href="#idp57946208" class="para"><sup class="para">[202] </sup></a>
Krim, <span class="quote">«<span class="quote">The Quiet War over Open-Source,</span>»</span> tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #64</a>.
-</p></div><div id="ftn.idp10830368" class="footnote"><p><a href="#idp10830368" class="para"><sup class="para">[202] </sup></a>
+</p></div><div id="ftn.idp57982688" class="footnote"><p><a href="#idp57982688" class="para"><sup class="para">[203] </sup></a>
Se Drahos with Braithwaite, <em class="citetitle">Information Feudalism</em>,
-210–20. <a class="indexterm" name="idp10664288"></a>
-</p></div><div id="ftn.idp10866384" class="footnote"><p><a href="#idp10866384" class="para"><sup class="para">[203] </sup></a>
+210–20. <a class="indexterm" name="idp57960672"></a>
+</p></div><div id="ftn.idp58020000" class="footnote"><p><a href="#idp58020000" class="para"><sup class="para">[204] </sup></a>
John Borland, <span class="quote">«<span class="quote">RIAA Sues 261 File Swappers,</span>»</span> CNET News.com,
<em class="citetitle">Washington Post</em>, 10. september 2003, E1; Katie Dean,
<span class="quote">«<span class="quote">Schoolgirl Settles with RIAA,</span>»</span> <em class="citetitle">Wired
News</em>, 10. september 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #67</a>.
-</p></div><div id="ftn.idp10873744" class="footnote"><p><a href="#idp10873744" class="para"><sup class="para">[204] </sup></a>
+</p></div><div id="ftn.idp58027360" class="footnote"><p><a href="#idp58027360" class="para"><sup class="para">[205] </sup></a>
Jon Wiederhorn, <span class="quote">«<span class="quote">Eminem Gets Sued … by a Little Old
Lady,</span>»</span> mtv.com, 17. september 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #68</a>.
-</p></div><div id="ftn.idp10876416" class="footnote"><p><a href="#idp10876416" class="para"><sup class="para">[205] </sup></a>
+</p></div><div id="ftn.idp58030032" class="footnote"><p><a href="#idp58030032" class="para"><sup class="para">[206] </sup></a>
Kenji Hall, Associated Press, <span class="quote">«<span class="quote">Japanese Book May Be Inspiration for
Dylan Songs,</span>»</span> Kansascity.com, 9. juli 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #69</a>.
-</p></div><div id="ftn.idp10888032" class="footnote"><p><a href="#idp10888032" class="para"><sup class="para">[206] </sup></a>
+</p></div><div id="ftn.idp58041648" class="footnote"><p><a href="#idp58041648" class="para"><sup class="para">[207] </sup></a>
<span class="quote">«<span class="quote">BBC Plans to Open Up Its Archive to the Public,</span>»</span> pressemelding
fra BBC, 24. august 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #70</a>.
-</p></div><div id="ftn.idp10890448" class="footnote"><p><a href="#idp10890448" class="para"><sup class="para">[207] </sup></a>
+</p></div><div id="ftn.idp58044064" class="footnote"><p><a href="#idp58044064" class="para"><sup class="para">[208] </sup></a>
<span class="quote">«<span class="quote">Creative Commons and Brazil,</span>»</span> Creative Commons Weblog,
6. august 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #71</a>.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-afterword"></a>Etterord</h1></div></div></div><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-afterword"></a>Etterord</h1></div></div></div><a class="indexterm" name="idxcopyrightvoluntaryreformeffortson"></a><p>
</p><p>
Det betyr at denne bevegelsen må starte i gatene. Det må rekrutteres et
signifikant antall foreldre, lærere, bibliotekarer, skapere, forfattere,
-musikere, filmskapere, forskere — som alle må fortelle denne historien
+musikere, filmskapere, forskere – som alle må fortelle denne historien
med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er
så viktig.
-</p><p>
+</p><a class="indexterm" name="idp58054176"></a><a class="indexterm" name="idp58055744"></a><p>
Når denne bevegelsen har hatt sin effekt i gatene, så er det et visst håp om
at det kan ha effekt i Washington. Vi er fortsatt et demokrati. Hva folk
mener betyr noe. Ikke så mye som det burde, i hvert fall når en RCA står
imot, men likevel, det betyr noe. Og dermed vil jeg skissere, i den andre
delen som her følger, endringer som Kongressen kunne gjøre for å bedre sikre
en fri kultur.
-</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="usnow"></a>1. Oss, nå</h2></div></div></div><p>
+</p><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="usnow"></a>1. Oss, nå</h2></div></div></div><a class="indexterm" name="idxcopyrightvoluntaryreformeffortson2"></a><p>
<span class="strong"><strong>Sunn fornuft</strong></span> er på samme side som
opphavsrettskrigerne på grunn av at debatten så langt har vært rammet inn
-rundt ytterpunktene — som en stor enten/eller: enten eiendom eller
+rundt ytterpunktene – som en stor enten/eller: enten eiendom eller
anarki, enten total kontroll, eller så får ikke kunstnerne betalt. Hvis
dette virkelig var valget så burde krigerne vinne.
</p><p>
Tabben her er feilen med å utelukke den gyldne middelvei. Det er
ytterpunkter i denne debatten, men ytterpunktene er ikke det hele. Det er
-de som tror på maksimal opphavsrett — <span class="quote">«<span class="quote">Alle rettigheter
-reservert</span>»</span> — og de som avviser opphavsrett — <span class="quote">«<span class="quote">Ingen
-rettigheter reservert.</span>»</span> <span class="quote">«<span class="quote">Alle rettigheter
-reservert</span>»</span>-typen mener du bør søke om tillatelse før du
+de som tror på maksimal opphavsrett – <span class="quote">«<span class="quote">Alle rettigheter
+forbeholdt</span>»</span> – og de som avviser opphavsrett –
+<span class="quote">«<span class="quote">Ingen rettigheter forbeholdt.</span>»</span> <span class="quote">«<span class="quote">Alle rettigheter
+forbeholdt</span>»</span>-typen mener du bør søke om tillatelse før du
<span class="quote">«<span class="quote">bruker</span>»</span> et opphavsrettsbeskyttet verk på noe vis.
-<span class="quote">«<span class="quote">Ingen rettigheter reservert</span>»</span>-typen mener du bør kunne gjøre
+<span class="quote">«<span class="quote">Ingen rettigheter forbeholdt</span>»</span>-typen mener du bør kunne gjøre
med innhold som du selv ønsker uavhengig av om du har tillatelse eller ikke.
</p><a class="indexterm" name="idxinternetdevelopmentof2"></a><a class="indexterm" name="idxinternetinitialfreecharacterof"></a><p>
-Da Internett ble skapt, ga dets arkitektur i effekt en *helling* mot
-<span class="quote">«<span class="quote">ingen rettigheter reservert.</span>»</span> Innhold kunne kopieres billig
-og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed
-var, uavhengig av hva noen ønsket, det effektive regimet for opphavsrett
-under den originale utformingen av Internett <span class="quote">«<span class="quote">ingen rettigheter
-reservert.</span>»</span> Innhold ble <span class="quote">«<span class="quote">tatt</span>»</span> uavhengig av
+Da Internett først oppsto hadde det en arkitektur som i praksis ikke la opp
+til håndheving av opphavsrettigheter. Innhold kunne kopieres billig og uten
+kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed var,
+uavhengig av hva noen ønsket, det effektive regimet for opphavsrett under
+den originale utformingen av Internett <span class="quote">«<span class="quote">ingen rettigheter
+forbeholdt.</span>»</span> Innhold ble <span class="quote">«<span class="quote">tatt</span>»</span> uavhengig av
rettighetene. Alle rettigheter var effektivt ubeskyttet.
</p><p>
-Denne opprinnelige egenskapen ga en reaksjon (med motsatt fortegn, men ikke
-helt likt) fra opphavsrettseierne. Den reaksjonen har vært tema for denne
+Denne opprinnelige egenskapen ga en reaksjon (i motsatt retning, men ikke
+helt lik) fra opphavsrettseierne. Den reaksjonen har vært tema for denne
boken. Gjennom lovgiving, søksmål og endringer i nettverkets utforming har
opphavsrettsinnehaverne vært i stand til å endre den grunnlegende egenskapen
til omgivelsen for det originale Internett. Hvis den opprinnelige
arkitekturen gir et effektivt utgangspunkt med <span class="quote">«<span class="quote">ingen rettigheter
-reservert,</span>»</span> så vil fremtidens arkitektur gjøre det effektive
-utgangspunktet til <span class="quote">«<span class="quote">alle rettigheter reservert.</span>»</span> Arkitekturen
+forbeholdt,</span>»</span> så vil fremtidens arkitektur gjøre det effektive
+utgangspunktet til <span class="quote">«<span class="quote">alle rettigheter forbeholdt.</span>»</span> Arkitekturen
og loven som omgir Internetts utforming vil i stadig større grad gi en
omgivelse hvor all bruk av innhold krever tillatelse. <span class="quote">«<span class="quote">Klipp og
lim</span>»</span>-verden som definerer Internett i dag vil bli en <span class="quote">«<span class="quote">skaff
tillatelse til å klippe og lime</span>»</span>-verden som er en skapers mareritt.
-</p><a class="indexterm" name="idp
10916944"></a><a class="indexterm" name="idp10918336"></a><p>
-Det som trengs er en måte å si noe midt imellom — hverken <span class="quote">«<span class="quote">alle
-rettigheter reservert</span>»</span> eller <span class="quote">«<span class="quote">ingen rettigheter
-reservert</span>»</span>, men <span class="quote">«<span class="quote">noen rettigheter reservert</span>»</span> — og
-dermed en måte å respektere opphavsretter mens en gjør det mulig for
+</p><a class="indexterm" name="idp
58076000"></a><a class="indexterm" name="idp58077392"></a><p>
+Det som trengs er en måte å si noe midt imellom – hverken <span class="quote">«<span class="quote">alle
+rettigheter forbeholdt</span>»</span> eller <span class="quote">«<span class="quote">ingen rettigheter
+forbeholdt</span>»</span>, men <span class="quote">«<span class="quote">noen rettigheter forbeholdt</span>»</span> –
+og dermed en måte å respektere opphavsretter mens en gjør det mulig for
skaperne å frigjøre innhold når de ønsker det. Med andre ord, vi trenger en
måte å gjeninnføre settet med friheter som vi kunne ta for gitt tidligere.
</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="examples"></a>1.1. Gjenoppbygging av tidligere antatte friheter: Eksempler</h3></div></div></div><a class="indexterm" name="idxfreeculturerestorationeffortsonpreviousaspectsof"></a><a class="indexterm" name="idxbrowsing"></a><a class="indexterm" name="idxprivacyrights2"></a><p>
disse dataene. Hvis du var en mistenkt spion for Nord-Korea som arbeidet
for CIA, så ville uten tvil ditt privatliv ikke være sikret. Men det er på
grunn av at CIA ville (får vi håpe) finne det verdifullt nok å bruke de
-tusenvis av kronene som trengtes for å spore deg. Men for de fleste av oss
-(igjen så kan vi håpe) betalte det seg ikke å spionere på oss. Denne høyst
+titusenvis av kronene som trengtes for å spore deg. Men for folk flest
+(igjen så kan vi håpe) lønte det seg ikke å spionere på oss. Denne høyst
ineffektive arkitekturen til den virkelige verden betyr at de fleste av oss
-kan nyte en rimelig robust andel privatliv. Dette privatlivet er garantert
+kan nyte en rimelig robust mengde privatliv. Dette privatlivet er garantert
oss på grunn av friksjon. Ikke fra lovverket (det er ingen lov som
beskytter <span class="quote">«<span class="quote">privatlivet</span>»</span> i det offentlige rom), og mange plasser
ikke av normer (kikking og sladder er bare moro), men i stedet fra
kostnadene som friksjon påfører enhver som ønsker å spionere.
-</p><a class="indexterm" name="idxamazon"></a><a class="indexterm" name="idp
10935904"></a><a class="indexterm" name="idxinternetprivacyprotectionon"></a><p>
+</p><a class="indexterm" name="idxamazon"></a><a class="indexterm" name="idp
58094848"></a><a class="indexterm" name="idxinternetprivacyprotectionon"></a><p>
Så kommer Internett, hvor kostnaden med å spore, særlig det som blir bladd
i, har blitt svært liten. Hvis du er en kunde av Amazon, så vil Amazon
-samle informasjon om hva du har sett på mens du tittet på sidene der. Du
-vet dette på grunn av at det i en spalte på siden vises en liste med
-<span class="quote">«<span class="quote">nylig sette</span>»</span> sider. På grunn av arkitekturen til nettet, og
+samle informasjon om hva du har sett på mens du blar på siden deres. Du vet
+dette på grunn av at det i en spalte på siden vises en liste med
+<span class="quote">«<span class="quote">nylig viste</span>»</span> sider. På grunn av arkitekturen til nettet, og
hvordan informasjonskapsler fungerer på nettet, så er det enklere å samle
inn disse dataene enn å la være. Friksjonen har forsvunnet, og dermed
forsvinner også ethvert <span class="quote">«<span class="quote">privatliv</span>»</span> som var beskyttet av denne
friksjonen.
-</p><a class="indexterm" name="idp
10941008"></a><p>
+</p><a class="indexterm" name="idp
58100000"></a><p>
Amazon er naturligvis ikke problemet. Men vi kan begynne å bekymre oss for
biblioteker. Hvis du er en av disse sprø venstrevridde som mener at folk
-bør ha <span class="quote">«<span class="quote">retten</span>»</span> til å bla igjennom et bibliotek, uten at
-myndighetene får vite hvilke bøker du ser på (jeg er også en av disse
-venstrevridde), da kan det hende denne endringen i teknologien for
-overvåkning angår deg. Hvis det blir enkelt å samle inn og sortere hvem som
-gjør hva i det elektroniske rom, så forsvinner det friksjonsinduserte
-privatliv fra tidligere tider.
-</p><a class="indexterm" name="idp10943840"></a><a class="indexterm" name="idp10945152"></a><p>
+bør ha <span class="quote">«<span class="quote">retten</span>»</span> til å besøke et bibliotek, uten at myndighetene
+får vite hvilke bøker du ser på (jeg er også en av disse venstrevridde), da
+kan det hende denne endringen i teknologien for overvåkning angår deg. Hvis
+det blir enkelt å samle inn og sortere hvem som gjør hva i det elektroniske
+rom, så forsvinner det friksjonsinduserte privatliv fra tidligere tider.
+</p><a class="indexterm" name="idp58102832"></a><a class="indexterm" name="idp58104144"></a><p>
Det er denne virkeligheten som forklarer at mange gjør en innsats for å
definere <span class="quote">«<span class="quote">privatliv</span>»</span> på Internett. Det er erkjennelsen om at
teknologi kan fjerne det friksjon før ga oss, som får mange til å be om
-lover som gjør det friksjonen gjorde.<a href="#ftn.idp10947920" class="footnote" name="idp10947920"><sup class="footnote">[208]</sup></a>
+lover som gjør det friksjonen gjorde.<a href="#ftn.idp58106976" class="footnote" name="idp58106976"><sup class="footnote">[209]</sup></a>
Og uansett om du er for eller imot disse lovene, så er det mønsteret som er
-det viktige her. Vi må ta aktive steg for å sikre en slags frihet som var
-passivt sikret tidligere. En endring i teknologi tvinger nå de som tror på
-privatlivets fred til å gjøre aktive handlinger der hvor privatliv tidligere
-var gitt som utgangspunkt.
-</p><a class="indexterm" name="idp
10952128"></a><a class="indexterm" name="idp10953344"></a><a class="indexterm" name="idp10954736"></a><a class="indexterm" name="idp10955552"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss2"></a><p>
+det viktige her. Vi må ta eksplisitte steg for å sikre en slags frihet som
+var passivt sikret tidligere. En endring i teknologi tvinger nå de som tror
+på privatlivets fred til å gjøre eksplisitte handlinger der hvor privatliv
+tidligere var gitt som utgangspunkt.
+</p><a class="indexterm" name="idp
58111200"></a><a class="indexterm" name="idp58112416"></a><a class="indexterm" name="idp58113808"></a><a class="indexterm" name="idp58114624"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss2"></a><p>
En lignende historie kan fortelles om stiftelsen av Fri
programvare-bevegelsen. Da datamaskiner med programvare først ble gjort
-kommersielt tilgjengelig, var programvaren — både kildekoden og
-binærene — fritt tilgjengelig. Du kunne ikke kjøre et program skrevet
-for en Data General-maskin på en IBM-maskin, så Data General og IBM brydde
-seg ikke mye om å kontrollere programvaren sin.
+kommersielt tilgjengelig, var programvaren – både kildekoden og
+programmene – fritt tilgjengelig. Du kunne ikke kjøre et program
+skrevet for en Data General-maskin på en IBM-maskin, så Data General og IBM
+brydde seg ikke mye om å kontrollere programvaren sin.
</p><a class="indexterm" name="idxstallmanrichard"></a><p>
Dette var verden Richard Stallman ble født inn i, og som forsker ved MIT
lærte han å elske samfunnet som utviklet seg når en var fri til å utforske
og fikle med programvaren som kjørte på datamaskiner. Som en av de smarte
typene, i tillegg til å være en flink programmerer, begynte Stallman å
-basere seg på friheten han hadde til bygge på, eller endre på andre
-personers verk.
+basere seg på friheten han hadde til bygge på eller endre på andres verk.
</p><p>
I hvert fall i akademia er ikke dette en veldig radikal idé. Ved et
matematisk institutt ville enhver ha friheten til å fikle med et bevis som
institutt for klassisk historie, hvis du mente en kollegas oversettelse av
en nylig oppdaget tekst hadde feil, så hadde du friheten til å forbedre
den. Dermed, for Stallman, virket det åpenbart at du burde stå fritt til å
-fikle med, og forbedre koden som kjørte på en maskin. Dette var også
+fikle med, og forbedre koden som kjørte på en maskin. Også dette var
kunnskap. Hvorfor skulle det ikke være åpent for kritikk på samme måte som
alt annet?
</p><a class="indexterm" name="idxproprietarycode"></a><p>
Ingen svarte på det spørsmålet. I stedet endret arkitekturen for inntekter
i dataverden seg. Etter hvert som det ble mulig å importere programmer fra
-et system til et annet, det ble økonomisk attraktivt (i hvert fall etter
+et system til et annet, så ble det økonomisk attraktivt (i hvert fall etter
noens syn) å skjule koden til programmet man laget. I tillegg begynte
selskaper å selge ekstrautstyr til stormaskiner. Hvis jeg bare kunne ta din
printerdriver og kopiere den, så ville det gjøre det enklere for meg enn det
fri programvare hadde blitt fjernet av en endring i økonomien rundt
databehandling. Og han trodde at hvis han ikke gjorde noe med dette, så
ville friheten til å endre og dele programvare bli fundamentalt svekket.
-</p><a class="indexterm" name="idp
10966992"></a><a class="indexterm" name="idp10968272"></a><p>
+</p><a class="indexterm" name="idp
58126064"></a><a class="indexterm" name="idp58127344"></a><p>
Derfor, i 1984, startet Stallmann på et prosjekt for å bygge et fritt
operativsystem, slik i hvert fall en flik av fri programvare skulle
overleve. Dette var starten på GNU-prosjektet, som
<span class="quote">«<span class="quote">Linux</span>»</span>-kjernen til Linus Torvalds senere ble lagt til i for å
-produsere GNU/Linux-operativsystemet. <a class="indexterm" name="idp10970368"></a>
-<a class="indexterm" name="idp10971200"></a>
+produsere GNU/Linux-operativsystemet. <a class="indexterm" name="idp58129440"></a>
+<a class="indexterm" name="idp58130272"></a>
</p><p>
Stallmans teknikk var å bruke åndsverksloven til å bygge en verden av
programvare som må forbli fri. Programvare lisensiert med GPL fra Free
Software Foundation kan ikke endres og distribueres uten at kildekoden for
-den programvaren også blir gjort tilgjengelig. Dermed må enhver som bygger
-på GPL-et programvare også frigjøre sitt byggverk. Dette trodde Stallman
-ville sikre at et miljø av kode som forble fritt for andre å bygge på, ville
-utvikle seg. Hans fundamentale mål var frihet. Nyskapende kreativ kode var
-et biprodukt.
+den endrede programvaren også blir gjort tilgjengelig. Dermed må enhver som
+bygger på programvare lisensiert med GPL også frigjøre sitt byggverk. Dette
+trodde Stallman ville sikre at et det utviklet seg et miljø av kode som
+forble fritt for andre å bygge på. Hans fundamentale mål var frihet.
+Nyskapende kreativ kode var et biprodukt.
</p><p>
Stallman gjorde dermed for programvare det personvernforkjempere nå gjør for
privatsfæren. Han søkte etter en måte å gjenoppbygge den type frihet som
opphavsrettsbeskyttet kildekode, gjenerobret Stallman en arena der fri
programvare ville overleve. Han beskyttet aktivt det som før hadde vært
passivt garantert.
-</p><a class="indexterm" name="idp
10974320"></a><a class="indexterm" name="idp10975712"></a><a class="indexterm" name="idxacademicjournals"></a><a class="indexterm" name="idxscientificjournals"></a><p>
+</p><a class="indexterm" name="idp
58133392"></a><a class="indexterm" name="idp58134784"></a><a class="indexterm" name="idxacademicjournals"></a><a class="indexterm" name="idxscientificjournals"></a><p>
Til slutt, la oss se på et veldig nytt eksempel som resonnerer mer direkte
med historien i denne boken. Dette er overgangen for hvordan akademiske og
vitenskapelige tidsskrifter blir produsert.
-</p><a class="indexterm" name="idxlexisandwestlaw"></a><a class="indexterm" name="idxlawdatabasesofcasereportsin"></a><a class="indexterm" name="idp
10984336"></a><a class="indexterm" name="idp10985440"></a><p>
+</p><a class="indexterm" name="idxlexisandwestlaw"></a><a class="indexterm" name="idxlawdatabasesofcasereportsin"></a><a class="indexterm" name="idp
58143376"></a><a class="indexterm" name="idp58144480"></a><p>
Etter hvert som teknologien utviklet seg, blir det åpenbart for mange at å
skrive ut tusenvis av kopier av tidsskrifter hver måned, og sende dem til
-biblioteker kanskje ikke er den mest effektive måten å spre kunnskap. I
+biblioteker kanskje ikke er den mest effektive måten å spre kunnskap på. I
stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres
brukere gis tilgang til disse elektroniske tidsskriftene gjennom
passordbeskyttede nettsteder. Noe lignende har skjedd innen justissektoren
til et bibliotek og lese den, så står Lexis og Westlaw også fritt til å
kreve betaling fra sine brukerne for å gi tilgang til den samme
høyesterettsdommen gjennom deres respektive tjenester.
-</p><a class="indexterm" name="idp
10989216"></a><a class="indexterm" name="idxpublicdomainlicensesystemforrebuildingof"></a><p>
-Det er generelt ingenting galt med dette, og muligheten til å ta betalt for
-tilgang selv for allemannseid materiale er helt klart et godt incentiv for
-folk til å utvikle nye og nyskapende måter å spre kunnskap. Rettspraksis
-har vært enig, hvilket er det som gjør at Lexis og Westlaw har fått lov til
-å blomstre. Og hvis det ikke er noe galt med å selge det som er
-allemannseie, så bør det i prinsippet ikke være noe galt i å selge tilgang
-til materiale som ikke er allemannseie.
-</p><a class="indexterm" name="idp
10993504"></a><a class="indexterm" name="idp10994752"></a><p>
+</p><a class="indexterm" name="idp
58148272"></a><a class="indexterm" name="idxpublicdomainlicensesystemforrebuildingof"></a><p>
+Det er stort sett ingenting galt med dette, og muligheten til å ta betalt
+for tilgang selv for allemannseid materiale er helt klart et godt incentiv
+for folk til å utvikle nye og nyskapende måter for å spre kunnskap.
+Rettspraksis har vært enig, hvilket er det som gjør at Lexis og Westlaw har
+fått lov til å blomstre. Og hvis det ikke er noe galt med å selge det som
+er allemannseie, så bør det i prinsippet ikke være noe galt i å selge
+tilgang til materiale som ikke er allemannseie.
+</p><a class="indexterm" name="idp
58152400"></a><a class="indexterm" name="idp58153648"></a><p>
Men hva hvis den eneste måten å få tilgang til sosiale og vitenskapelige
data var gjennom proprietære tjenester? Hva hvis ingen hadde muligheten til
å bla igjennom disse datasettene uten å betale for et abonnement?
som forsøkte å forstå risikoen med en bestemt behandling, kunne forske på
disse risikoene ved å lese alle tilgjengelige artikler om den behandlingen.
Denne friheten var dermed et resultat av hvordan biblioteker fungerte
-(normer) og teknologien til papirtidsskrifter (arkitektur) — nemlig at
+(normer) og teknologien til papirtidsskrifter (arkitektur) – nemlig at
det var veldig vanskelig å kontrollere tilgang til et papirtidsskrift.
</p><p>
Etter hvert som tidsskrift blir elektroniske, krever derimot utgiverne at
frihetene som papirtidsskrifter ga i offentlige biblioteker, begynner å
forsvinne. Dermed, på samme måte som med personvern og programvare, krymper
endringer i teknologien og markedet en frihet som vi tok for gitt tidligere.
-</p><a class="indexterm" name="idp
11000080"></a><a class="indexterm" name="idp11002592"></a><p>
+</p><a class="indexterm" name="idp
58159104"></a><a class="indexterm" name="idp58161616"></a><p>
Denne reduserte friheten har fått mange til å ta aktive steg for å
gjenopprette friheten som har gått tapt. Et eksempel er Det Offentlige
offentlig, elektronisk arkiv, og gjort gratis og permanent tilgjengelig.
PLoS selger også trykte utgaver av verkene, men opphavsretten til
papirtidsskriftene fratar ingen retten til å fritt videredistribuere verket.
-</p><a class="indexterm" name="idp
11005680"></a><p>
-Dette er en av mange slike anstrengelser for å gjenopprette en frihet som
+</p><a class="indexterm" name="idp
58164704"></a><p>
+Dette er en av mange slike innsatser for å gjenopprette en frihet som
tidligere ble tatt for gitt, men som nå er truet av endringer i teknologi og
marked. Det er ingen tvil om at dette alternativet konkurrerer med de
tradisjonelle forlagene og deres innsats for å tjene penger på den
eksklusive distribusjonen av innhold. Men konkurranse antas i vår tradisjon
-for å være bra — spesielt når det bidrar til å spre kunnskap og
+for å være bra – spesielt når det bidrar til å spre kunnskap og
vitenskap.
-</p><a class="indexterm" name="idp
11007216"></a><a class="indexterm" name="idp11009712"></a><a class="indexterm" name="idp11010960"></a></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>1.2. Gjenoppbygging av fri kultur: En idé</h3></div></div></div><a class="indexterm" name="idxcreativecommons"></a><p>
+</p><a class="indexterm" name="idp
58166176"></a><a class="indexterm" name="idp58168656"></a><a class="indexterm" name="idp58169904"></a></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>1.2. Gjenoppbygging av fri kultur: En idé</h3></div></div></div><a class="indexterm" name="idxcreativecommons"></a><p>
Den samme strategien kan brukes på kultur, som et svar på den økende
kontrollen som gjennomføres gjennom lov og teknologi.
-</p><a class="indexterm" name="idp
11015776"></a><p>
+</p><a class="indexterm" name="idp
58174720"></a><p>
Her kommer Creative Commons inn. Creative Commons er et ikke-kommersielt
selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford
University. Selskapets mål er å bygge et lag av
-<span class="emphasis"><em>rimelig</em></span> opphavsrett på toppen av det ekstreme som nå
+<span class="emphasis"><em>fornuftig</em></span> opphavsrett på toppen av det ekstreme som nå
regjerer. Det gjør dette ved å gjøre det enkelt for folk å bygge på andre
folks verk, ved å gjøre det enkelt for skapere å uttrykke friheten for andre
til å ta og bygge på deres verk. Dette gjøres mulig med enkle merker,
lisenser.
</p><p>
-<span class="emphasis"><em>Enkelt</em></span> — som betyr uten en mellommann, eller uten
+<span class="emphasis"><em>Enkelt</em></span> – som betyr uten en mellommann, eller uten
en advokat. Ved å utvikle et fritt sett med lisenser som folk kan knytte
-til sitt innhold, sikter Creative Commons å merke en rekke innhold som
+til sitt innhold, sikter Creative Commons å merke en mengde innhold som
enkelt og pålitelig kan bygges på. Disse merkene er så lenket til
maskinlesbare versjoner av lisensen som gjør det mulig for datamaskiner å
automatisk identifisere innhold som enkelt kan deles. Denne samlingen av tre
-uttrykk — en juridisk lisens, en menneskelesbar beskrivelse og et
-maskinlesbart merke — utgjør en Creative Commons-lisens. En Creative
+uttrykk – en juridisk lisens, en menneskelesbar beskrivelse og et
+maskinlesbart merke – utgjør en Creative Commons-lisens. En Creative
Commons-lisens utgjør en tildeling av frihet til enhver som har tilgang til
lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror
på noe annet enn <span class="quote">«<span class="quote">Alle</span>»</span>- eller
en lisens som tillater enhver bruk, så lenge opphavspersonen navngis. Hun
kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge
en lisens som tillater enhver bruk så lenge de samme friheter gis videre til
-andre brukere (<span class="quote">«<span class="quote">del på like vilkår</span>»</span>). Eller enhver bruk så
-lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland.
-Eller enhver bruk som <span class="quote">«<span class="quote">smakebit,</span>»</span> så lenge det ikke lages
-komplette kopier. Og til slutt, enhver bruk til opplæring.
+andre brukere (<span class="quote">«<span class="quote">del, og del på like vilkår</span>»</span>). Eller enhver
+bruk så lenge ingen bearbeidelse blir gjort. Eller enhver bruk i
+utviklingsland. Eller enhver bruk som <span class="quote">«<span class="quote">smakebit,</span>»</span> så lenge det
+ikke lages komplette kopier. Og til slutt, enhver bruk til opplæring.
</p><p>
Disse valgene etablerer dermed en rekke friheter som går ut over
-utgangspunktet i åndsverksloven. De muliggjør også friheter som går ut over
+åndsverkslovens utgangspunkt. De muliggjør også friheter som går ut over
tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse
frihetene på en måte som de påfølgende brukerne kan bruke og basere seg på
uten å hyre inn en advokat. Creative Commons sikter dermed mot å bygge et
lag av innhold, styrt av et lag av fornuftig åndsverkslov, som andre kan
bygge på. Frivillig valg fra individer og skapere vil gjøre dette innholdet
-tilgjengelig. Og dette innholdet vi så gjøre det mulig for oss å
+tilgjengelig. Og dette innholdet vil så gjøre det mulig for oss å
gjenopprette allemannseiet.
-</p><a class="indexterm" name="idp
11025504"></a><p>
+</p><a class="indexterm" name="idp
58184464"></a><p>
Dette er bare et av mange prosjekter innen Creative Commons. Og Creative
Commons er naturligvis ikke den eneste organisasjonen som bidrar til slike
(<span class="quote">«<span class="quote">innholdskondusenter,</span>»</span> som advokat Mia Garlick kaller dem) som
hjelper til å bygge allemannseie og demonstrerer med sine egne verk hvor
viktig allemannseiet er for annen kreativitet.
-</p><a class="indexterm" name="idp
11028656"></a><p>
+</p><a class="indexterm" name="idp
58187616"></a><p>
Målet er ikke å sloss mot <span class="quote">«<span class="quote">alle rettigheter
-reservert</span>»</span>-folkene. Målet er å utfylle dem. Problemene som loven
+forbeholdt</span>»</span>-folkene. Målet er å utfylle dem. Problemene som loven
skaper for oss som kultur, er skapt av sprø og utilsiktede konsekvenser av
lover skrevet for flere århundrer siden, anvendt på en teknologi som kun
Jefferson kunne ha forestilt seg. Reglene kan godt å gitt mening da
bakgrunnen var teknologiene som var tilgjengelig for hundrevis av år siden,
men de gir ikke mening når bakgrunnen er digitale teknologier. Nye regler
-— med andre friheter, uttrykt slik at mennesker uten advokater kan
-bruke dem — trengs. Creative Commons gir folk en effektiv måte å
+– med andre friheter, uttrykt slik at mennesker uten advokater kan
+bruke dem – trengs. Creative Commons gir folk en effektiv måte å
begynne å lage disse reglene.
</p><a class="indexterm" name="idxbooksfreeonline2"></a><p>
Hvorfor ønsker skapere å delta i å gi slipp på total kontroll? Noen deltar
Førsteutgaven av boken var utsolgt flere måneder tidligere enn utgiveren
hadde forventet. Denne første romanen til en science fiction-forfatter var
en total suksess.
-</p><a class="indexterm" name="idp
11037392"></a><a class="indexterm" name="idp11038208"></a><p>
+</p><a class="indexterm" name="idp
58196352"></a><a class="indexterm" name="idp58197168"></a><p>
Idéen om at gratis innhold kan øke verdien for ikke-gratis innhold, ble
bekreftet av et eksperiment gjennomført av en annen forfatter. Peter Wayner,
utsolgt fra forlaget. Han fulgte deretter med på prisen for boken i
bruktbokhandler. Som forutsett, etter hvert som antall nedlastinger steg,
steg også bruktprisen på boken.
-</p><a class="indexterm" name="idp
11041216"></a><a class="indexterm" name="idp11042528"></a><a class="indexterm" name="idp11043344"></a><a class="indexterm" name="idp11044160"></a><p>
+</p><a class="indexterm" name="idp
58200176"></a><a class="indexterm" name="idp58201488"></a><a class="indexterm" name="idp58202304"></a><a class="indexterm" name="idp58203120"></a><a class="indexterm" name="idp58204448"></a><p>
Dette er eksempler på bruk av Creative Commons for å bedre spre proprietært
-innhold. Jeg mener at dette er en nydelig og vanlig bruk av Creative
-Commons. Det er andre som bruker Creative Commons-lisenser av andre
+innhold. Jeg mener at dette er en nydelig og alminnelig bruk av
+allemannseie. Det er andre som bruker Creative Commons-lisenser av andre
grunner. Mange som bruker <span class="quote">«<span class="quote">sampling-lisensen</span>»</span> gjør det på
grunn av at alt annet ville være hyklerisk. Sampling-lisensen sier at andre
står fritt til, for kommersielle eller ikke-kommersielle formål, å bruke
Leaphart, manager for rap-gruppen Public Enemy, som ble skapt ved å sample
musikken til andre, har uttalt at han ikke <span class="quote">«<span class="quote">tillater</span>»</span> Public
Enemy å sample mer, på grunn av at den juridiske kostnaden er så
-høy<a href="#ftn.idp11048128" class="footnote" name="idp11048128"><sup class="footnote">[209]</sup></a>), slipper disse artistene innhold
+høy<a href="#ftn.idp58208416" class="footnote" name="idp58208416"><sup class="footnote">[210]</sup></a>), slipper disse artistene innhold
ut i det kreative miljøet som andre kan bygge videre på, slik at deres form
for kreativitet kan vokse.
</p><p>
Commons-lisens kun fordi de ønsker å uttrykke til andre hvor viktig de synes
balanse er i denne debatten. Hvis du bare aksepterer systemet slik det er,
så sier du faktisk at du tror på <span class="quote">«<span class="quote">alle rettigheter
-reservert</span>»</span>-modellen. Fint for deg, men mange gjør ikke det. Mange
+forbeholdt</span>»</span>-modellen. Fint for deg, men mange gjør ikke det. Mange
tror at uansett hvor riktig den regelen er for Hollywood og raringer, så er
den ikke en riktig beskrivelse av hvordan de fleste skaperne ser på
rettighetene knyttet til sitt innhold. Creative Commons-lisensen uttrykker
-begrepet <span class="quote">«<span class="quote">noen rettigheter reservert,</span>»</span> og gir mange muligheten
+begrepet <span class="quote">«<span class="quote">noen rettigheter forbeholdt,</span>»</span> og gir mange muligheten
til å si det til andre.
</p><p>
innhold.
</p><p>
Dette er de første stegene for å gjenoppbygge et allemannseie. De er ikke
-kun argumentasjon, de er handlinger. Å bygge allemannseiet er første steg
-for å vise folk hvor viktig dette er for kreativitet og nyskapning.
-Creative Commons baserer seg på frivillige steg for å få til denne
-gjenoppbyggingen. De vil føre til en verden hvor mer enn frivillige steg er
-mulig.
+kun argumenter, de er handlinger. Å bygge allemannseiet er første steg for
+å vise folk hvor viktig dette er for kreativitet og nyskapning. Creative
+Commons baserer seg på frivillige steg for å få til denne gjenoppbyggingen.
+De vil føre til en verden hvor mer enn frivillige steg er mulig.
</p><p>
Creative Commons er bare ett eksempel på frivillig innsats fra
enkeltpersoner og skapere for å endre blandingen av rettigheter som nå
til forfatterne, men å gjøre det enklere for forfattere og skapere å utøve
sine rettigheter mer fleksibelt og billigere. Den forskjellen, tror vi, vil
gjøre det mulig for kreativiteten å spre seg lettere.
-</p><a class="indexterm" name="idp
11056656"></a><a class="indexterm" name="idp11058064"></a></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>2. Dem, snart</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
58216896"></a><a class="indexterm" name="idp58218304"></a></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>2. Dem, snart</h2></div></div></div><p>
<span class="strong"><strong>Vi vil</strong></span> ikke vinne tilbake en fri kultur
kun ved individuelle handlinger. Det trengs også viktige lovreformer. Vi
har en lang vei å gå før politikerne vil lytte til disse idéene, og
Disse er alle formaliteter knyttet til eiendom. De er krav som vi alle må
-forholde oss til hvis vi ønsker at eiendomen vår skal bli beskyttet.
+forholde oss til hvis vi ønsker at eiendommen vår skal bli beskyttet.
</p><p>
Dette står i kontrast til gjeldende åndsverkslov, der du automatisk får
opphavsrett uavhengig av om du overholder noen formaliteter eller ikke. Du
som hemmer kreativiteten. I dag er det ingen enkel måte å vite hvem som
eier hva, og hvem en må gjøre avtale med for å kunne bruke eller bygge på
det kreative verket til andre. Det er intet register, og det er intet
-system for å spore — det er ingen enkel måte å vite hvordan en får
+system for å spore – det er ingen enkel måte å vite hvordan en får
tillatelse. Og likevel er det, gitt den massive økningen i omfanget for
opphavsrettens regler, et nødvendig steg å få tillatelse for ethvert verk
som baserer seg på vår fortid. Og dermed tvinger
<span class="emphasis"><em>fraværet</em></span> av formaliteter mange til å være stille der de
ellers ville talt.
</p><p>
-Loven burde derfor endre dette kravet<a href="#ftn.idp11073136" class="footnote" name="idp11073136"><sup class="footnote">[210]</sup></a>
-— men den bør ikke endres ved å gå tilbake til det gamle ødelagte
+Loven burde derfor endre dette kravet<a href="#ftn.idp58233424" class="footnote" name="idp58233424"><sup class="footnote">[211]</sup></a>
+– men den bør ikke endres ved å gå tilbake til det gamle ødelagte
systemet. Vi bør kreve formaliteter, men vi bør etablere et system som vil
skape incentivene for å minimere byrden disse formalitetene påfører.
</p><p>
incentiv til å minimere avgiften. Og ettersom opphavsrettskontoret ikke var
et hovedmål for regjeringens politikk, har kontoret historisk vært veldig
underfinansiert. Dermed, når folk som kjenner til prosessen hører denne
-idéen om formaliteter, så er deres første reaksjon panikk — ingenting
+idéen om formaliteter, så er deres første reaksjon panikk – ingenting
kan være verre enn å tvinge folk å forholde seg til det virvaret som heter
opphavsrettskontoret.
</p><p>
som kan administrere rollen. I stedet burde vi skape incentiver for at
private aktører tilbyr tjenesten til offentligheten, ifølge standarder som
myndighetene definerer.
-</p><p>
+</p><a class="indexterm" name="idp58239296"></a><a class="indexterm" name="idp58241856"></a><a class="indexterm" name="idp58242928"></a><p>
I en registreringssammenheng er Internett en opplagt modell. Det finnes
minst 32 millioner nettsteder registrert rundt om i verden. Eiere av
domenenavnene til disse nettstedene må betale en avgift for å beholde sin
godkjenne registrarer som følger disse standardene. Disse registrarene
ville dermed konkurrere med hverandre om å levere det billigste og enkleste
systemet for å registrere og fornye opphavsretter. Denne konkurransen ville
-redusere betydelig belastningen som denne formaliteten gir — mens det
+redusere betydelig belastningen som denne formaliteten gir – mens det
gir en database over registreringer som kan forenkle lisensiering av
innhold.
</p></div><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="marking"></a>2.1.2. Merking</h4></div></div></div><p>
Det å ikke merke kreative verk med opphavsrettsinformasjon førte tidligere
til at en mistet opphavsretten. Det var en veldig streng straff for å ikke
-overholde en regulatorisk regel — omtrent som å dømme noen til
-dødsstraff for å få ha parkert ulovlig i kreative rettighetsverden. Her er
+overholde en regulatorisk regel – omtrent som å dømme noen til
+dødsstraff for å ha parkert ulovlig i den kreative rettighetsverden. Her er
det heller ikke noen grunn til at markeringskravene trenger å bli håndhevd
på denne måten. Og viktigere er at det ikke er noen grunn til at
merkingskravene trenger å håndheves likt på tvers av alle medier.
</p><p>
Målet med merkingen er å signalisere til offentligheten at dette verket er
-opphavsrettsbeskyttet, og at forfatteren ønsker a håndheve sine
+opphavsrettsbeskyttet, og at forfatteren ønsker å håndheve sine
rettigheter. Merket gjør det også enkelt å spore opp en opphavsrettseier for
å skaffe tillatelse til å bruke verket.
</p><p>
nytt merkingskrav kan løse disse problemene ved å anerkjenne forskjellene i
mediene, og ved å tillate merkingssystemet til å utvikle seg etter hvert som
teknologien muliggjør det. Systemet kan muliggjøre/aktivere et spesielt
-signal når en ikke merker — ikke å miste opphavsretten, men å miste
+signal når en ikke merker – ikke å miste opphavsretten, men å miste
retten til å straffe noen for å ikke ha skaffet seg tillatelse først.
</p><p>
konsekvensen være at opphavsretten er tapt. Konsekvensen kan i stedet være
at enhver da har rett til å bruke dette verket inntil
opphavsrettsinnehaveren klager og demonstrerer at det er hans verk, og at
-han ikke gir tillatelse.<a href="#ftn.idp11087872" class="footnote" name="idp11087872"><sup class="footnote">[211]</sup></a> Forståelsen
+han ikke gir tillatelse.<a href="#ftn.idp58250944" class="footnote" name="idp58250944"><sup class="footnote">[212]</sup></a> Forståelsen
av et umerket verk ville dermed være <span class="quote">«<span class="quote">bruk såfremt ingen
klager.</span>»</span> Hvis noen klager, så er forpliktelsen at en må slutte å
bruke verket i ethvert nytt verk fra da av, selv om det ikke er noen
beste måten å sikre at systemet utvikler seg, er å begrense
opphavsrettskontorets rolle til å godkjenne standarder for å merke innhold
som har vært utviklet av andre.
-</p><a class="indexterm" name="idp
11093600"></a><p>
+</p><a class="indexterm" name="idp
58256672"></a><p>
For eksempel, hvis en plateindustriforening kommer opp med en metode for å
merke CD-er, så ville den foreslå dette til
opphavsrettskontoret. Opphavsrettskontoret ville så holde en høring, hvor
Dette virket radikalt nok på den tiden. Men etter at vi tapte
<em class="citetitle">Eldred</em> mot <em class="citetitle">Ashcroft</em>, ble
forslaget enda mer radikalt. <em class="citetitle">The Economist</em> anbefalte
-et forslag om fjorten års vernetid.<a href="#ftn.idp11104688" class="footnote" name="idp11104688"><sup class="footnote">[212]</sup></a>
+et forslag om fjorten års vernetid.<a href="#ftn.idp58267712" class="footnote" name="idp58267712"><sup class="footnote">[213]</sup></a>
Andre har foreslått å knytte vernetiden til vernetiden for patenter.
</p><p>
Jeg er enig med dem som tror vi trenger en radikal endring i opphavsrettens
kompleksiteten av <span class="quote">«<span class="quote">rimelig bruk</span>»</span> og <span class="quote">«<span class="quote">idé/uttrykk</span>»</span>
mindre nødvendig å håndtere.
-</p></li><li class="listitem"><a class="indexterm" name="idp
11116672"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idp
58279696"></a><p>
<span class="emphasis"><em>Gjør det aktivt:</em></span> En bør være nødt til å fornye
opphavsrettsbeskyttelsen. Spesielt hvis den maksimale varigheten er lang,
ønsker at beskyttelsen fortsetter. Dette trenger ikke være en enorm
belastning, men det er ingen grunn til at denne monopolbeskyttelsen må deles
ut gratis. I snitt tar det nitti minutter for en krigsveteran å søke om
-pensjon.<a href="#ftn.idp11118800" class="footnote" name="idp11118800"><sup class="footnote">[213]</sup></a> Hvis vi belaster veteraner med
+pensjon.<a href="#ftn.idp58281824" class="footnote" name="idp58281824"><sup class="footnote">[214]</sup></a> Hvis vi belaster veteraner med
så mye, så ser jeg ikke hvorfor vi ikke kan kreve at forfattere bruker ti
minutter hvert femtiende år for å fylle ut et enkelt skjema.
</p></li><li class="listitem"><p>
vernetiden jeg anbefalte var lengre enn vernetiden under Richard Nixon. Hvor
<span class="quote">«<span class="quote">radikalt</span>»</span> kan det være å be om en mer sjenerøs
opphavsrettighet enn da Richard Nixon var president?
-</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>2.3. 3. Fri Bruk versus rimelig bruk</h3></div></div></div><a class="indexterm" name="idp
11129472"></a><a class="indexterm" name="idp11130272"></a><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>2.3. 3. Fri Bruk versus rimelig bruk</h3></div></div></div><a class="indexterm" name="idp
58292544"></a><a class="indexterm" name="idp58293344"></a><p>
Som jeg observerte i starten av denne boken, ga eiendomsretten opprinnelig
landeiere retten til å kontrollere sin eiendom fra jorda og helt opp til
himmelen. Så kom flymaskiner, og omfanget av eiendomsretter ble raskt
forfatterens opprinnelige verk. Dermed, hvis jeg skriver en bok, og du
baserer en film på den boken, så har jeg myndighet til å nekte deg å gi ut
den filmen, selv om den filmen ikke er <span class="quote">«<span class="quote">min skrift.</span>»</span>
-</p><a class="indexterm" name="idp
11135376"></a><p>
+</p><a class="indexterm" name="idp
58298448"></a><p>
Kongressen støttet opphavet til denne retten i 1870, da den utvidet den
eksklusive retten i opphavsretten til å inneholde retten til å kontrollere
-oversettelser og dramatiseringer av et verk.<a href="#ftn.idp11136848" class="footnote" name="idp11136848"><sup class="footnote">[214]</sup></a> Domstolene har utvidet denne sakte gjennom lovfortolkninger siden
+oversettelser og dramatiseringer av et verk.<a href="#ftn.idp58299920" class="footnote" name="idp58299920"><sup class="footnote">[215]</sup></a> Domstolene har utvidet denne sakte gjennom lovfortolkninger siden
da. Denne utvidelsen har vært kommentert av en av jussverdens beste
dommere, dommer Benjamin Kaplan.
</p><div class="blockquote"><blockquote class="blockquote"><p>
Vi har blitt så tilvendt til utvidelsen av monopolet til en lang rekke med
såkalte avledede verk at vi ikke lenger ser hvor rart det er å akseptere en
slik utvidelse av opphavsretten, mens vi nynner på abrakadabraen rundt idéer
-og uttrykk.<a href="#ftn.idp11139712" class="footnote" name="idp11139712"><sup class="footnote">[215]</sup></a>
+og uttrykk.<a href="#ftn.idp58302784" class="footnote" name="idp58302784"><sup class="footnote">[216]</sup></a>
</p></blockquote></div><p>
Jeg tror det er på tide å anerkjenne at det er flymaskiner på dette området,
og at utvidelser av rettigheter for avledede verk ikke lenger gir mening.
det gir ikke mening at denne rettigheten skal vare like lenge som vernetiden
til den underliggende opphavsretten. Den avledede rettigheten kan være
viktig for å bidra til kreativitet, men den er ikke viktig lenge etter at
-det kreative arbeidet er ferdig. <a class="indexterm" name="idp11143200"></a>
+det kreative verket er ferdig. <a class="indexterm" name="idp58306272"></a>
</p><p>
<span class="emphasis"><em>Omfang:</em></span> På samme måte bør omfanget for avledede verk
snevres inn. Her igjen er det noen tilfeller der avledede rettigheter er
muliggjør. Forestill deg så å helle sirup inn i maskinene. Det er hva
dette generelle kravet om tillatelse gjør med den kreative prosessen. Det
kveler den.
-</p><a class="indexterm" name="idp
11146912"></a><p>
+</p><a class="indexterm" name="idp
58309984"></a><p>
Dette var poenget som Alben kom med da han beskrev hvordan han laget Clint
Eastwood-CD-en. Mens det gir mening å kreve forhandlinger for overskuelige
-avledede rettigheter — å lage en film av en bok, eller et noteark av
-et dikt — så gir det ikke mening å kreve forhandlinger for det
+avledede rettigheter – å lage en film av en bok, eller et noteark av
+et dikt – så gir det ikke mening å kreve forhandlinger for det
uforutsigbare. Her gir en lovfestet rett mer mening.
</p><p>
I hver av disse tilfellene burde loven markere hvilke bruksområder som er
beskyttet, og en bør så kunne anta at andre bruksområder ikke er beskyttet.
Dette er det motsatte av anbefalingen fra min kollega Paul
-Goldstein.<a href="#ftn.idp11149680" class="footnote" name="idp11149680"><sup class="footnote">[216]</sup></a> Hans syn er at loven bør
+Goldstein.<a href="#ftn.idp58312752" class="footnote" name="idp58312752"><sup class="footnote">[217]</sup></a> Hans syn er at loven bør
skrives slik at beskyttelsen utvides når bruksområdene utvides.
</p><p>
Analysen til Goldstein gir absolutt mening hvis kostnadene ved dette
effekten være å frigjøre en stor del av kulturen slik at andre kan få den
til å vokse. Og under et lovbestemt rettighetsregime, så ville slik
gjenbruk gi kunstnerne flere inntekter.
-</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="liberatemusic"></a>2.4. 4. Frigjør musikken ̵
2; igjen</h3></div></div></div><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="liberatemusic"></a>2.4. 4. Frigjør musikken ̵
1; igjen</h3></div></div></div><p>
Slaget som startet hele denne krigen var om musikk, så det ville ikke være
rimelig å avslutte denne boken uten å ta opp problemet som er mest
-presserende for de fleste — musikk. Det er ingen andre policy-tema
+presserende for de fleste – musikk. Det er ingen andre policy-tema
som bedre forklarer hva en kan lære i denne boken enn slagene om deling av
musikk.
</p><p>
Appellen til fildeling var det som satte fortgang i Internetts vekst. Det
drev behovet for tilgang til Internett kraftigere enn noe annet
-enkeltbruksområde. Det var Internetts <span class="quote">«<span class="quote">killer app</span>»</span> —
+enkeltbruksområde. Det var Internetts <span class="quote">«<span class="quote">killer app</span>»</span> –
kanskje i to betydninger av ordet. Det var uten tvil det bruksområdet som
drev etterspørselen etter båndbredde. Det kan godt ende opp med å være
bruksområdet som driver igjennom krav om reguleringer som til slutt dreper
Det er mange som bruker fildelingsnettverk for å få tilgang til innhold som
ikke er opphavsrettsbeskyttet, eller for å få tilgang som
opphavsrettsinnehaveren åpenbart går god for.
-</p></li></ol></div><a class="indexterm" name="idp
11167904"></a><a class="indexterm" name="idp11168976"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp
58330912"></a><a class="indexterm" name="idp58331984"></a><p>
Enhver reform av loven må ha disse ulike bruksområdene i fokus. Den må
unngå å belaste type-D-deling selv om den tar sikte på å fjerne type A.
Hvor ivrig loven søker å fjerne type-A-deling, bør videre være avhengig av
avhengighetsskapende i dag på grunn av at det er den enkleste måten å få
tilgang til et bredt spekter av innhold. Det vil ikke være den enkleste
måten å få tilgang til et bredt spekter av innhold om ti år. I dag er
-tilgang til Internett knotete og tregt — vi i USA er heldige hvis vi
+tilgang til Internett knotete og tregt – vi i USA er heldige hvis vi
har en bredbåndstjeneste med 1,5 MB/s, og svært sjelden får vi tjenesten med
den hastigheten både opp og ned. Selv om trådløs tilgang vokser, må de
fleste av oss få tilgang via kabler. De fleste får kun tilgang via en
regulere delingen slik verden er nå. Spørsmålet bør være, hva slags lov vil
vi trenge når nettverket blir det nettverket helt klart er på vei mot. Det
nettverket er et hvor enhver maskin som bruker strøm i essensen er på
-nettet. Uansett hvor du er — muligens med unntak av i ørkenen og
-fjerntliggende fjellpartier — kan du umiddelbart bli koblet til
+nettet. Uansett hvor du er – muligens med unntak av i ørkenen og
+fjerntliggende fjellpartier – kan du umiddelbart bli koblet til
Internett. Forestill deg Internett så allstedsnærværende som den beste
mobiltelefontjenesten, hvor du er tilkoblet med et enkelt trykk på en
bryter.
-</p><a class="indexterm" name="idp
11175888"></a><p>
+</p><a class="indexterm" name="idp
58338896"></a><p>
I den verden vil det være ekstremt enkelt å koble seg til en tjeneste som
-gir deg direkte tilgang til innhold — slik som Internett-radio,
+gir deg direkte tilgang til innhold – slik som Internett-radio,
innhold som strømmes til brukeren når brukeren ønsker det. Her er dermed
det kritiske poenget: Når det er <span class="emphasis"><em>ekstremt</em></span> enkelt å
koble seg til tjenester som gir tilgang til innhold, så vil det være
<span class="emphasis"><em>enklere</em></span> å koble seg til tjenester som gir deg tilgang
til innhold enn det vil være å laste ned og lagre innhold <span class="emphasis"><em>på de
mange enhetene som du vil ha for å vise frem innhold</em></span>. Det vil
-med andre ord være enklere å abonnere enn det vil være å være
+med andre ord være enklere å abonnere enn det vil være å være en
databaseadministrator, hvilket enhver er i en <span class="quote">«<span class="quote">last ned og
del</span>»</span>-verden som Napster-lignende teknologier i essensen er.
Innholdstjenester vil konkurrere med innholdsdeling, selv om tjenestene
Japan tilbyr allerede musikk (mot et gebyr) strømmet via mobiltelefoner
(forbedret med plugger for øretelefoner). Japanerne betaler for dette
innholdet selv om <span class="quote">«<span class="quote">gratis</span>»</span> innhold er tilgjengelig i form av
-MP3er via nettet.<a href="#ftn.idp11182912" class="footnote" name="idp11182912"><sup class="footnote">[217]</sup></a>
+MP3er via nettet.<a href="#ftn.idp58345920" class="footnote" name="idp58345920"><sup class="footnote">[218]</sup></a>
</p><p>
Dette poenget om fremtiden er med å foreslå et perspektiv om nåtiden: Det er
-ettertrykkelig midlertidig. <span class="quote">«<span class="quote">Problemet</span>»</span> med fildeling —
-i den grad det er et reelt problem — er et problem som mer og mer vil
+ettertrykkelig midlertidig. <span class="quote">«<span class="quote">Problemet</span>»</span> med fildeling –
+i den grad det er et reelt problem – er et problem som mer og mer vil
forsvinne etter hvert som det blir enklere å koble seg på Internett. Og
dermed er det en stor feil for beslutningstakere i dag å <span class="quote">«<span class="quote">løse</span>»</span>
dette problem basert på en teknologi som vil være borte i morgen.
teknologiene i det tjueførste århundre.
</p><p>
Svaret begynner med å erkjenne at det er ulike <span class="quote">«<span class="quote">problemer</span>»</span> å
-løse her. La oss starte med type-D-innhold — ikke
+løse her. La oss starte med type-D-innhold – ikke
opphavsrettsbeskyttet innhold, eller opphavsrettsbeskyttet innhold som
kunstneren ønsker å få delt. <span class="quote">«<span class="quote">Problemet</span>»</span> med dette innholdet er
å sikre at teknologien som muliggjør denne type deling ikke blir gjort
det kan være utilgjengelig fordi verket er glemt. Uansett bør målet til
loven være å muliggjøre tilgang til dette innholdet, ideelt sett på en måte
som gir noe tilbake til kunstneren.
-</p><a class="indexterm" name="idp
11191904"></a><a class="indexterm" name="idp11193008"></a><p>
+</p><a class="indexterm" name="idp
58354912"></a><a class="indexterm" name="idp58356016"></a><p>
Igjen, her er modellen bruktbokhandelen. Etter at en bok er utsolgt fra
forlaget, så kan den fortsatt være tilgjengelig fra biblioteker og
bruktbokhandler. Men biblioteker og bruktbokhandler betaler ikke
bør vi finne en relativt enkel måte å kompensere de som blir skadelidende.
</p><a class="indexterm" name="idxpromisestokeepfisher"></a><p>
Idéen er basert på et forslag lansert av jussprofessor William Fisher ved
-Harvard.<a href="#ftn.idp11206512" class="footnote" name="idp11206512"><sup class="footnote">[218]</sup></a> Fisher foreslår en veldig lur
+Harvard.<a href="#ftn.idp58369568" class="footnote" name="idp58369568"><sup class="footnote">[219]</sup></a> Fisher foreslår en veldig lur
måte rundt den pågående stillingskrigen på Internett. Ifølge hans plan
ville alt innhold som kan sendes digitalt (1) være markert med et digitalt
vannmerke (ikke bekymre deg over hvor enkelt det ville være å unngå disse
skattesystem, så kan det videreføres. Hvis denne form for beskyttelse ikke
lenger er nødvendig, så kan systemet foldes inn i det gamle systemet for å
kontrollere tilgang.
-</p><a class="indexterm" name="idp
11229440"></a><a class="indexterm" name="idp11230752"></a><p>
+</p><a class="indexterm" name="idp
58392576"></a><a class="indexterm" name="idp58393888"></a><a class="indexterm" name="idp58395008"></a><a class="indexterm" name="idp58395824"></a><p>
Fisher ville steile over idéen om å tillate systemet til å falle vekk. Hans
mål er ikke bare å sikre at kunstnerne blir betalt, men også å sikre at
systemet støtter størst mulig omfang av <span class="quote">«<span class="quote">semiotisk
demokrati</span>»</span>. Men målet om semiotisk demokrati kan oppfylles hvis de
-andre endringer jeg beskriver kommer på plass — spesielt begrensninger
+andre endringer jeg beskriver kommer på plass – spesielt begrensninger
på avledet bruk. Et system som ganske enkelt tar imot betaling for tilgang
vil ikke belaste semiotisk demokrati veldig hvis det var få begrensninger på
hva en får lov til å gjøre med selve innholdet.
-</p><a class="indexterm" name="idp
11188736"></a><a class="indexterm" name="idp11235008"></a><a class="indexterm" name="idp11235824"></a><a class="indexterm" name="idp11236640"></a><p>
+</p><a class="indexterm" name="idp
58351744"></a><a class="indexterm" name="idp58400064"></a><a class="indexterm" name="idp58400880"></a><a class="indexterm" name="idp58401696"></a><p>
Uten tvil vil det være vanskelig å måle nøyaktig <span class="quote">«<span class="quote">skaden</span>»</span> på en
industri. Men vanskeligheten i å beregne dette vil veies opp av fordelen
ved å tilrettelegge for nyskapning. Dette bakgrunnssystemet for å kompensere
MusicStore. Som eksperter forutså da Apple lanserte sin MusicStore, så kan
den slå <span class="quote">«<span class="quote">gratis</span>»</span> ved å være enklere enn det som gratis er.
Dette har vist seg å være riktig: Apple har solgt millioner av sanger til
-selv den veldig høye prisen 99 cent pr. sang (til 99 cent er kostnaden
-tilsvarende prisen pr. sang på CD, selv om plateselskapene ikke må betale
+selv den veldig høye prisen 99 cent per sang (til 99 cent er kostnaden
+tilsvarende prisen per sang på en CD, selv om plateselskapene ikke må betale
noen av kostnadene knyttet til CD-produksjon). Apples lansering ble møtt av
-Real Networks, som tilbød musikk til kun 79 cent pr. sang. Og uten tvil vil
+Real Networks, som tilbød musikk til kun 79 cent per sang. Og uten tvil vil
det bli mye konkurranse rundt å tilby og å selge musikk på nettet.
-</p><a class="indexterm" name="idp
11240336"></a><a class="indexterm" name="idp11241152"></a><a class="indexterm" name="idp11242272"></a><a class="indexterm" name="idp11243104"></a><a class="indexterm" name="idp11244208"></a><p>
+</p><a class="indexterm" name="idp
58405392"></a><a class="indexterm" name="idp58406208"></a><a class="indexterm" name="idp58407328"></a><a class="indexterm" name="idp58408160"></a><a class="indexterm" name="idp58409264"></a><p>
Denne konkurransen er allerede på plass mot bakgrunnen med
<span class="quote">«<span class="quote">gratis</span>»</span> musikk fra p2p-systemer. Slik selgerne av kabel-TV
har visst i tredve år, og de som selger vann på flaske enda lengre, så er
konkurransen om ikke annet inspirere til å tilby nye og bedre produkter.
Det er nøyaktig det et konkurransedyktig marked skulle handle om. Dermed
har en i Singapore, hvor piratkopiering er utbredt, ofte luksuriøse
-kinosaler — med <span class="quote">«<span class="quote">førsteklasses</span>»</span> seter, og måltider
-servert mens du ser på en film — mens de kjemper og lykkes i å finne
+kinosaler – med <span class="quote">«<span class="quote">førsteklasses</span>»</span> seter, og måltider
+servert mens du ser på en film – mens de kjemper og lykkes i å finne
en måte å konkurrere med <span class="quote">«<span class="quote">gratis.</span>»</span>
</p><p>
Dette konkurranseregimet, med en sikringsmekanisme for å sikre at kunstnere
ikke taper, ville bidra mye til nyskapning innen levering av
innhold. Konkurransen ville fortsette å redusere type-A-deling. Det ville
-inspirere en ekstraordinær rekke av nye innovatører — som ville ha
+inspirere en ekstraordinær rekke av nye innovatører – som ville ha
retten til å bruke innhold, og ikke lenger frykte usikre og barbarisk
strenge straffer fra loven.
</p><p>
tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og
-kommersiell type-C-deling med en lav og fast rate fastsatt ved lov
+kommersiell type-C-deling med en lav og lovfestet pris
</p></li><li class="listitem"><p>
en verden der rike klienter har sterke synspunkter, vil uviljen hos vår
yrkesgruppe til å stille spørsmål med, eller protestere mot dette sterke
synet, ødelegge loven.
-</p><a class="indexterm" name="idp
11265056"></a><a class="indexterm" name="idp11265840"></a><p>
-Indisiene for å bøye av slik er overbevisene. Jeg er angrepet som en
-<span class="quote">«<span class="quote">radikal</span>»</span> av mange innenfor yrket, og likevel er meningene jeg
-argumenterer for nøyaktig de meningene til mange av de mest moderate og
-betydningsfulle personene i historien til denne delen av loven. Mange trodde
-for eksempel at vår utfordring til lovforslaget om å utvide opphavsrettens
-vernetid var galskap. Mens for bare tredve år siden mente den dominerende
-foreleser og utøver i opphavsrettsfeltet, Melville Nimmer, at den var
-åpenbar.<a href="#ftn.idp11268544" class="footnote" name="idp11268544"><sup class="footnote">[219]</sup></a>
+</p><a class="indexterm" name="idp
58430224"></a><a class="indexterm" name="idp58431008"></a><p>
+Bevisene for denne utviklingen er overbevisende. Jeg er angrepet som en
+<span class="quote">«<span class="quote">radikal</span>»</span> av mange innenfor dette yrket, og likevel er
+meningene jeg argumenterer for nøyaktig de meningene til mange av de mest
+moderate og betydningsfulle personene i historien til denne delen av
+lovverket. Mange trodde for eksempel at vår utfordring til lovforslaget om å
+utvide opphavsrettens vernetid var galskap. Mens for bare tredve år siden
+mente den dominerende foreleser og utøver i opphavsrettsfeltet, Melville
+Nimmer, at den var åpenbar.<a href="#ftn.idp58433648" class="footnote" name="idp58433648"><sup class="footnote">[220]</sup></a>
</p><p>
Min kritikk av rollen som advokater har spilt i denne debatten handler
-imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere
-om vår manglende evne til å faktisk ta inn over oss hva loven koster.
+imidlertid ikke bare om en profesjonell skjevhet. Det handler enda mer om
+vår manglende evne til å faktisk ta inn over oss hva loven koster.
</p><p>
Økonomer er forventet å være gode til å forstå utgifter og inntekter. Men
som oftest antar økonomene uten peiling på hvordan det juridiske systemet
egentlig fungerer, at transaksjonskostnaden i det juridiske systemet er
-lav.<a href="#ftn.idp11272144" class="footnote" name="idp11272144"><sup class="footnote">[220]</sup></a> De ser et system som har
+lav.<a href="#ftn.idp58437232" class="footnote" name="idp58437232"><sup class="footnote">[221]</sup></a> De ser et system som har
eksistert i hundrevis av år, og de antar at det fungerer slik grunnskolens
samfunnsfagundervisning lærte dem at det fungerer.
</p><p>
</p><p>
Kostbarheten, klumsetheten og tilfeldigheten til dette systemet håner vår
tradisjon. Og advokater, såvel som akademikere, bør se det som sin plikt å
-endre hvordan loven praktiseres — eller bedre, endre loven slik at den
+endre hvordan loven praktiseres – eller bedre, endre loven slik at den
fungerer. Det er galt at systemet fungerer godt bare for den øverste
1-prosenten av klientene. Det kan gjøres radikalt mer effektivt, og billig,
og dermed radikalt mer rettferdig.
Men inntil en slik reform er gjennomført, bør vi som samfunn holde lover
unna områder der vi vet den bare vil skade. Og det er nettopp det loven
altfor ofte vil gjøre hvis for mye av vår kultur er lovregulert.
-</p><a class="indexterm" name="idp
11282432"></a><p>
+</p><a class="indexterm" name="idp
58447520"></a><p>
Tenk på de fantastiske tingene ditt barn kan gjøre eller lage med digital
-teknologi — filmen, musikken, websiden, bloggen. Eller tenk på de
+teknologi – filmen, musikken, websiden, bloggen. Eller tenk på de
fantastiske tingene ditt fellesskap kunne få til med digital teknologi
-— en wiki, oppsetting av låve, kampanje til å endre noe. Tenk på alle
+– en wiki, oppsetting av låve, kampanje til å endre noe. Tenk på alle
de kreative tingene, og tenk deretter på kald sirup helt inn i
maskinene. Dette er hva ethvert regime som krever tillatelser fører
til. Dette er virkeligheten slik den var i Brezhnevs Russland.
</p><p>
-Loven bør regulere i visse områder av kulturen — men det bør regulere
+Loven bør regulere i visse områder av kulturen – men det bør regulere
kultur bare der reguleringen bidrar positivt. Likevel tester advokater
sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk
spørsmålet: <span class="quote">«<span class="quote">vil det bidra positivt?</span>»</span> Når de blir utfordret om
Vi burde spørre: <span class="quote">«<span class="quote">Hvorfor?</span>»</span> Vis meg hvorfor din regulering av
kultur er nødvendig, og vis meg hvordan reguleringen bidrar positivt. Før
du kan vise meg begge, holde advokatene din unna.
-</p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp10947920" class="footnote"><p><a href="#idp10947920" class="para"><sup class="para">[208] </sup></a>
+</p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp58106976" class="footnote"><p><a href="#idp58106976" class="para"><sup class="para">[209] </sup></a>
der teknologi definerer regler rundt privatliv). Se også Jeffrey Rosen,
<em class="citetitle">The Naked Crowd: Reclaiming Security and Freedom in an Anxious
Age</em> (New York: Random House, 2004) (kartlegger avveininger
-mellom teknologi og personvern).</p></div><div id="ftn.idp11048128" class="footnote"><p><a href="#idp11048128" class="para"><sup class="para">[209] </sup></a>
+mellom teknologi og personvern).</p></div><div id="ftn.idp58208416" class="footnote"><p><a href="#idp58208416" class="para"><sup class="para">[210] </sup></a>
<em class="citetitle">Willful Infringement: A Report from the Front Lines of the Real
Culture Wars</em> (2003), produsert av Jed Horovitz, regissert av
Greg Hittelman, en produksjon av Fiat Lucre, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #72</a>.
-</p></div><div id="ftn.idp11073136" class="footnote"><p><a href="#idp11073136" class="para"><sup class="para">[210] </sup></a>
+</p></div><div id="ftn.idp58233424" class="footnote"><p><a href="#idp58233424" class="para"><sup class="para">[211] </sup></a>
Forslaget jeg fremmer her ville kun gjelde for amerikanske verk. Jeg tror
naturligvis at det ville være en fordel om samme idé ble adoptert også av
-andre land.</p></div><div id="ftn.idp11087872" class="footnote"><p><a href="#idp11087872" class="para"><sup class="para">[211] </sup></a>
+andre land.</p></div><div id="ftn.idp58250944" class="footnote"><p><a href="#idp58250944" class="para"><sup class="para">[212] </sup></a>
En kompliserende faktor er avledede verk, og den har jeg ikke løst her.
Etter mitt syn skaper loven rundt avledede verk et mer komplisert system enn
det som kan rettferdiggjøres ut fra de marginale incentivene dette gir.
-</p></div><div id="ftn.idp11104688" class="footnote"><p><a href="#idp11104688" class="para"><sup class="para">[212] </sup></a>
+</p></div><div id="ftn.idp58267712" class="footnote"><p><a href="#idp58267712" class="para"><sup class="para">[213] </sup></a>
<span class="quote">«<span class="quote">A Radical Rethink,</span>»</span> <em class="citetitle">Economist</em>, 366:8308
(25. januar 2003): 15, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #74</a>.
-</p></div><div id="ftn.idp11118800" class="footnote"><p><a href="#idp11118800" class="para"><sup class="para">[213] </sup></a>
+</p></div><div id="ftn.idp58281824" class="footnote"><p><a href="#idp58281824" class="para"><sup class="para">[214] </sup></a>
Department of Veterans Affairs, Veteran's Application for Compensation
and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig
fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #75</a>.
-</p></div><div id="ftn.idp11136848" class="footnote"><p><a href="#idp11136848" class="para"><sup class="para">[214] </sup></a>
+</p></div><div id="ftn.idp58299920" class="footnote"><p><a href="#idp58299920" class="para"><sup class="para">[215] </sup></a>
Benjamin Kaplan, <em class="citetitle">An Unhurried View of Copyright</em> (New
York: Columbia University Press, 1967), 32.
-</p></div><div id="ftn.idp11139712" class="footnote"><p><a href="#idp11139712" class="para"><sup class="para">[215] </sup></a>
+</p></div><div id="ftn.idp58302784" class="footnote"><p><a href="#idp58302784" class="para"><sup class="para">[216] </sup></a>
Ibid., 56.
-</p></div><div id="ftn.idp11149680" class="footnote"><p><a href="#idp11149680" class="para"><sup class="para">[216] </sup></a>
+</p></div><div id="ftn.idp58312752" class="footnote"><p><a href="#idp58312752" class="para"><sup class="para">[217] </sup></a>
Paul Goldstein, <em class="citetitle">Copyright's Highway: From Gutenberg to the
Celestial Jukebox</em> (Stanford: Stanford University Press, 2003),
-187–216. <a class="indexterm" name="idp10949616"></a>
-</p></div><div id="ftn.idp11182912" class="footnote"><p><a href="#idp11182912" class="para"><sup class="para">[217] </sup></a>
+187–216. <a class="indexterm" name="idp58251200"></a>
+</p></div><div id="ftn.idp58345920" class="footnote"><p><a href="#idp58345920" class="para"><sup class="para">[218] </sup></a>
For eksempel, se, <span class="quote">«<span class="quote">Music Media Watch,</span>»</span> The J@pan
Inc. Newsletter, 3 April 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #76</a>.
-</p></div><div id="ftn.idp11206512" class="footnote"><p><a href="#idp11206512" class="para"><sup class="para">[218] </sup></a>
+</p></div><div id="ftn.idp58369568" class="footnote"><p><a href="#idp58369568" class="para"><sup class="para">[219] </sup></a>
<a class="indexterm" name="idxartistspayments3"></a> William Fisher, <em class="citetitle">Digital
Music: Problems and Possibilities</em> (sist revidert: 10. oktober
Noncommercial Use Levy to Allow Free P2P File Sharing,</span>»</span> tilgjengelig
fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #79</a>. For andre
forslag, se Lawrence Lessig, <span class="quote">«<span class="quote">Who's Holding Back Broadband?</span>»</span>
-<em class="citetitle">Washington Post</em>, 8. january 2002, A17; Philip
+<em class="citetitle">Washington Post</em>, 8. januar 2002, A17; Philip
S. Corwin på vegne av Sharman Networks, Et brev til Senator Joseph R. Biden,
Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002,
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
motsetning til Fishers forslag, ville Stallmanns forslag ikke betale
kunstnere proporsjonalt, selv om mer populære artister ville få mer betalt
enn mindre populære. Slik det er typisk med Stallman, la han fram sitt
-forslag omtrent ti år før dagens debatt. Se <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #85</a>. <a class="indexterm" name="idp11222144"></a> <a class="indexterm" name="idp11222960"></a>
-<a class="indexterm" name="idp11223776"></a>
-<a class="indexterm" name="idp11224608"></a>
-</p></div><div id="ftn.idp11268544" class="footnote"><p><a href="#idp11268544" class="para"><sup class="para">[219] </sup></a>
+forslag omtrent ti år før dagens debatt. Se <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #85</a>. <a class="indexterm" name="idp58385280"></a> <a class="indexterm" name="idp58386096"></a>
+<a class="indexterm" name="idp58386912"></a>
+<a class="indexterm" name="idp58387744"></a>
+</p></div><div id="ftn.idp58433648" class="footnote"><p><a href="#idp58433648" class="para"><sup class="para">[220] </sup></a>
Lawrence Lessig, <span class="quote">«<span class="quote">Copyright's First Amendment</span>»</span> (Melville
B. Nimmer Memorial Lecture), <em class="citetitle">UCLA law Review</em> 48
(2001): 1057, 1069–70.
-</p></div><div id="ftn.idp11272144" class="footnote"><p><a href="#idp11272144" class="para"><sup class="para">[220] </sup></a>
+</p></div><div id="ftn.idp58437232" class="footnote"><p><a href="#idp58437232" class="para"><sup class="para">[221] </sup></a>
Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør få
ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til
-å stille spørsmål med sin egen uttalte posisjon—to ganger. I starten
-forutsa han at nedlasting ville påføre industrien vesentlig skade. Han
-endret så sitt syn i lys av dataene, og han har siden endret sitt syn på
+å stille spørsmål med sin egen uttalte posisjon – to ganger. I
+starten forutsa han at nedlasting ville påføre industrien vesentlig skade.
+Han endret så sitt syn i lys av dataene, og han har siden endret sitt syn på
nytt. Sammenlign Stan J. Liebowitz, <em class="citetitle">Rethinking the Network
Economy: The True Forces That Drive the Digital Marketplace</em> (New
York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis)
Liebowitz er ekstremt verdifull i sin estimering av effekten av
fildelingsteknologi. Etter mitt syn underestimerer han for øvrig kostnaden
til det juridiske system. Se, for eksempel,
-<em class="citetitle">Rethinking</em>, 174–76. <a class="indexterm" name="idp11270224"></a>
+<em class="citetitle">Rethinking</em>, 174–76. <a class="indexterm" name="idp58438048"></a>
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-notes"></a>Notater</h1></div></div></div><p>
I denne teksten er det referanser til lenker på verdensveven. Og som alle
som har forsøkt å bruke nettet vet, så vil disse lenkene være svært
live, så vil du bli omdirigert til den lenken. Hvis den originale lenken
har forsvunnet, så vil du bli omdirigert til en passende referanse til
materialet.
-</p><div class="index"><div class="titlepage"><div><div><h2 class="title"><a name="idp
11292432"></a>Register</h2></div></div></div><div class="index"><div class="indexdiv"><h3>Symboler</h3><dl><dt>11. september 2001, terrorangrep den, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Afrika, medisinering for HIV-pasienter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Aibo robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>AIDS-medisiner, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>akademiske tidsskrifter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Alice i Eventyrland (Carroll), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>alkoholforbud, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>allemannseie (public domain)</dt><dd><dl><dt>balanse for innhold fra USA i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>bibliotek av verk avledet fra, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>definert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>e-bok-begrensninger på, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>lisenssystemet for å gjenoppbygging av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>offentlige prosjekter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>tilgangsavgifter for materiale i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tradisjonell frist for konvertering til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Amerikansk forening for juss-biblioteker, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>åndsverklov</dt><dd><dl><dt>engelsk, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>europeisk, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>forbryterstraff for krenkelse av, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>frihet til nyskapning balansert med rimelig kompensasjon i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>historie om amerikansk, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>japansk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>kopier som kjernetema for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>kreativitet hindret av, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>lovbestemte lisenser i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>nyskapning hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om musikkinnspillinger, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>omfang for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>på gjenpublisering vs. endring av opprinnelig verk, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>registreringskrav for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>rimelig bruk og, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>som beskyttelse for skapere, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>som ex post modalitetsregulering, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>teknologi som automatisk håndhever av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>utviklingen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>vernetidsutvidelser i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Ankedomstol</dt><dd><dl><dt>Niende krets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>antiretrovirale legemiddel, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dd><dl><dt>(se også Internett-arkivet)</dt></dl></dd><dt>Aristoteles, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>arkitektur, begrensninger med opphav i, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>arkiver, digitale, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>offentliggjøringsrettigheter for bilder av, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>retrospektive samlinger om, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>Asia, kommersiell piratvirksomhet i, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>automatiske piano, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>aviser</dt><dd><dl><dt>arkiver over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>avledede verk</dt><dd><dl><dt>historisk endring i opphavsrettslig dekning av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>piratvirksomhet vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>rimelig bruk vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>teknologisk utvikling og, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Ayer, Don, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Berlinvedtaket (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>beskyttelse av kunstnere vs. forretningsinteresser, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>bevisst krenkelse, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>biblioteker</dt><dd><dl><dt>arkiveringsfunksjonen til, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>av allemannseid litteratur, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>personvernrettigheter i bruk av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tidsskrifter i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>bilder, eierskap til, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>biler, MP3-lydsystem i, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>biomedisinsk forskning, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>blogger (Web-logger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>bøker</dt><dd><dl><dt>bruktsalg av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>Engelsk åndsverklov utviklet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>gratis online-utgivelser av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>på Internett, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tre typer brukmåter for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>utsolgt fra forlaget, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt></dl></dd><dt>bokselgere, Engelske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>boter, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Britiske parlamentet, det, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>Camp Chaos, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CARP (Panel for opphavsrettsroyaltyvoldgift), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>CD-er</dt><dd><dl><dt>mikseteknologi og, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>opphavsrettsmerking av, <a class="indexterm" href="#marking">Merking</a></dt><dt>preferanse data på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>priser på, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>salgsnivå for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utenlandsk piratvirksomhet mot, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>-<a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>CD-ROM-er, filmklipp brukt i, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>codePink-kvinner i fred, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>copyleft-lisenser, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>coverlåter, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Data General, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>dataspill, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>demokrati</dt><dd><dl><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>digitale kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Donaldson mot Beckett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>doujinshi-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Dukk og skjul deg-film, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-bøker, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>e-post, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>eiendomsrettigheter</dt><dd><dl><dt>føydalsystem for, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>lufttrafikk mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>uhåndgripeligheten til, <a class="indexterm" href="#idp8168416">«Eiendom»</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Elektronisk Forpost-stiftelsen (EFF), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>England, åndsverklov utviklet i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>fantasifoster / chimera, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>farmasøytiske patenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>FCC</dt><dd><dl><dt>om FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>filmer</dt><dd><dl><dt>animerte, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>arkiv for, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>flere opphavsrettigheter knyttet til, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>rimelig bruk av opphavsrettsbeskyttet materiale i, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt></dl></dd><dt>filmindustri</dt><dd><dl><dt>filmtrailer-reklamene til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>luksuskinoer mot video-piratvirksomhet i, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt></dl></dd><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>fjernkontroll for kanalbytte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>flyktige filmer, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>formaliteter, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Forsikring mot feil og utelatelser, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Første grunnlovstillegg, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>førstesalgsdoktrinen, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Fox (filmselskap), <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>føydalsystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Fremskrittsbestemmelsen, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verk basert på, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>fire modaliteter for begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>restaureringsinnsatser på tidligere fasetter av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt> tillatelseskultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>fri programvare/åpen kildekode-programvare (FS/OSS), <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>frie marked, teknologiske endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>generiske legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Globalt posisjoneringssystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>GNU/Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Grunnloven i USA</dt><dd><dl><dt>Første tillegg til, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fremskrittsbestemmelsen i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Handelsbestemmelsen i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om kreativ eiendom, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>opphavsrettsformål som er etablert i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>strukturelle kontrollmekanismer i, <a class="indexterm" href="#beginnings">Opphav</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hack, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>Handelsdepartementet, USAs, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Handikappede amerikanere-loven (1990), <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>håndvåpen, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>hastighet, begrensning av, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Helan og Halvan-filmene, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>historien, arkiv over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>HIV/AIDS-behandlinger, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Høyesterett, USA</dt><dd><dl><dt>om interesseavveininger i opphavsrettslovgivning, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>om luftrom mot landrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>om TV-reklame-bannlysning, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Overhuset, det britiske mot, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tilgang til domstolsavgjørelser fra, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>hvis verdi, så rettighetsteorien, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>immaterielle rettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dd><dl><dt>av legemiddelpatenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>internasjonal organisasjon for saker om, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>informasjonskapsler, Internett, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>innovasjon, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>etablert industri mot, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>insektmiddel, miljøkonsekvensene fra, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>internasjonal lov, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internett</dt><dd><dl><dt>anvendelighet for opphavsrett endret av teknologien til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>blogger om, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>bøker på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt> effektiv innholdsdistribusjon på, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>likemanns-generert rangeringer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>nyhetsinnslag på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>opphavsrettslig regulatorisk balanse mistet med, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opprinnelige frie egenskaper ved, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt><dt>personvernbeskyttelse på, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>radio på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søkemotorer brukt på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>utviklingen av, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt></dl></dd><dt>Internett-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISP-er (Internett-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp8168416">«Eiendom»</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Jentespeidere, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>jernbaneindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>journalistikk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>juridisk system, advokatkostnader i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>juridiske realist-bevegelsen, <a class="indexterm" href="#together">Sammen</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Jusstudier, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>kabel-TV, <a class="indexterm" href="#cabletv">Kabel-TV</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>kamerateknologi, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>kassettopptak, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>Videospillere/opptakere, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt></dl></dd><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>kjørehastighet, begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>komponistens rettigheter versus produsentenes rettigheter i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>komponister, opphavsrettsbeskyttelser for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Kongress-biblioteket, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kongressen i USA</dt><dd><dl><dt>i Grunnlovens Fremskrittsbestemmelse, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>konstitusjonell makt til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om åndsverklover, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om innspillingsindustri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om radio, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>opphavsrettens vernetid utvidet av, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>på videospiller-teknologi, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>kreativ eiendel</dt><dd><dl><dt>andre eiendomsretter vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>hvis verdi, så rettighetsteorien om, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>konstitusjonell tradisjon med, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>sedvanerettsbeskyttelse av, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>kreativitet</dt><dd><dl><dt>juridiske begrensninger på, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>ved å omforme tidligere verk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>krigsveteranpensjoner, <a class="indexterm" href="#shortterms">2. Kortere vernetid</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>kringkastingsflagg, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kultur</dt><dd><dl><dt>kommersiell vs. ikke-kommersiell, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>kunnskap, frihet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>kunst, undergrunns, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>landbruk, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>landbrukspatenter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>landeierskap, lufttrafikk og, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>legemidler</dt><dd><dl><dt>farmasøytisk, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>legers feilbehandlingsanklager mot, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dd><dl><dt>Eldred-saken involvering til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i internasjonal debatt om immateriell eiendom, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>lovbestemte lisenser, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte skader, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>loven</dt><dd><dl><dt>databaser med saksrapporter om, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>føderal vs. nasjonal, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>sedvane vs. positiv, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>som begrensningsmodalitet, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>lufttrafikk, landeierskap mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>makt, konsentrering av, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>manga, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Marihuana-politikkprosjektet, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsbegrensninger, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>markedsføring, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedskonkurranse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Marx-brødrene, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>media</dt><dd><dl><dt>blogg-press på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>eierskapskonsentrering i, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>kommersielle imperativer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>internasjonal piratkopiering av, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>konkurransemessige strategier for, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>myndighetssak mot, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>nettverksfilsystemet til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>om fri programvare, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Windows-operativsystemet til, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>WIPO-møte motarbeidet av, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mikke Mus, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>miljøbevegelse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Millar mot taylor, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>mobiltelefoner, musikk streamet via, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>monopol, opphavsrett som, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>MP3-er, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MP3-spillere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>musikkpublisering, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>antall registreringer på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>erstatning for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>venturekapital for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Nashville sangforfatterforening, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nasjonal skribentunion, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Nei til Elektronisk Tyveri(NET)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NET(Nei til Elektronisk Tyveri)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nick og Norm anti-narkotikakampanjen, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Niende ankekrets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>normer, reguleringspåvirkning fra, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>noteark, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Offentlige Vitenskapsbiblioteket, det (PLoS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>opphavsrett</dt><dd><dl><dt>bruksbegrensninger knyttet til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fire regulatoriske modaliteter til, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>for evig, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fornyelsesevnen til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>konstitusjonelt formål med, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>merking av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>omfang for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>som smal monopolrett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>til naturlige forfattere vs. selskaper, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>varighet til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Opphavsrettslov (1790), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>opplysningstiden, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>orginalisme, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Ørneforumet, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Overhuset, det britiske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallellimport, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>patenter</dt><dd><dl><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i allemannseie (public domain), <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>peer-to-peer (p2p)-fildeling</dt><dd><dl><dt>effektiviteten til, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>forbryterstraff for, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>regulatorisk balanse tapt i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>personvernrettigheter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>piratvirksomhet</dt><dd><dl><dt>avledede verk vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>i Asia, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>i utviklingen av innholdsindustri, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></dd><dt>plateindustrien</dt><dd><dl><dt>artisthonorar i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Internett-radio hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte lisenssystemer i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>opphavsrettsbeskyttelser i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>radiokringkasting og, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søksmål om opphavsrettsbrudd fra, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>PLoS (Offentlige Vitenskapsbiblioteket, det), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a></dt><dt>Politikk, (Aristoteles), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>politisk diskusjon, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>pornografi, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>positiv rett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>pressemeldinger fra Det hvite hus, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>proprietær kode, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Public Enemy, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM-spektrum for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>musikkinnspillinger spilt på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>på Internett, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>rap-musikk, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>lobbymakten til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om Internett-radioavgifter, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>skremselstaktikker til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>stevning i sak om om krenkelse av opphavsrett tatt ut av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>regulering</dt><dd><dl><dt>fire modaliteter for, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>økte straffer ved, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>som beskyttelse av det etablerte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>reklameinnslag, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dd><dl><dt>datanettverkssøkemotor ved, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt></dl></dd><dt>rimelig bruk, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dd><dl><dt>i dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Internett-byrder på, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>juridisk skremselstaktikk mot, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Romeo og Julie (Shakespeare), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#c-acknowledgments">Takk til</a></dt><dt>RPI (Se Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>sedvanerett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>selskaper</dt><dd><dl><dt>i farmasøytisk industri, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>opphavsrettsvernetid for, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>Senatet i USA, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Skotske utgivere, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>søkemotorer, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>søksmål om krenkelse av opphavsrett</dt><dd><dl><dt>bevisst krenkelse-kjennelser i, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>de enkelte saksøkte skremt av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>distribusjonsteknologi mål for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>i plateindustri, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kommersiell kreativitet som hovedformål for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>lovbestemte skader for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>mot student-fildeling, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>overdrevne påstander om, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dd><dl><dt>Høyesteretts utfordring av, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robothund produsert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Sør-Afrika, Republikken, farmasøytisk import til, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>stålindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>Statute of Monopolis (1656), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Storbritannia</dt><dd><dl><dt>historie av opphavsrettslovgivning i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>offentlig kreativt arkiv i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Supermann-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>surfing, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>talefrihet</dt><dd><dl><dt>konstitusjonell garanti for, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Tatel, David, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>teknologi</dt><dd><dl><dt>etablert industri truet av endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opphavsrettens hensikt endret av, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>opphavsrettshåndheving kontrollert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>televisjon</dt><dd><dl><dt>kabel-TV mot kringkasting, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>kontrovers unngått av, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsføring på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt></dl></dd><dt>Thomson, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>tillatelseskultur</dt><dd><dl><dt> fri kultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>TV-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tvangslisens, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Tysk åndsverklov, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>universitetsdatanettverk, p2p-fildeling på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>USAs handelrepresentant (USTR), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>utdanning</dt><dd><dl><dt>fikling som metode for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>i mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>mediekompetanse og, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>utviklingsland, utenlandske patentkostnader i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#together">Sammen</a></dt><dt>Valenti, Jack</dt><dd><dl><dt> om kreative eiendomsrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>valg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>valgforsamling, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>venturekapitalister, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Verdens opphavsrettsorganisasjon (WIPO), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Verdenstoppmøtet om informasjonssamfunnet (WSIS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Videospillere/opptakere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>vitenskapelige tidsskrifter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Web-logger (blogger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Wright-brødrene, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt></dl></div></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-acknowledgments"></a>Takk til</h1></div></div></div><p>
+</p><div class="index"><div class="titlepage"><div><div><h2 class="title"><a name="idp
58457536"></a>Register</h2></div></div></div><div class="index"><div class="indexdiv"><h3>Symboler</h3><dl><dt>11. september 2001, terrorangrep den, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Afrika, medisinering for HIV-pasienter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Aibo robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>AIDS-medisiner, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>akademiske tidsskrifter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Alice i Eventyrland (Carroll), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>alkoholforbud, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>allemannseie (public domain)</dt><dd><dl><dt>balanse for innhold fra USA i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>bibliotek av verk avledet fra, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>definert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>e-bok-begrensninger på, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>lisenssystemet for gjenoppbygging av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>offentlige prosjekter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>tilgangsavgifter for materiale i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tradisjonell frist for konvertering til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Amerikansk forening for juss-biblioteker, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>åndsverklov</dt><dd><dl><dt>engelsk, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>europeisk, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>forbryterstraff for krenkelse av, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>frihet til nyskapning balansert med rimelig kompensasjon i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>historie om amerikansk, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>japansk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>kopier som kjernetema for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>kreativitet hindret av, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>lovbestemte lisenser i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>nyskapning hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om musikkinnspillinger, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>omfang for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>på gjenpublisering vs. endring av opprinnelig verk, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>registreringskrav for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>rimelig bruk og, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>som beskyttelse for skapere, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>som ex post modalitetsregulering, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>teknologi som automatisk håndhever av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>to sentrale mål for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utviklingen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>vernetidsutvidelser i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Ankedomstol</dt><dd><dl><dt>Niende krets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>antiretrovirale legemiddel, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>åpen kildekode-programvare (Se fri programvare/åpen kildekode-programvare (FS/OSS))</dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dd><dl><dt>(se også Internett-arkivet)</dt></dl></dd><dt>Aristoteles, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>arkitektur, begrensninger med opphav i, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>arkiver, digitale, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>offentliggjøringsrettigheter for bilder av, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>retrospektive samlinger om, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>Asia, kommersiell piratvirksomhet i, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>automatiske piano, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>aviser</dt><dd><dl><dt>arkiver over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ownership consolidation of, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt></dl></dd><dt>avledede verk</dt><dd><dl><dt>historisk endring i opphavsrettslig dekning av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>piratvirksomhet vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>rimelig bruk vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>teknologisk utvikling og, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Ayer, Don, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Berlinvedtaket (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>beskyttelse av kunstnere vs. forretningsinteresser, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>bevisst krenkelse, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>biblioteker</dt><dd><dl><dt>arkiveringsfunksjonen til, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>av allemannseid litteratur, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>personvernrettigheter i bruk av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tidsskrifter i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>bilder, eierskap til, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>biler, MP3-lydsystem i, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>biomedisinsk forskning, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>blogger (Web-logger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>bøker</dt><dd><dl><dt>bruktsalg av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Engelsk åndsverklov utviklet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>gratis online-utgivelser av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>på Internett, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tre typer bruksmåter for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>utsolgt fra forlaget, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>bokselgere, Engelske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>boter, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Britiske parlamentet, det, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>bruktplatesalg, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>Camp Chaos, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CARP (Panel for opphavsrettsroyaltyvoldgift), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>CD-er</dt><dd><dl><dt>mikseteknologi og, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>opphavsrettsmerking av, <a class="indexterm" href="#marking">Merking</a></dt><dt>preferanse data på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>priser på, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>salgsnivå for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utenlandsk piratvirksomhet mot, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>-<a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>CD-ROM-er, filmklipp brukt i, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Code (Lessig), <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>codePink-kvinner i fred, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>commerce, interstate, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>copyleft-lisenser, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>coverlåter, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>criminal justice system, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>CTEA, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dd><dl><dt>(se også Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998))</dt></dl></dd><dt>Cyber Rights (Godwin), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>DAT (digital audio tape), <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Data General, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>dataspill, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Democratic Party, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>demokrati</dt><dd><dl><dt>digital deling innen, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>media concentration and, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>semiotisk, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>digitale kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>domenenavn, <a class="indexterm" href="#registration">Registrering og fornying</a></dt><dt>Donaldson mot Beckett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>doujinshi-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Dukk og skjul deg-film, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-bøker, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>e-post, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>eiendomsrettigheter</dt><dd><dl><dt>føydalsystem for, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>lufttrafikk mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>uhåndgripeligheten til, <a class="indexterm" href="#idp55213152">«Eiendom»</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Elektronisk Forpost-stiftelsen (EFF), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>England, åndsverklov utviklet i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>erstatningsrettsreform, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>fantasifoster/chimera, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>farmasøytiske patenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>FCC</dt><dd><dl><dt>om FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>filmer</dt><dd><dl><dt>animerte, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>arkiv for, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>flere opphavsrettigheter knyttet til, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>rimelig bruk av opphavsrettsbeskyttet materiale i, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>filmindustri</dt><dd><dl><dt>filmtrailer-reklamene til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>luksuskinoer mot video-piratvirksomhet i, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>fjernkontroll for kanalbytte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>flyktige filmer, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>formaliteter, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Forsikring mot feil og utelatelser, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Første grunnlovstillegg, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>førstesalgsdoktrinen, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Fox (filmselskap), <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>føydalsystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Fremskrittsbestemmelsen, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verk basert på, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>fire modaliteter for begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>restaureringsinnsatser på tidligere fasetter av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt> tillatelseskultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>fri programvare/åpen kildekode-programvare (FS/OSS), <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>frie marked, teknologiske endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>generiske legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Globalt posisjoneringssystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>GNU/Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Godwin, Mike, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Grunnloven i USA</dt><dd><dl><dt>Første tillegg til, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fremskrittsbestemmelsen i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Handelsbestemmelsen i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om kreativ eiendom, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>opphavsrettsformål som er etablert i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>strukturelle kontrollmekanismer i, <a class="indexterm" href="#beginnings">Opphav</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hack, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>Handelsdepartementet, USAs, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Handikappede amerikanere-loven (1990), <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>håndvåpen, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>hastighet, begrensning av, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Helan og Halvan-filmene, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>historien, arkiv over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>HIV/AIDS-behandlinger, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Hollywoods filmindustri, <a class="indexterm" href="#film">Film</a></dt><dd><dl><dt>(se også filmindustri)</dt></dl></dd><dt>Høyesterett, USA</dt><dd><dl><dt>congressional actions restrained by, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>factions of, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om interesseavveininger i opphavsrettslovgivning, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>om luftrom mot landrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>om TV-reklame-bannlysning, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Overhuset, det britiske mot, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tilgang til domstolsavgjørelser fra, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>hvis verdi, så rettighetsteorien, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>immaterielle rettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dd><dl><dt>av legemiddelpatenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>internasjonal organisasjon for saker om, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>informasjonskapsler, Internett, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>innovasjon, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>(se også kreativitet)</dt><dt>etablert industri mot, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>insektmiddel, miljøkonsekvensene fra, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>internasjonal lov, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internett</dt><dd><dl><dt>anvendelighet for opphavsrett endret av teknologien til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>blogger om, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>bøker på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>domenenavnregistrering på, <a class="indexterm" href="#registration">Registrering og fornying</a></dt><dt> effektiv innholdsdistribusjon på, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>likemanns-generert rangeringer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>nyhetsinnslag på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>opphavsrettslig regulatorisk balanse mistet med, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opprinnelige frie egenskaper ved, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt><dt>personvernbeskyttelse på, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>radio på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søkemotorer brukt på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>utviklingen av, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt></dl></dd><dt>Internett-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>interstate commerce, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISP-er (Internett-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp55213152">«Eiendom»</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Jentespeidere, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>jernbaneindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jones, Day, Reavis og Pogue (Jones Day), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>journalistikk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>juridisk system, advokatkostnader i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>juridiske realist-bevegelsen, <a class="indexterm" href="#together">Sammen</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Jusstudier, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>kabel-TV, <a class="indexterm" href="#cabletv">Kabel-TV</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Kahle, Brewster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>kamerateknologi, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>kassettopptak, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>Videospillere/opptakere, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Kennedy, Anthony, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>kjørehastighet, begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>komponistens rettigheter versus produsentenes rettigheter i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>komponister, opphavsrettsbeskyttelser for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Kongress-biblioteket, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kongressen i USA</dt><dd><dl><dt>i Grunnlovens Fremskrittsbestemmelse, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>konstitusjonell makt til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om åndsverklover, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om innspillingsindustri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om radio, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>opphavsrettens vernetid utvidet av, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>på videospiller-teknologi, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Supreme Court restraint on, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>kreativ eiendel, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dd><dl><dt>(se også immaterielle rettigheter)</dt><dt>andre eiendomsretter vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>hvis verdi, så rettighetsteorien om, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>konstitusjonell tradisjon med, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>rettspraksisbeskyttelse av, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>kreativitet, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dd><dl><dt>(se også innovasjon)</dt><dt>juridiske begrensninger på, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>ved å omforme tidligere verk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>krigsveteranpensjoner, <a class="indexterm" href="#shortterms">2. Kortere vernetid</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>kringkastingsflagg, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kultur, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dd><dl><dt>(se også fri kultur)</dt><dt>kommersiell vs. ikke-kommersiell, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>kunnskap, frihet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>kunst, undergrunns, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>landbruk, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>landbrukspatenter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>landeierskap, lufttrafikk og, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>legemidler</dt><dd><dl><dt>farmasøytisk, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>legers feilbehandlingsanklager mot, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dd><dl><dt>Eldred-saken involvering til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i internasjonal debatt om immateriell eiendom, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>lovbestemte lisenser, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte skader, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>loven</dt><dd><dl><dt>databaser med saksrapporter om, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>føderal vs. nasjonal, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>sedvane vs. positiv, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>som begrensningsmodalitet, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>lufttrafikk, landeierskap mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>makt, konsentrering av, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>manga, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Marihuana-politikkprosjektet, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsbegrensninger, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>markedsføring, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedskonkurranse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Marx-brødrene, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>media</dt><dd><dl><dt>blogg-press på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>eierskapskonsentrering i, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>kommersielle imperativer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>internasjonal piratkopiering av, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>konkurransemessige strategier for, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>myndighetssak mot, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>nettverksfilsystemet til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>om fri programvare, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Windows-operativsystemet til, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>WIPO-møte motarbeidet av, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mikke Mus, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>miljøbevegelse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Millar mot taylor, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>mobiltelefoner, musikk streamet via, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>monopol, opphavsrett som, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Monroe, Marilyn, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>MP3-er, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MP3-spillere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>musikkinnspillinger (Se peer-to-peer (p2p)-fildeling) (Se plateindustrien)</dt><dd><dl><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>musikkpublisering, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>antall registreringer på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>erstatning for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>innspillingsindustriens sporing av brukerne til, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>materiale som bryter opphavsretten blokkert av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>variasjon i innhold på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>venturekapital for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Nashville sangforfatterforening, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nasjonal skribentunion, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Nei til Elektronisk Tyveri(NET)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NET(Nei til Elektronisk Tyveri)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Nettsteder, domenenavnregistrering av, <a class="indexterm" href="#registration">Registrering og fornying</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nick og Norm anti-narkotikakampanjen, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Niende ankekrets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>normer, reguleringspåvirkning fra, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>noteark, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Offentlige Vitenskapsbiblioteket, det (PLoS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>opphavsrett, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dd><dl><dt>(se også åndsverklov)</dt><dt>bruksbegrensninger knyttet til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fire regulatoriske modaliteter til, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>for evig, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fornyelsesevnen til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>frivillig reforminnsats rundt, <a class="indexterm" href="#c-afterword">Etterord</a>-<a class="indexterm" href="#c-afterword">Etterord</a>, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>konstitusjonelt formål med, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>merking av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>omfang for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>som smal monopolrett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>til naturlige forfattere vs. selskaper, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>varighet til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Opphavsrettslov (1790), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>opplysningstiden, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>orginalisme, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Ørneforumet, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Overhuset, det britiske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallellimport, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>patenter</dt><dd><dl><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i allemannseie (public domain), <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om filmteknologi, <a class="indexterm" href="#film">Film</a>-<a class="indexterm" href="#film">Film</a></dt><dt>om legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>peer-to-peer (p2p)-fildeling</dt><dd><dl><dt>beskyttelser mot brudd på opphavsretten i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>effektiviteten til, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>fire typer av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>forbryterstraff for, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>regulatorisk balanse tapt i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>personvernrettigheter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>piratvirksomhet</dt><dd><dl><dt>avledede verk vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>i Asia, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>i utviklingen av innholdsindustri, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></dd><dt>plateindustrien</dt><dd><dl><dt>artisthonorar i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Internett-radio hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte lisenssystemer i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>opphavsrettsbeskyttelser i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>radiokringkasting og, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søksmål om opphavsrettsbrudd fra, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>PLoS (Offentlige Vitenskapsbiblioteket, det), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a></dt><dt>Politikk, (Aristoteles), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>politisk diskusjon, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>pornografi, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>positiv rett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>pressemeldinger fra Det hvite hus, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>proprietær kode, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Public Enemy, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM-spektrum for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>musikkinnspillinger spilt på, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>ownership consolidation in, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>på Internett, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>rap-musikk, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-afterword">Etterord</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>lobbymakten til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om Internett-radioavgifter, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>skremselstaktikker til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>stevning i sak om om krenkelse av opphavsrett tatt ut av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>regulering</dt><dd><dl><dt>fire modaliteter for, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>økte straffer ved, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>som beskyttelse av det etablerte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>reklameinnslag, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dd><dl><dt>datanettverkssøkemotor ved, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt></dl></dd><dt>Republican Party, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>rettspraksis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>rimelig bruk, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dd><dl><dt>i dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Internett-byrder på, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>juridisk skremselstaktikk mot, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Romeo og Julie (Shakespeare), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#c-acknowledgments">Takk til</a></dt><dt>RPI (Se Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Scalia, Antonin, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>selskaper</dt><dd><dl><dt>i farmasøytisk industri, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>opphavsrettsvernetid for, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>semiotisk demokrati, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Senatet i USA, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Skotske utgivere, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>søkemotorer, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>søksmål om krenkelse av opphavsrett</dt><dd><dl><dt>bevisst krenkelse-kjennelser i, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>de enkelte saksøkte skremt av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>distribusjonsteknologi mål for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>i plateindustri, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kommersiell kreativitet som hovedformål for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>lovbestemte skader for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>mot student-fildeling, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>nulltoleranse i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>overdrevne påstander om, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dd><dl><dt>Høyesteretts utfordring av, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robothund produsert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Betamax-teknologi utviklet av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Sør-Afrika, Republikken, farmasøytisk import til, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>stålindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>Statute of Monopolis (1656), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Storbritannia</dt><dd><dl><dt>historie av opphavsrettslovgivning i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>offentlig kreativt arkiv i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Supermann-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>surfing, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>talefrihet</dt><dd><dl><dt>konstitusjonell garanti for, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Tatel, David, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>teknologi</dt><dd><dl><dt>etablert industri truet av endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opphavsrettens hensikt endret av, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>opphavsrettshåndheving kontrollert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>televisjon</dt><dd><dl><dt>kabel-TV mot kringkasting, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>kontrovers unngått av, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsføring på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt></dl></dd><dt>Thomas, Clarence, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>tillatelseskultur</dt><dd><dl><dt> fri kultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>TV-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tvangslisens, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Tysk åndsverklov, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>universitetsdatanettverk, p2p-fildeling på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>USA vs. Lopez, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>USA vs. Morrison, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>USAs handelrepresentant (USTR), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>USAs patent og varemerkekontor (Patent and Trademark Office), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>utdanning</dt><dd><dl><dt>fikling som metode for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>i mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>mediekompetanse og, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>utviklingsland, utenlandske patentkostnader i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#together">Sammen</a></dt><dt>Valenti, Jack</dt><dd><dl><dt>bakgrunnen til, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Eldred-loven motarbeidet av, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt> om kreative eiendomsrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>på videospiller-teknologi, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>uendelig opphavsrettsvernetid foreslått av, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>valg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>valgforsamling, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>venturekapitalister, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Verdens opphavsrettsorganisasjon (WIPO), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Verdenstoppmøtet om informasjonssamfunnet (WSIS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Videospillere/opptakere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>vitenskapelige tidsskrifter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Web-logger (blogger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Wright-brødrene, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt></dl></div></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-acknowledgments"></a>Takk til</h1></div></div></div><p>
Denne boken er produktet av en lang, og så langt, mislykket kamp som begynte
da jeg leste om Eric Eldreds krig for å sørge for at bøker forble
frie. Eldreds innsats bidro til å lansere en bevegelse, Fri
kultur-bevegelsen, og denne boken er tilegnet ham.
-</p><a class="indexterm" name="idp
11295696"></a><p>
+</p><a class="indexterm" name="idp
58460800"></a><p>
Jeg fikk veiledning på ulike steder fra venner og akademikere, inkludert
Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose og
Kathleen Sullivan. Og jeg fikk korreksjoner og veiledning fra mange
</p><p>
Yuko Noguchi hjalp meg å forstå lovene i Japan, så vel som Japans
-kultur. Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med
-forundersøkelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto
+kultur. Jeg er henne takknemlig, og til de mange andre i Japan som hjalp meg
+med forundersøkelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto
Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro
Yonezawa. Jeg er også takknemlig overfor professor Nobuhiro Nakayama og
Tokyo University Business Law Center, som ga meg muligheten til å bruke tid
feil, og en krasj i e-postsystemet mitt gjorde at jeg mistet en haug med
flotte svar.)
</p><p>
-Richard Stallman og Michael Carroll har begge lest hele boken i utkast, og
+Richard Stallman og Michael Carroll har begge lest utkast til hele boken, og
hver av dem har bidratt med svært nyttige korreksjoner og råd. Michael hjalp
meg å se mer tydelig betydningen av regulering for avledede verk. Og
Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er
</p></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-about-this-edition"></a>Om denne utgaven</h1></div></div></div><p>
Denne utgaven av <em class="citetitle">Fri kultur</em> er resultatet av tre års
frivillig arbeide. Idéen kom ut av en diskusjon jeg hadde med en venn for
-omtrent ti år siden om opphavsrettsdiskusjonen i Norge, og hvor sjelden
+omtrent ti år siden om opphavsrettsdebatten i Norge, og hvor sjelden
utfordringene med lang opphavsrett kom opp i offentlig debatt. For litt mer
enn tre år siden tok jeg endelig en ny titt på idéen og bestemte meg for å
gi ut en bokmålsversjon av <em class="citetitle">Fri kultur</em>, oversatt og
bidro med den første oversettelsen. Ralph Amissah og hans SiSu-utgave bidro
med registeroppføringer. Morten Sickel og Alexander Alemayhu hjalp til med
figurene, ved å tegne av noen av bitmap-ene som vektorbilder. Wivi
-Reinholdtsen, Ingrid Yrvin og Johannes Larsen bidro med svært verdiful
-korrekturlesing. Håkon Wium Lie hjalp meg med å spore ned gode
-erstatningsskrifttyper uten brukbegrensninger for dem som var i den
+Reinholdtsen, Ingrid Yrvin, Johannes Larsen og Gisle Hannemyr bidro med
+svært verdiful korrekturlesing. Håkon Wium Lie hjalp meg med å spore opp
+gode erstatningsskrifttyper uten brukbegrensninger for dem som var i den
originale PDF-en. PDF-typesettingen ble gjort med dblatex, som vi valgte i
stedet for alternativene takket være uvurderlig og kjapp hjelp fra Benoît
Guillon og Andreas Hoenen. Thomas Gramstad donerte ISBN-nummer som trengs
at jeg kom i mål med prosjektet – jeg er svært takknemlig for at han
fortsatt hadde de originale skjermbildene etter 11 år.
</p><p>
-Jeg er svært takknemlig for at min familie har vært tålmodig med meg gjennom
-dette prosjektet.
+På slutten av prosjektet, da oversettelsen var ferdig og det var på tide å
+publisere, ble NUUG Foundation spurt og sa seg villig til å sponse bøker
+til Stortingsrepresentantene og andre beslutningstakere i Norge.
</p><p>
-— Petter Reinholdtsen, Oslo 2015-08-27
- </p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp11311840"></a>Register</h1></div></div></div><div class="index"><div class="indexdiv"><h3>Symboler</h3><dl><dt>11. september 2001, terrorangrep den, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Afrika, medisinering for HIV-pasienter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Aibo robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>AIDS-medisiner, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>akademiske tidsskrifter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Alice i Eventyrland (Carroll), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>alkoholforbud, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>allemannseie (public domain)</dt><dd><dl><dt>balanse for innhold fra USA i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>bibliotek av verk avledet fra, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>definert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>e-bok-begrensninger på, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>lisenssystemet for å gjenoppbygging av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>offentlige prosjekter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>tilgangsavgifter for materiale i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tradisjonell frist for konvertering til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Amerikansk forening for juss-biblioteker, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>åndsverklov</dt><dd><dl><dt>engelsk, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>europeisk, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>forbryterstraff for krenkelse av, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>frihet til nyskapning balansert med rimelig kompensasjon i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>historie om amerikansk, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>japansk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>kopier som kjernetema for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>kreativitet hindret av, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>lovbestemte lisenser i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>nyskapning hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om musikkinnspillinger, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>omfang for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>på gjenpublisering vs. endring av opprinnelig verk, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>registreringskrav for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>rimelig bruk og, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>som beskyttelse for skapere, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>som ex post modalitetsregulering, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>teknologi som automatisk håndhever av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>utviklingen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>vernetidsutvidelser i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Ankedomstol</dt><dd><dl><dt>Niende krets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>antiretrovirale legemiddel, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dd><dl><dt>(se også Internett-arkivet)</dt></dl></dd><dt>Aristoteles, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>arkitektur, begrensninger med opphav i, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>arkiver, digitale, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>offentliggjøringsrettigheter for bilder av, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>retrospektive samlinger om, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>Asia, kommersiell piratvirksomhet i, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>automatiske piano, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>aviser</dt><dd><dl><dt>arkiver over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>avledede verk</dt><dd><dl><dt>historisk endring i opphavsrettslig dekning av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>piratvirksomhet vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>rimelig bruk vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>teknologisk utvikling og, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Ayer, Don, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Berlinvedtaket (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>beskyttelse av kunstnere vs. forretningsinteresser, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>bevisst krenkelse, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>biblioteker</dt><dd><dl><dt>arkiveringsfunksjonen til, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>av allemannseid litteratur, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>personvernrettigheter i bruk av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tidsskrifter i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>bilder, eierskap til, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>biler, MP3-lydsystem i, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>biomedisinsk forskning, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>blogger (Web-logger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>bøker</dt><dd><dl><dt>bruktsalg av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>Engelsk åndsverklov utviklet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>gratis online-utgivelser av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>på Internett, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tre typer brukmåter for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>utsolgt fra forlaget, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt></dl></dd><dt>bokselgere, Engelske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>boter, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Britiske parlamentet, det, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>Camp Chaos, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CARP (Panel for opphavsrettsroyaltyvoldgift), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>CD-er</dt><dd><dl><dt>mikseteknologi og, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>opphavsrettsmerking av, <a class="indexterm" href="#marking">Merking</a></dt><dt>preferanse data på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>priser på, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>salgsnivå for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utenlandsk piratvirksomhet mot, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>-<a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>CD-ROM-er, filmklipp brukt i, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>codePink-kvinner i fred, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>copyleft-lisenser, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>coverlåter, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Data General, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>dataspill, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>demokrati</dt><dd><dl><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>digitale kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Donaldson mot Beckett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>doujinshi-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Dukk og skjul deg-film, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-bøker, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>e-post, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>eiendomsrettigheter</dt><dd><dl><dt>føydalsystem for, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>lufttrafikk mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>uhåndgripeligheten til, <a class="indexterm" href="#idp8168416">«Eiendom»</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Elektronisk Forpost-stiftelsen (EFF), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>England, åndsverklov utviklet i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>fantasifoster / chimera, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>farmasøytiske patenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>FCC</dt><dd><dl><dt>om FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>filmer</dt><dd><dl><dt>animerte, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>arkiv for, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>flere opphavsrettigheter knyttet til, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>rimelig bruk av opphavsrettsbeskyttet materiale i, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt></dl></dd><dt>filmindustri</dt><dd><dl><dt>filmtrailer-reklamene til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>luksuskinoer mot video-piratvirksomhet i, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt></dl></dd><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>fjernkontroll for kanalbytte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>flyktige filmer, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>formaliteter, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Forsikring mot feil og utelatelser, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Første grunnlovstillegg, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>førstesalgsdoktrinen, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Fox (filmselskap), <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>føydalsystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Fremskrittsbestemmelsen, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verk basert på, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>fire modaliteter for begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>restaureringsinnsatser på tidligere fasetter av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt> tillatelseskultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>fri programvare/åpen kildekode-programvare (FS/OSS), <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>frie marked, teknologiske endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>generiske legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Globalt posisjoneringssystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>GNU/Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Grunnloven i USA</dt><dd><dl><dt>Første tillegg til, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fremskrittsbestemmelsen i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Handelsbestemmelsen i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om kreativ eiendom, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>opphavsrettsformål som er etablert i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>strukturelle kontrollmekanismer i, <a class="indexterm" href="#beginnings">Opphav</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hack, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>Handelsdepartementet, USAs, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Handikappede amerikanere-loven (1990), <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>håndvåpen, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>hastighet, begrensning av, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Helan og Halvan-filmene, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>historien, arkiv over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>HIV/AIDS-behandlinger, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Høyesterett, USA</dt><dd><dl><dt>om interesseavveininger i opphavsrettslovgivning, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>om luftrom mot landrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>om TV-reklame-bannlysning, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Overhuset, det britiske mot, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tilgang til domstolsavgjørelser fra, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>hvis verdi, så rettighetsteorien, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>immaterielle rettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dd><dl><dt>av legemiddelpatenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>internasjonal organisasjon for saker om, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>informasjonskapsler, Internett, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>innovasjon, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>etablert industri mot, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>insektmiddel, miljøkonsekvensene fra, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>internasjonal lov, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internett</dt><dd><dl><dt>anvendelighet for opphavsrett endret av teknologien til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>blogger om, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>bøker på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt> effektiv innholdsdistribusjon på, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>likemanns-generert rangeringer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>nyhetsinnslag på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>opphavsrettslig regulatorisk balanse mistet med, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opprinnelige frie egenskaper ved, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt><dt>personvernbeskyttelse på, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>radio på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søkemotorer brukt på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>utviklingen av, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt></dl></dd><dt>Internett-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISP-er (Internett-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp8168416">«Eiendom»</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Jentespeidere, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>jernbaneindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>journalistikk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>juridisk system, advokatkostnader i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>juridiske realist-bevegelsen, <a class="indexterm" href="#together">Sammen</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Jusstudier, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>kabel-TV, <a class="indexterm" href="#cabletv">Kabel-TV</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>kamerateknologi, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>kassettopptak, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>Videospillere/opptakere, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt></dl></dd><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>kjørehastighet, begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>komponistens rettigheter versus produsentenes rettigheter i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>komponister, opphavsrettsbeskyttelser for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Kongress-biblioteket, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kongressen i USA</dt><dd><dl><dt>i Grunnlovens Fremskrittsbestemmelse, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>konstitusjonell makt til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om åndsverklover, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om innspillingsindustri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om radio, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>opphavsrettens vernetid utvidet av, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>på videospiller-teknologi, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>kreativ eiendel</dt><dd><dl><dt>andre eiendomsretter vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>hvis verdi, så rettighetsteorien om, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>konstitusjonell tradisjon med, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>sedvanerettsbeskyttelse av, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>kreativitet</dt><dd><dl><dt>juridiske begrensninger på, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>ved å omforme tidligere verk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>krigsveteranpensjoner, <a class="indexterm" href="#shortterms">2. Kortere vernetid</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>kringkastingsflagg, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kultur</dt><dd><dl><dt>kommersiell vs. ikke-kommersiell, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>kunnskap, frihet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>kunst, undergrunns, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>landbruk, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>landbrukspatenter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>landeierskap, lufttrafikk og, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>legemidler</dt><dd><dl><dt>farmasøytisk, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>legers feilbehandlingsanklager mot, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dd><dl><dt>Eldred-saken involvering til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i internasjonal debatt om immateriell eiendom, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>lovbestemte lisenser, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte skader, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>loven</dt><dd><dl><dt>databaser med saksrapporter om, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>føderal vs. nasjonal, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>sedvane vs. positiv, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>som begrensningsmodalitet, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>lufttrafikk, landeierskap mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>makt, konsentrering av, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>manga, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Marihuana-politikkprosjektet, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsbegrensninger, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>markedsføring, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedskonkurranse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Marx-brødrene, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>media</dt><dd><dl><dt>blogg-press på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>eierskapskonsentrering i, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>kommersielle imperativer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>internasjonal piratkopiering av, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>konkurransemessige strategier for, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>myndighetssak mot, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>nettverksfilsystemet til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>om fri programvare, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Windows-operativsystemet til, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>WIPO-møte motarbeidet av, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mikke Mus, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>miljøbevegelse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Millar mot taylor, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>mobiltelefoner, musikk streamet via, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>monopol, opphavsrett som, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>MP3-er, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MP3-spillere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>musikkpublisering, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>antall registreringer på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>erstatning for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>venturekapital for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Nashville sangforfatterforening, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nasjonal skribentunion, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Nei til Elektronisk Tyveri(NET)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NET(Nei til Elektronisk Tyveri)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nick og Norm anti-narkotikakampanjen, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Niende ankekrets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>normer, reguleringspåvirkning fra, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>noteark, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Offentlige Vitenskapsbiblioteket, det (PLoS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>opphavsrett</dt><dd><dl><dt>bruksbegrensninger knyttet til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fire regulatoriske modaliteter til, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>for evig, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fornyelsesevnen til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>konstitusjonelt formål med, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>merking av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>omfang for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>som smal monopolrett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>til naturlige forfattere vs. selskaper, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>varighet til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Opphavsrettslov (1790), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>opplysningstiden, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>orginalisme, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Ørneforumet, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Overhuset, det britiske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallellimport, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>patenter</dt><dd><dl><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i allemannseie (public domain), <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>peer-to-peer (p2p)-fildeling</dt><dd><dl><dt>effektiviteten til, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>forbryterstraff for, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>regulatorisk balanse tapt i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>personvernrettigheter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>piratvirksomhet</dt><dd><dl><dt>avledede verk vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>i Asia, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>i utviklingen av innholdsindustri, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></dd><dt>plateindustrien</dt><dd><dl><dt>artisthonorar i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Internett-radio hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte lisenssystemer i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>opphavsrettsbeskyttelser i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>radiokringkasting og, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søksmål om opphavsrettsbrudd fra, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>PLoS (Offentlige Vitenskapsbiblioteket, det), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a></dt><dt>Politikk, (Aristoteles), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>politisk diskusjon, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>pornografi, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>positiv rett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>pressemeldinger fra Det hvite hus, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>proprietær kode, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Public Enemy, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM-spektrum for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>musikkinnspillinger spilt på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>på Internett, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>rap-musikk, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>lobbymakten til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om Internett-radioavgifter, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>skremselstaktikker til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>stevning i sak om om krenkelse av opphavsrett tatt ut av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>regulering</dt><dd><dl><dt>fire modaliteter for, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>økte straffer ved, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>som beskyttelse av det etablerte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>reklameinnslag, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dd><dl><dt>datanettverkssøkemotor ved, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt></dl></dd><dt>rimelig bruk, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dd><dl><dt>i dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Internett-byrder på, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>juridisk skremselstaktikk mot, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Romeo og Julie (Shakespeare), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#c-acknowledgments">Takk til</a></dt><dt>RPI (Se Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>sedvanerett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>selskaper</dt><dd><dl><dt>i farmasøytisk industri, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>opphavsrettsvernetid for, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>Senatet i USA, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Skotske utgivere, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>søkemotorer, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>søksmål om krenkelse av opphavsrett</dt><dd><dl><dt>bevisst krenkelse-kjennelser i, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>de enkelte saksøkte skremt av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>distribusjonsteknologi mål for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>i plateindustri, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kommersiell kreativitet som hovedformål for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>lovbestemte skader for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>mot student-fildeling, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>overdrevne påstander om, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dd><dl><dt>Høyesteretts utfordring av, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robothund produsert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Sør-Afrika, Republikken, farmasøytisk import til, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>stålindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>Statute of Monopolis (1656), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Storbritannia</dt><dd><dl><dt>historie av opphavsrettslovgivning i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>offentlig kreativt arkiv i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Supermann-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>surfing, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>talefrihet</dt><dd><dl><dt>konstitusjonell garanti for, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Tatel, David, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>teknologi</dt><dd><dl><dt>etablert industri truet av endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opphavsrettens hensikt endret av, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>opphavsrettshåndheving kontrollert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>televisjon</dt><dd><dl><dt>kabel-TV mot kringkasting, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>kontrovers unngått av, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsføring på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt></dl></dd><dt>Thomson, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>tillatelseskultur</dt><dd><dl><dt> fri kultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>TV-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tvangslisens, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Tysk åndsverklov, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>universitetsdatanettverk, p2p-fildeling på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>USAs handelrepresentant (USTR), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>utdanning</dt><dd><dl><dt>fikling som metode for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>i mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>mediekompetanse og, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>utviklingsland, utenlandske patentkostnader i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#together">Sammen</a></dt><dt>Valenti, Jack</dt><dd><dl><dt> om kreative eiendomsrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>valg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>valgforsamling, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>venturekapitalister, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Verdens opphavsrettsorganisasjon (WIPO), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Verdenstoppmøtet om informasjonssamfunnet (WSIS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Videospillere/opptakere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken — igjen</a></dt><dt>vitenskapelige tidsskrifter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Web-logger (blogger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster / Chimera</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Wright-brødrene, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp7118240">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp11312096"></a></h1><p>
+Jeg er svært takknemlig for at Mari og min familie har vært tålmodig med meg
+gjennom dette prosjektet.
+ </p><p>
+— Petter Reinholdtsen, Oslo 2015-09-07
+ </p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp58479792"></a>Register</h1></div></div></div><div class="index"><div class="indexdiv"><h3>Symboler</h3><dl><dt>11. september 2001, terrorangrep den, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Afrika, medisinering for HIV-pasienter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Aibo robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>AIDS-medisiner, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>akademiske tidsskrifter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Alice i Eventyrland (Carroll), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>alkoholforbud, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>allemannseie (public domain)</dt><dd><dl><dt>balanse for innhold fra USA i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>bibliotek av verk avledet fra, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>definert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>e-bok-begrensninger på, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>lisenssystemet for gjenoppbygging av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>offentlige prosjekter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>tilgangsavgifter for materiale i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tradisjonell frist for konvertering til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Amerikansk forening for juss-biblioteker, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>åndsverklov</dt><dd><dl><dt>engelsk, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>europeisk, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>forbryterstraff for krenkelse av, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>frihet til nyskapning balansert med rimelig kompensasjon i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>historie om amerikansk, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>japansk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>kopier som kjernetema for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>kreativitet hindret av, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>lovbestemte lisenser i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>nyskapning hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om musikkinnspillinger, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>omfang for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>på gjenpublisering vs. endring av opprinnelig verk, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>registreringskrav for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>rimelig bruk og, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>som beskyttelse for skapere, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>som ex post modalitetsregulering, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>teknologi som automatisk håndhever av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>to sentrale mål for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utviklingen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>vernetidsutvidelser i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Ankedomstol</dt><dd><dl><dt>Niende krets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>antiretrovirale legemiddel, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>åpen kildekode-programvare (Se fri programvare/åpen kildekode-programvare (FS/OSS))</dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dd><dl><dt>(se også Internett-arkivet)</dt></dl></dd><dt>Aristoteles, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>arkitektur, begrensninger med opphav i, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>arkiver, digitale, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>offentliggjøringsrettigheter for bilder av, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>retrospektive samlinger om, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>Asia, kommersiell piratvirksomhet i, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>AT&T, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>automatiske piano, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>aviser</dt><dd><dl><dt>arkiver over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ownership consolidation of, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt></dl></dd><dt>avledede verk</dt><dd><dl><dt>historisk endring i opphavsrettslig dekning av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>piratvirksomhet vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>rimelig bruk vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>teknologisk utvikling og, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Ayer, Don, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Barnes & Noble, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Berlinvedtaket (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>beskyttelse av kunstnere vs. forretningsinteresser, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>bevisst krenkelse, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>biblioteker</dt><dd><dl><dt>arkiveringsfunksjonen til, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>av allemannseid litteratur, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>personvernrettigheter i bruk av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>tidsskrifter i, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>bilder, eierskap til, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>biler, MP3-lydsystem i, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>biomedisinsk forskning, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>blogger (Web-logger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>bøker</dt><dd><dl><dt>bruktsalg av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Engelsk åndsverklov utviklet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>gratis online-utgivelser av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>på Internett, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tre typer bruksmåter for, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>utsolgt fra forlaget, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>bokselgere, Engelske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>boter, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Britiske parlamentet, det, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>bruktplatesalg, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>Camp Chaos, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CARP (Panel for opphavsrettsroyaltyvoldgift), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>CD-er</dt><dd><dl><dt>mikseteknologi og, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>opphavsrettsmerking av, <a class="indexterm" href="#marking">Merking</a></dt><dt>preferanse data på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>priser på, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>salgsnivå for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utenlandsk piratvirksomhet mot, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>-<a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>CD-ROM-er, filmklipp brukt i, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>-<a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Code (Lessig), <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>codePink-kvinner i fred, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>commerce, interstate, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>copyleft-lisenser, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>coverlåter, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>criminal justice system, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>CTEA, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dd><dl><dt>(se også Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998))</dt></dl></dd><dt>Cyber Rights (Godwin), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>DAT (digital audio tape), <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Data General, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>dataspill, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Democratic Party, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>demokrati</dt><dd><dl><dt>digital deling innen, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>media concentration and, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>semiotisk, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>Digital Copyright (Litman), <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>digitale kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>domenenavn, <a class="indexterm" href="#registration">Registrering og fornying</a></dt><dt>Donaldson mot Beckett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>doujinshi-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Down and Out in the Magic Kingdom (Doctorow), <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Dukk og skjul deg-film, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>e-bøker, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>e-post, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>eiendomsrettigheter</dt><dd><dl><dt>føydalsystem for, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>lufttrafikk mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>uhåndgripeligheten til, <a class="indexterm" href="#idp55213152">«Eiendom»</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Elektronisk Forpost-stiftelsen (EFF), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Else, Jon, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>England, åndsverklov utviklet i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>erstatningsrettsreform, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>fantasifoster/chimera, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>farmasøytiske patenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>FCC</dt><dd><dl><dt>om FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>filmer</dt><dd><dl><dt>animerte, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>arkiv for, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>flere opphavsrettigheter knyttet til, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>rimelig bruk av opphavsrettsbeskyttet materiale i, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>filmindustri</dt><dd><dl><dt>filmtrailer-reklamene til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>luksuskinoer mot video-piratvirksomhet i, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>fjernkontroll for kanalbytte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Florida, Richard, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>flyktige filmer, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>formaliteter, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Forsikring mot feil og utelatelser, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Første grunnlovstillegg, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>førstesalgsdoktrinen, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Fox (filmselskap), <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>føydalsystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Fremskrittsbestemmelsen, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verk basert på, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>fire modaliteter for begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>restaureringsinnsatser på tidligere fasetter av, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt> tillatelseskultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>fri programvare/åpen kildekode-programvare (FS/OSS), <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>frie marked, teknologiske endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>generiske legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Globalt posisjoneringssystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>GNU/Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Godwin, Mike, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Grunnloven i USA</dt><dd><dl><dt>Første tillegg til, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Fremskrittsbestemmelsen i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Handelsbestemmelsen i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om kreativ eiendom, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>opphavsrettsformål som er etablert i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>strukturelle kontrollmekanismer i, <a class="indexterm" href="#beginnings">Opphav</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hack, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>Handelsdepartementet, USAs, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Handikappede amerikanere-loven (1990), <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>håndvåpen, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>hastighet, begrensning av, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Helan og Halvan-filmene, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>historien, arkiv over, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>HIV/AIDS-behandlinger, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Hollywoods filmindustri, <a class="indexterm" href="#film">Film</a></dt><dd><dl><dt>(se også filmindustri)</dt></dl></dd><dt>Høyesterett, USA</dt><dd><dl><dt>congressional actions restrained by, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>factions of, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om interesseavveininger i opphavsrettslovgivning, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>om luftrom mot landrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>om TV-reklame-bannlysning, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Overhuset, det britiske mot, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tilgang til domstolsavgjørelser fra, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt></dl></dd><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>hvis verdi, så rettighetsteorien, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>immaterielle rettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dd><dl><dt>av legemiddelpatenter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>internasjonal organisasjon for saker om, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>informasjonskapsler, Internett, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>innovasjon, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>(se også kreativitet)</dt><dt>etablert industri mot, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>insektmiddel, miljøkonsekvensene fra, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>internasjonal lov, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internett</dt><dd><dl><dt>anvendelighet for opphavsrett endret av teknologien til, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>blogger om, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>bøker på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>domenenavnregistrering på, <a class="indexterm" href="#registration">Registrering og fornying</a></dt><dt> effektiv innholdsdistribusjon på, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>likemanns-generert rangeringer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>nyhetsinnslag på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>opphavsrettslig regulatorisk balanse mistet med, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opprinnelige frie egenskaper ved, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt><dt>personvernbeskyttelse på, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>radio på, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søkemotorer brukt på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>utviklingen av, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#usnow">Oss, nå</a></dt></dl></dd><dt>Internett-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>interstate commerce, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISP-er (Internett-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp55213152">«Eiendom»</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Jentespeidere, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>jernbaneindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jones, Day, Reavis og Pogue (Jones Day), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>journalistikk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>juridisk system, advokatkostnader i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>juridiske realist-bevegelsen, <a class="indexterm" href="#together">Sammen</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Jusstudier, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>kabel-TV, <a class="indexterm" href="#cabletv">Kabel-TV</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Kahle, Brewster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>kamerateknologi, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>kassettopptak, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>Videospillere/opptakere, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt></dl></dd><dt>Kazaa, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Keaton, Buster, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Kennedy, Anthony, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>kjørehastighet, begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>komponistens rettigheter versus produsentenes rettigheter i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>komponister, opphavsrettsbeskyttelser for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Kongress-biblioteket, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kongressen i USA</dt><dd><dl><dt>i Grunnlovens Fremskrittsbestemmelse, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>konstitusjonell makt til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om åndsverklover, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om innspillingsindustri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om radio, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>opphavsrettens vernetid utvidet av, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>på videospiller-teknologi, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Supreme Court restraint on, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>kreativ eiendel, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dd><dl><dt>(se også immaterielle rettigheter)</dt><dt>andre eiendomsretter vs., <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>hvis verdi, så rettighetsteorien om, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>konstitusjonell tradisjon med, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>rettspraksisbeskyttelse av, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>kreativitet, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dd><dl><dt>(se også innovasjon)</dt><dt>juridiske begrensninger på, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>ved å omforme tidligere verk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>krigsveteranpensjoner, <a class="indexterm" href="#shortterms">2. Kortere vernetid</a></dt><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>kringkastingsflagg, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kultur, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dd><dl><dt>(se også fri kultur)</dt><dt>kommersiell vs. ikke-kommersiell, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>kunnskap, frihet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>kunst, undergrunns, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>landbruk, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>landbrukspatenter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>landeierskap, lufttrafikk og, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk versus rimelig bruk</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>legemidler</dt><dd><dl><dt>farmasøytisk, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>legers feilbehandlingsanklager mot, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dd><dl><dt>Eldred-saken involvering til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i internasjonal debatt om immateriell eiendom, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Lexis and Westlaw, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>lovbestemte lisenser, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte skader, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>loven</dt><dd><dl><dt>databaser med saksrapporter om, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>føderal vs. nasjonal, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>sedvane vs. positiv, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>som begrensningsmodalitet, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>lufttrafikk, landeierskap mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>makt, konsentrering av, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>manga, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Marihuana-politikkprosjektet, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsbegrensninger, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>markedsføring, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedskonkurranse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Marx-brødrene, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>media</dt><dd><dl><dt>blogg-press på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>eierskapskonsentrering i, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>kommersielle imperativer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>internasjonal piratkopiering av, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>konkurransemessige strategier for, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>myndighetssak mot, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>nettverksfilsystemet til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>om fri programvare, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Windows-operativsystemet til, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>WIPO-møte motarbeidet av, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mikke Mus, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>miljøbevegelse, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Millar mot taylor, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>mobiltelefoner, musikk streamet via, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>monopol, opphavsrett som, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Monroe, Marilyn, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>MP3-er, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MP3-spillere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MP3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>musikkinnspillinger (Se peer-to-peer (p2p)-fildeling) (Se plateindustrien)</dt><dd><dl><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>musikkpublisering, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>my.mp3.com, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>antall registreringer på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>erstatning for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>innspillingsindustriens sporing av brukerne til, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a>-<a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>materiale som bryter opphavsretten blokkert av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>variasjon i innhold på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>venturekapital for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Nashville sangforfatterforening, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nasjonal skribentunion, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Nei til Elektronisk Tyveri(NET)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NET(Nei til Elektronisk Tyveri)-loven (1998), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Nettsteder, domenenavnregistrering av, <a class="indexterm" href="#registration">Registrering og fornying</a></dt><dt>New Hampshire (Frost), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Nick og Norm anti-narkotikakampanjen, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Niende ankekrets, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>normer, reguleringspåvirkning fra, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>noteark, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Offentlige Vitenskapsbiblioteket, det (PLoS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>opphavsrett, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dd><dl><dt>(se også åndsverklov)</dt><dt>bruksbegrensninger knyttet til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fire regulatoriske modaliteter til, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>for evig, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>fornyelsesevnen til, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>frivillig reforminnsats rundt, <a class="indexterm" href="#c-afterword">Etterord</a>-<a class="indexterm" href="#c-afterword">Etterord</a>, <a class="indexterm" href="#usnow">Oss, nå</a>-<a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>konstitusjonelt formål med, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>merking av, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>omfang for, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>som smal monopolrett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>til naturlige forfattere vs. selskaper, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>varighet til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>Opphavsrettslov (1790), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>opplysningstiden, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>orginalisme, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Ørneforumet, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>-<a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Overhuset, det britiske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>parallellimport, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>patenter</dt><dd><dl><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>i allemannseie (public domain), <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om filmteknologi, <a class="indexterm" href="#film">Film</a>-<a class="indexterm" href="#film">Film</a></dt><dt>om legemidler, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>peer-to-peer (p2p)-fildeling</dt><dd><dl><dt>beskyttelser mot brudd på opphavsretten i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>effektiviteten til, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>fire typer av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>forbryterstraff for, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>regulatorisk balanse tapt i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>personvernrettigheter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>piratvirksomhet</dt><dd><dl><dt>avledede verk vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>-<a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>i Asia, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>i utviklingen av innholdsindustri, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a>-<a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></dd><dt>plateindustrien</dt><dd><dl><dt>artisthonorar i, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Internett-radio hemmet av, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>lovbestemte lisenssystemer i, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>opphavsrettsbeskyttelser i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>radiokringkasting og, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>søksmål om opphavsrettsbrudd fra, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>PLoS (Offentlige Vitenskapsbiblioteket, det), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Forord</a>-<a class="indexterm" href="#preface">Forord</a></dt><dt>Politikk, (Aristoteles), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>politisk diskusjon, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>pornografi, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>positiv rett, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>pressemeldinger fra Det hvite hus, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a>-<a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>proprietær kode, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Public Enemy, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM-spektrum for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>musikkinnspillinger spilt på, <a class="indexterm" href="#radio">Radio</a>-<a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>ownership consolidation in, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>på Internett, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>rap-musikk, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-afterword">Etterord</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Recording Industry Association of America (RIAA)</dt><dd><dl><dt>lobbymakten til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>om Internett-radioavgifter, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>skremselstaktikker til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>stevning i sak om om krenkelse av opphavsrett tatt ut av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>regulering</dt><dd><dl><dt>fire modaliteter for, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>økte straffer ved, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>som beskyttelse av det etablerte, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>reklameinnslag, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dd><dl><dt>datanettverkssøkemotor ved, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt></dl></dd><dt>Republican Party, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>rettspraksis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>rimelig bruk, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dd><dl><dt>i dokumentarfilm, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Internett-byrder på, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>juridisk skremselstaktikk mot, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Romeo og Julie (Shakespeare), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#c-acknowledgments">Takk til</a></dt><dt>RPI (Se Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Scalia, Antonin, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Scarlet Letter, The (Hawthorne), <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>selskaper</dt><dd><dl><dt>i farmasøytisk industri, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>opphavsrettsvernetid for, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></dd><dt>semiotisk demokrati, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>Senatet i USA, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Silent Spring (Carson), <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Simpsons, The, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Skotske utgivere, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>søkemotorer, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>søksmål om krenkelse av opphavsrett</dt><dd><dl><dt>bevisst krenkelse-kjennelser i, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>de enkelte saksøkte skremt av, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>distribusjonsteknologi mål for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>i plateindustri, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>kommersiell kreativitet som hovedformål for, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>lovbestemte skader for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>mot student-fildeling, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>nulltoleranse i, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>overdrevne påstander om, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt></dl></dd><dt>Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998), <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dd><dl><dt>Høyesteretts utfordring av, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robothund produsert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Betamax-teknologi utviklet av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Sør-Afrika, Republikken, farmasøytisk import til, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>stålindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>Statute of Monopolis (1656), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Storbritannia</dt><dd><dl><dt>historie av opphavsrettslovgivning i, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>offentlig kreativt arkiv i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Supermann-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>surfing, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>talefrihet</dt><dd><dl><dt>konstitusjonell garanti for, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt></dl></dd><dt>Tatel, David, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>teknologi</dt><dd><dl><dt>etablert industri truet av endringer i, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>opphavsrettens hensikt endret av, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>opphavsrettshåndheving kontrollert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>televisjon</dt><dd><dl><dt>kabel-TV mot kringkasting, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>kontrovers unngått av, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsføring på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>-<a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt></dl></dd><dt>Thomas, Clarence, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>tillatelseskultur</dt><dd><dl><dt> fri kultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>-<a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>TV-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tvangslisens, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>-<a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Tysk åndsverklov, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>universitetsdatanettverk, p2p-fildeling på, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>-<a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>USA vs. Lopez, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>USA vs. Morrison, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>USAs handelrepresentant (USTR), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>USAs patent og varemerkekontor (Patent and Trademark Office), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>utdanning</dt><dd><dl><dt>fikling som metode for, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>i mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>mediekompetanse og, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></dd><dt>utviklingsland, utenlandske patentkostnader i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#together">Sammen</a></dt><dt>Valenti, Jack</dt><dd><dl><dt>bakgrunnen til, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>-<a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Eldred-loven motarbeidet av, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt> om kreative eiendomsrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>på videospiller-teknologi, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>uendelig opphavsrettsvernetid foreslått av, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>valg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>valgforsamling, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>venturekapitalister, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Verdens opphavsrettsorganisasjon (WIPO), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Verdenstoppmøtet om informasjonssamfunnet (WSIS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>-<a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Video Pipeline, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>-<a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Videospillere/opptakere, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken – igjen</a></dt><dt>vitenskapelige tidsskrifter, <a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a>-<a class="indexterm" href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>-<a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Wagner, Richard, <a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a>-<a class="indexterm" href="#recorders">Kapittel syv: Innspillerne</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>-<a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Web-logger (blogger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a>-<a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster/Chimera</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>-<a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>WorldCom, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Wright-brødrene, <a class="indexterm" href="#c-introduction">Introduksjon</a>-<a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etterapere»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#idp54111216">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp58480048"></a></h1><p>
Fri kultur: Hvordan store medieaktører bruker teknologi og rettsvesenet til
å begrense kulturen og kontrollere kreativiteten / Lawrence Lessig.
</p><p>
</p><p>
Første gang publisert 2004 av The Penguin Press.
</p><p>
-Utdrag fra redaktørartikkel <span class="quote">«<span class="quote">The Coming of Copyright
-Perpetuity,</span>»</span> <em class="citetitle">The New York Times</em>, 16. januar
+Utdrag fra lederartikkel <span class="quote">«<span class="quote">The Coming of Copyright Perpetuity,</span>»</span>
+<em class="citetitle">The New York Times</em>, 16. januar
2003. Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med
tillatelse.
</p><p>
-Vitsetegningen i figur <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. — For hvilken enhet har rettsvesenet bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?">10.18</a> er laget av Paul
+Vitsetegningen i figur <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. – For hvilken enhet har rettsvesenet bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?">10.18</a> er laget av Paul
Conrad. Opphavsretten tilhører Tribune Media Services, Inc. Alle
rettigheter forbeholdt. Gjengitt med tillatelse.
</p><p>
Diagrammet i figur <a class="xref" href="#fig-1761-pattern-modern-media-ownership" title="Figur 10.19.">10.19</a> kommer fra kontoret til
FCC-kommisjonæren, Michael J. Copps.
</p><p>
-Inkluderer register.
+Omslag ble laget av Petter Reinholdtsen ved hjelp av inkscape.
+</p><p>
+Sitatene på omslaget kom fra <a class="ulink" href="http://free-culture.cc/jacket/" target="_top">http://free-culture.cc/jacket/</a>.
+</p><p>
+Portrettet på omslaget ble laget i 2013 av ActuaLitté og lisensiert med en
+Creative Commons Attribution-ShareAlike 2.0-lisens. Det ble lastet ned fra
+<a class="ulink" href="https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg" target="_top">https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg</a>.
</p><p>
Klassifiseringer:
</p><p>
</p><p>
Thomas Gramstad Forlag har donert ISBN-numrene.
</p><p>
+Trykking ble sponset av NUUG Foundation, <a class="ulink" href="http://www.nuugfoundation.no/" target="_top">http://www.nuugfoundation.no/</a>.
+</p><p>
+Inkluderer register.
+</p><p>
Docbook-kildekoden er tilgjengelig fra <a class="ulink" href="https://github.com/petterreinholdtsen/free-culture-lessig" target="_top">https://github.com/petterreinholdtsen/free-culture-lessig</a>.
Rapporter ethvert problem med boken dit.
+</p><p>
+ </p><div class="informalfigure"><a name="cc-logo"></a><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="11%"><tr><td align="center"><img src="images/cc.svg" align="middle" width="100%"></td></tr></table></div></div><p>
</p><p>
Denne boken er lisensiert med en Creative Commons-lisens. Denne lisensen
tillater ikke-kommersiell utnyttelse av verket, hvis opphavsinnehaveren er
Denne boken er et korrekturlesingsutkast. Besøk github-URLen nevnt over for
å få tak i siste utgave.
</p><p>
-</p><div class="informaltable"><a name="isbn"></a><table border="1"><colgroup><col><col></colgroup><thead><tr><th align="left">
ISBN</th><th align="left">Format / MIME-type</th></tr></thead><tbody><tr><td align="left">978-82-8067-014-4</td><td align="left">US Trade size from lulu.com</td></tr><tr><td align="left">978-82-8067-015-1</td><td align="left">application/pdf</td></tr><tr><td align="left">978-82-8067-016-8</td><td align="left">application/epub+zip</td></tr><tr><td align="left">978-82-8067-017-5</td><td align="left">application/x-mobipocket-ebook</td></tr></tbody></table></div><p>
+</p><div class="informaltable"><a name="isbn"></a><table border="1"><colgroup><col><col></colgroup><thead><tr><th align="left">
Format / MIME-type</th><th align="left">ISBN</th></tr></thead><tbody><tr><td align="left">US Trade-utgave fra lulu.com</td><td align="left">978-82-8067-014-4</td></tr><tr><td align="left">application/pdf</td><td align="left">978-82-8067-015-1</td></tr><tr><td align="left">application/epub+zip</td><td align="left">978-82-8067-016-8</td></tr><tr><td align="left">application/x-mobipocket-ebook</td><td align="left">978-82-8067-017-5</td></tr></tbody></table></div><p>
</p></div></div></body></html>
cofounder of Netscape</emphasis>
</para>
+ <para>
+<quote><citetitle>Free Culture</citetitle> goes beyond illuminating
+the catastrophe to our culture of increasing regulation to show
+examples of how we can make a different future. These new-style heroes
+and examples are rooted in the traditions of the founding fathers in
+ways that seem obvious after reading this book. Recommended reading to
+those trying to unravel the shrill hype around <quote>intellectual
+property.</quote></quote> — <emphasis>Brewster Kahle, founder of the
+Internet Archive</emphasis>
+ </para>
+
<para>
<quote>America needs a national conversation about the way in which
so-called <quote>intellectual property rights</quote> have come to
<emphasis>Dan Gillmor, author of <citetitle>We the media</citetitle>,
an book on the collision of media and technology</emphasis>
</para>
-
- <para>
-<quote><citetitle>Free Culture</citetitle> goes beyond illuminating
-the catastrophe to our culture of increasing regulation to show
-examples of how we can make a different future. These new-style heroes
-and examples are rooted in the traditions of the founding fathers in
-ways that seem obvious after reading this book. Recommended reading to
-those trying to unravel the shrill hype around <quote>intellectual
-property.</quote></quote> — <emphasis>Brewster Kahle, founder of the
-Internet Archive</emphasis>
- </para>
</chapter>
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msgid ""
msgstr ""
"Project-Id-Version: Free Culture by Lawrence Lessig\n"
-"POT-Creation-Date: 2015-08-31 22:29+0300\n"
-"PO-Revision-Date: 2015-08-31 23:40+0000\n"
-"Last-Translator: Johannes Larsen <transifex.com@johslarsen.net>\n"
+"POT-Creation-Date: 2015-09-17 11:01+0200\n"
+"PO-Revision-Date: 2015-09-15 12:30+0000\n"
+"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n"
"Language-Team: Norwegian Bokmål (http://www.transifex.com/pere/free-culture-"
"lessig/language/nb/)\n"
"Language: nb\n"
"kulturen og kontrollere kreativiteten"
#. type: Content of: <book><bookinfo>
-msgid "<pubdate>2004-03-25</pubdate> <edition>1</edition>"
-msgstr "<pubdate>2004-03-25</pubdate> <edition>1</edition>"
+msgid "<pubdate>2015-09-04</pubdate> <edition>1</edition>"
+msgstr "<pubdate>2015-09-04</pubdate> <edition>1</edition>"
#. type: Content of: <book><bookinfo><releaseinfo>
msgid "Version 2004-02-10"
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Intellectual property—United States."
-msgstr "Immaterielle rettigheter — USA."
+msgstr "Immaterielle rettigheter – USA."
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Mass media—United States."
-msgstr "Massemedia — USA."
+msgstr "Massemedia – USA."
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Technological innovations—United States."
-msgstr "Teknologiske nyvinninger — USA."
+msgstr "Teknologiske nyvinninger – USA."
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
msgid "Art—United States."
-msgstr "Kunst — USA."
+msgstr "Kunst – USA."
#. type: Content of: <book><bookinfo><publisher><address>
#, no-wrap
"Posner ved USAs syvende ankekrets."
#. testing different ways to tag the cover page
-#. <imageobject remap="s" role="front">
-#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
-#. </imageobject>
-#. <imageobject remap="xs" role="front-small">
-#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
-#. </imageobject>
-#. <imageobject remap="cs" role="thumbnail">
-#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
-#. </imageobject>
#. type: Content of: <book><bookinfo><mediaobject>
msgid ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/"
-"cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
+"cover-front-72dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
+"<imageobject remap=\"s\" role=\"front\"> <imagedata fileref=\"images/cover-"
+"front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
+"<imageobject remap=\"xs\" role=\"front-small\"> <imagedata fileref=\"images/"
+"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
+"<imageobject remap=\"cs\" role=\"thumbnail\"> <imagedata fileref=\"images/"
+"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
msgstr ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata fileref=\"images/"
-"cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
+"nb/cover-front-72dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
+"<imageobject remap=\"s\" role=\"front\"> <imagedata fileref=\"images/nb/"
+"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
+"<imageobject remap=\"xs\" role=\"front-small\"> <imagedata fileref=\"images/"
+"nb/cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject> "
+"<imageobject remap=\"cs\" role=\"thumbnail\"> <imagedata fileref=\"images/nb/"
+"cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
#. LCCN from
#. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page
msgid "Also by Lawrence Lessig"
msgstr "Andre bøker av Lawrence Lessig"
-#. 2014
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-msgid "The USA is lesterland: The nature of congressional corruption"
-msgstr "The USA is Lesterland: The Nature of Congressional Corruption"
+msgid "The USA is lesterland: The nature of congressional corruption (2014)"
+msgstr "The USA is lesterland: The nature of congressional corruption (2014)"
-#. 2011, 2012
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-msgid "Republic, lost: How money corrupts Congress - and a plan to stop it"
-msgstr "Republic, lost: How Money corrupts Congress - and a Plan to stop it"
+msgid ""
+"Republic, lost: How money corrupts Congress - and a plan to stop it (2011)"
+msgstr ""
+"Republic, lost: How money corrupts Congress - and a plan to stop it (2011)"
-#. 2008
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-msgid "Remix: Making art and commerce thrive in the hybrid economy"
-msgstr "Remix: Making Art and Commerce thrive in the Hybrid Economy"
+msgid "Remix: Making art and commerce thrive in the hybrid economy (2008)"
+msgstr "Remix: Making art and commerce thrive in the hybrid economy (2008)"
-#. 2006
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-msgid "Code: Version 2.0"
-msgstr "Code: Version 2.0"
+msgid "Code: Version 2.0 (2006)"
+msgstr "Code: Version 2.0 (2006)"
-#. 2001, 2002
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-msgid "The Future of Ideas: The Fate of the Commons in a Connected World"
-msgstr "The Future of Ideas: The Fate of the Commons in a Connected World"
+msgid ""
+"The Future of Ideas: The Fate of the Commons in a Connected World (2001)"
+msgstr ""
+"The Future of Ideas: The Fate of the Commons in a Connected World (2001)"
-#. 1999
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-msgid "Code: And Other Laws of Cyberspace"
-msgstr "Code: And Other Laws of Cyberspace"
+msgid "Code: And Other Laws of Cyberspace (1999)"
+msgstr "Code: And Other Laws of Cyberspace (1999)"
#. type: Content of: <book><dedication><para>
msgid ""
"To Eric Eldred — whose work first drew me to this cause, and for whom "
"it continues still."
msgstr ""
-"Til Eric Eldred — hvis arbeid først trakk meg til denne saken, og for "
+"Til Eric Eldred – hvis arbeid først trakk meg til denne saken, og for "
"hvem saken fortsetter."
#. type: Content of: <book><lot><title>
msgid "Pogue, David"
msgstr "Pogue, David"
+#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
+msgid "Code (Lessig)"
+msgstr "Code (Lessig)"
+
#. type: Content of: <book><preface><para>
msgid ""
"<emphasis role=\"bold\">At the end</emphasis> of his review of my first "
"troubles that exist in <emphasis>that</emphasis> space wouldn't "
"<quote>affect</quote> us anymore."
msgstr ""
-"Pogue var skeptisk til bokens hovedpoeng — at programvare, eller "
-"<quote>kode,</quote> fungerte som en slags lov — og foreslo i sin "
+"Pogue var skeptisk til bokens hovedpoeng – at programvare, eller "
+"<quote>kode,</quote> fungerte som en slags lov – og foreslo i sin "
"anmeldelse den lykkelige tanken at hvis tilværelsen i cyberspace ble slett, "
"kan vi alltid, liksom på magisk vis, slå over en bryter og være hjemme "
"igjen. Skru av modemet, koble fra datamaskinen, og eventuelle problemer som "
"online.</quote> There is no switch that will insulate us from the Internet's "
"effect."
msgstr ""
-"Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. "
+"Pogue kan ha hatt rett i 1999 – jeg er skeptisk, men det kan hende. "
"Men selv om han hadde rett da, er ikke argumentet lenger gyldig. "
"<citetitle>Fri kultur</citetitle> er om problemene Internett forårsaker selv "
"etter at modemet er slått av. Den er et argument om hvordan slagene som nå "
msgstr ""
"Den tradisjonen er hvordan vår kultur blir skapt. Som jeg vil forklare i "
"sidene som følger, kommer vi fra en tradisjon av <quote>fri kultur</quote> "
-"— ikke <quote>fri</quote> som i <quote>fri bar</quote> (for å låne et "
+"– ikke <quote>fri</quote> som i <quote>fri bar</quote> (for å låne et "
"uttrykk fra stifteren av fri programvarebevegelsen<placeholder type="
"\"footnote\" id=\"0\"/>), men <quote>fri</quote> som i <quote>talefrihet,</"
"quote> <quote>fritt marked,</quote> <quote>frihandel,</quote> <quote>fri "
"generasjon skapere og oppfinnere forblir <emphasis>så fri som mulig</"
"emphasis> fra kontroll fra fortiden. En fri kultur er ikke en kultur uten "
"eierskap, like lite som et fritt marked er et marked der alt er gratis. Det "
-"motsatte av fri kultur er <quote>tillatelseskultur</quote> — en kultur "
+"motsatte av fri kultur er <quote>tillatelseskultur</quote> – en kultur "
"der skapere kun kan skape med tillatelse fra de mektige, eller fra skaperne "
"fra fortiden."
"greatest expression of democracy.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Høres dette ikke-konservativt ut? Ikke for meg. Denne konsentreringen av "
-"makt — politisk, selskapsmessig, pressemessig, kulturelt — bør "
+"makt – politisk, selskapsmessig, pressemessig, kulturelt – bør "
"være bannlyst av de konservative. Spredningen av makt gjennom lokal "
"kontroll, og derigjennom oppmuntre til individuell deltagelse, er essensen i "
"føderalismen, og det største uttrykk for demokrati.<placeholder type="
"synlig, på konsentreringen av makt som er resultat av en radikal endring i "
"det effektive virkeområdet til rettsvesenet. Rettsvesenet er i endring, og "
"endringen forandrer hvordan vår kultur blir skapt. Den endringen bør bekymre "
-"deg — uansett om du bryr deg om Internett eller ikke, og uansett om du "
+"deg – uansett om du bryr deg om Internett eller ikke, og uansett om du "
"er til venstre for Safires eller til høyre."
#. type: Content of: <book><preface><para>
"how much these rights are worth?"
msgstr ""
"Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i "
-"USA — og som er helt grunnleggende for vår tradisjon, og akseptert av "
-"de viktigste juridiske tenkerne i vår fortid — en betydning. Hvis min "
+"USA – og som er helt grunnleggende for vår tradisjon, og akseptert av "
+"de viktigste juridiske tenkerne i vår fortid – en betydning. Hvis min "
"eiendom rekker til himmelen, hva skjer når United flyr over mitt område? "
"Har jeg rett til å nekte dem å bruke min eiendom? Har jeg mulighet til å "
"inngå en eksklusiv avtale med Delta Airlines? Kan vi gjennomføre en auksjon "
"hundreds of years of property law were erased. As he wrote for the Court,"
msgstr ""
"Høyesterett gikk med på å ta opp Causbys sak. Kongressen hadde vedtatt at "
-"luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig "
-"rakk til himmelen, da kunne muligens kongressens vedtak ha vært i strid med "
-"grunnlovens forbud mot å <quote>ta</quote> eiendom uten kompensasjon. "
-"Retten erkjente at <quote>det er gammel doktrine etter sedvanerett at en "
+"luftfartsveiene var tilgjengelige for alle, men hvis ens eiendom virkelig "
+"rakk til himmelen, da kunne muligens Kongressens vedtak ha vært i strid med "
+"Grunnlovens forbud mot å <quote>ta</quote> eiendom uten kompensasjon. "
+"Retten erkjente at <quote>det er gammel doktrine etter rettspraksis at en "
"eiendom rakk til utkanten av universet.</quote> Men dommer Douglas hadde "
-"ikke tålmodighet for forhistoriske doktriner. I et enkelt avsnitt, ble "
-"hundrevis av år med eiendomslovgivningen strøket. Som han skrev på vegne av "
+"ikke tålmodighet for forhistoriske doktriner. I et enkelt avsnitt ble "
+"hundrevis av år med eiendomslovgivning strøket. Som han skrev på vegne av "
"retten:"
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
"til Douglas å utbrodere. Andre dommere ville ha skrevet mange flere sider "
"før de nådde sin konklusjon, men for Douglas holdt det med en enkel linje: "
"<quote>Idéen er i strid med sunn fornuft.</quote> Men uansett om det tar "
-"flere sider eller kun noen få ord, så er det en genial egenskap med et "
-"sedvanerettssystem, slik som vårt er, at rettsvesenet tilpasser seg til de "
+"flere sider, eller kun noen få ord, så er det en genial egenskap med et "
+"rettspraksissystem, slik som vårt er, at rettsvesenet tilpasser seg til de "
"aktuelle teknologiene. Og mens den tilpasser seg, så endres den. Idéer som "
"var solide som fjell i en tidsalder knuses i en annen."
"kunne stå på sine gårder, med døde kyllinger i hendene, og hytte knyttneven "
"mot disse nye teknologiene så mye de ville. De kunne ringe sine "
"representanter, eller til og med saksøke. Men når alt kom til alt, ville "
-"kraften i det som virket <quote>åpenbart</quote> for alle andre — "
-"makten til <quote>sunn fornuft</quote> — vinne frem. Deres "
+"kraften i det som virket <quote>åpenbart</quote> for alle andre – "
+"makten til <quote>sunn fornuft</quote> – vinne frem. Deres "
"<quote>personlige interesser</quote> ville ikke få lov til å nedkjempe en "
"åpenbar fordel for fellesskapet."
"astonishing fidelity of sound, with much less transmitter power and static."
msgstr ""
"Dagen etter julaften i 1933, ble fire patenter utstedt til Armstrong for "
-"hans mest signifikante oppfinnelse — FM-radio. Inntil da hadde "
+"hans mest signifikante oppfinnelse – FM-radio. Inntil da hadde "
"forbrukerradioer vært amplitude-modulert (AM) radio. Tidens teoretikere "
"hadde sagt at frekvens-modulert (FM) radio ikke kunne fungere. De hadde "
"rett når det gjelder et smalt bånd av spektrumet. Men Armstrong oppdaget at "
"om noen gang før, hadde vært hørt fra en radio-<quote>musikk-boks.</"
"quote><placeholder type=\"footnote\" id=\"0\"/>"
-#. type: Content of: <book><
part><chapter><section><indexterm><primary>
+#. type: Content of: <book><
chapter><indexterm><primary>
msgid "RCA"
msgstr "RCA"
"\"0\"/>"
msgstr ""
"Jeg trodde Armstrong ville finne opp et slags filter for å fjerne skurring "
-"fra AM-radioen vår. Jeg trodde ikke han skulle starte en revolusjon — "
+"fra AM-radioen vår. Jeg trodde ikke han skulle starte en revolusjon – "
"starte en hel forbannet ny industri i konkurranse med RCA.<placeholder type="
"\"footnote\" id=\"0\"/>"
"utålmodig, begynte RCA å bruke sin makt hos myndighetene til holde tilbake "
"den generelle spredningen av FM-radio. I 1936, ansatte RCA den tidligere "
"lederen av FCC, og ga ham oppgaven med å sikre at FCC tilordnet "
-"radiospekteret på en måte som ville kastrere FM — hovedsakelig ved å "
+"radiospekteret på en måte som ville kastrere FM – hovedsakelig ved å "
"flytte FM-radio til et annet band i spekteret. I første omgang lyktes ikke "
"disse forsøkene. Men mens Armstrong og nasjonen var distrahert av andre "
"verdenskrig, begynte RCAs arbeid å bære frukter. Like etter at krigen var "
msgstr ""
"Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter. "
"Etter å ha bakt FM-teknologi inn i den nye standarden for TV, erklærte RCS "
-"patentene ugyldige — uten grunn, og nesten femten år etter at de ble "
+"patentene ugyldige – uten grunn, og nesten femten år etter at de ble "
"utstedet. De nektet dermed å betale ham for bruken av patentene. I seks år "
"kjempet Armstrong en dyr søksmålskrig for å forsvare patentene sine. Til "
"slutt, samtidig som patentene utløp, tilbød RCA et forlik så lavt at det "
"prosess. RCA hadde hva Causbyene ikke hadde: Makten til å undertrykke "
"effekten av en teknologisk endring."
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
+#. type: Content of: <book><chapter><section><section><
section><indexterm><primary>
msgid "Internet"
msgstr "Internett"
"is not a book about the Internet."
msgstr ""
"Etter hvert som Internett er blitt en integrert del av det vanlige liv, har "
-"ting blitt endret. Noen av disse endringene er tekniske — Internett "
+"ting blitt endret. Noen av disse endringene er tekniske – Internett "
"har gjort kommunikasjon raskere, det har redusert kostnaden med å samle inn "
"data, og så videre. Disse tekniske endringene er ikke fokus for denne "
"boken. De er viktige. De er ikke godt forstått. Men de er den type ting "
msgid "culture"
msgstr "kultur"
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+msgid "free culture"
+msgstr "fri kultur"
+
#. type: Content of: <book><chapter><indexterm><secondary>
msgid "commercial vs. noncommercial"
msgstr "kommersiell vs. ikke-kommersiell"
"inn. Men rettsvesenet var aldri direkte interessert i skapingen eller "
"spredningen av denne form for kultur, og lot denne kulturen være <quote>fri."
"</quote> Den alminnelige måten som alminnelige individer delte og formet "
-"sin kultur — historiefortelling, formidling av scener fra teater eller "
-"TV, delta i fan-klubber, deling av musikk, laging av kassetter — ble "
+"sin kultur – historiefortelling, formidling av scener fra teater eller "
+"TV, delta i fan-klubber, deling av musikk, laging av kassetter – ble "
"ikke styrt av rettsvesenet."
#. type: Content of: <book><part><chapter><section><indexterm><primary>
"USA. Men det var på ingen måte dominerende i vår tradisjon. Det var i "
"stedet bare en del, en kontrollert del, balansert mot det frie."
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "free culture"
-msgstr "fri kultur"
-
#. type: Content of: <book><chapter><indexterm><secondary>
msgid "permission culture vs."
msgstr "tillatelseskultur mot"
-#. type: Content of: <book><
chapter><indexterm><primary>
+#. type: Content of: <book><
part><chapter><section><indexterm><primary>
msgid "permission culture"
msgstr "tillatelseskultur"
"individer skaper og deler kultur havnet innen rekkevidde for reguleringene "
"til loven, som har blitt utvidet til å dra inn i sitt dekningsområde den "
"enorme mengden kultur og kreativitet som den aldri tidligere har nådd over. "
-"Teknologien som tok vare på den historiske balansen — mellom bruken av "
+"Teknologien som tok vare på den historiske balansen – mellom bruken av "
"den delen av vår kultur som var fri, og bruken av vår kultur som krevde "
-"tillatelse — er blitt borte. Konsekvensen er at vi er mindre og "
+"tillatelse – er blitt borte. Konsekvensen er at vi er mindre og "
"mindre en fri kultur, og mer og mer en tillatelseskultur."
#. type: Content of: <book><chapter><indexterm><primary>
"Disse skaperne kunne produsere og distribuere et mye mer levende utvalg av "
"kreativitet. Og avhengig av noen få viktige faktorer, så kunne disse "
"skaperne tjene mer i snitt fra dette systemet enn skaperne gjør i dag "
-"— så lenge RCA-ene av i dag ikke bruker loven til å beskytte dem selv "
+"– så lenge RCA-ene av i dag ikke bruker loven til å beskytte dem selv "
"mot denne konkurransen."
#. type: Content of: <book><chapter><para>
"teknologien for å bygge kultur. De lykkes i deres plan om å gjøre om "
"Internett før Internett gjør om på dem."
-#. type: Content of: <book><part><chapter><
section><indexterm><primary>
+#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Valenti, Jack"
msgstr "Valenti, Jack"
msgstr ""
"Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og "
"Internett er fjernt for de fleste. For de få som følger dem, virker de i "
-"hovedsak å handle om et enklere sett med spørsmål — hvorvidt "
+"hovedsak å handle om et enklere sett med spørsmål – hvorvidt "
"<quote>piratvirksomhet</quote> vil bli akseptert, og hvorvidt "
"<quote>eiendomsretten</quote> vil bli beskyttet. <quote>Krigen</quote> som "
-"har blitt erklært mot teknologiene til Internett — det presidenten for "
+"har blitt erklært mot teknologiene til Internett – det presidenten for "
"Motion Picture Association of America (MPAA), Jack Valenti, kaller sin "
-"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/"
-">—har blitt rammet inn som en kamp om å følge loven og respektere "
+"<quote>egen terroristkrig</quote><placeholder type=\"footnote\" id=\"0\"/> "
+"– har blitt rammet inn som en kamp om å følge loven og respektere "
"eiendomsretten. For å vite hvilken side vi bør ta i denne krigen tenker de "
"fleste at vi kun trenger å bestemme om hvorvidt vi er for eiendomsrett eller "
"mot den."
msgstr ""
"Hvis dette virkelig var alternativene, så ville jeg være enig med Jack "
"Valenti og innholdsindustrien. Jeg tror også på eiendomsretten, og spesielt "
-"på viktigheten av hva Mr. Valenti så pent kaller <quote>kreativ eiendomsrett."
-"</quote> Jeg tror at <quote>piratvirksomhet</quote> er galt, og at loven, "
-"riktig innstilt, bør straffe <quote>piratvirksomhet,</quote> både på og "
-"utenfor Internett."
+"på viktigheten av hva Herr Valenti så pent kaller <quote>kreativ "
+"eiendomsrett.</quote> Jeg tror at <quote>piratvirksomhet</quote> er galt, "
+"og at loven, riktig innstilt, bør straffe <quote>piratvirksomhet,</quote> "
+"både på og utenfor Internett."
#. type: Content of: <book><chapter><para>
msgid ""
"endringer i teknologien i Internett selv, ført til massiv økning av den "
"effektive reguleringen av kreativitet i USA. For å bygge på eller kritisere "
"kulturen rundt oss må en spørre, som Oliver Twist, om tillatelse først. "
-"Tillatelse blir, naturligvis, ofte innvilget — men det blir ofte ikke "
+"Tillatelse blir, naturligvis, ofte innvilget – men det blir ofte ikke "
"innvilget til den kritiske eller den uavhengige. Vi har bygget en slags "
"kulturell adel. De innenfor dette adelskapet har et enkelt liv, mens de på "
"utsiden har det ikke. Men det er adelskap i alle former som er fremmed for "
msgstr ""
"Metoden min er ikke den vanlige metoden for en akademiker. Jeg ønsker ikke "
"å pløye deg inn i et komplisert argument, steinsatt med referanser til "
-"obskure franske teoretikere — uansett hvor naturlig det har blitt for "
+"obskure franske teoretikere – uansett hvor naturlig det har blitt for "
"den rare sorten vi akademikere har blitt. Jeg vil i stedet begynne hver del "
"med en samling historier som etablerer en sammenheng der disse "
"tilsynelatende enkle idéene kan bli fullt ut forstått."
"endringene som Internett kan gjøre mulig, og i stedet for å ta den tiden som "
"trengs for å la <quote>sunn fornuft</quote> finne ut hvordan best svare på "
"utfordringen, så lar vi de som er mest truet av endringene bruke sin makt "
-"til å endre loven — og viktigere, å bruke sin makt til å endre noe "
+"til å endre loven – og viktigere, å bruke sin makt til å endre noe "
"fundamentalt om hvordan vi alltid har fungert."
#. type: Content of: <book><chapter><para>
"de fleste av oss tror på disse endringene. Vi tillater det på grunn av at "
"de interessene som er mest truet er blant de mest mektige aktørene i vår "
"deprimerende kompromittert prosess for å utforme lover. Denne boken er "
-"historien om nok en konsekvens for denne type korrupsjon — en "
+"historien om nok en konsekvens for denne type korrupsjon – en "
"konsekvens de fleste av oss forblir ukjent med."
#. type: Content of: <book><part><title>
msgid "Mansfield, William Murray, Lord"
msgstr "Mansfield, William Murray, Lord"
-#. type: Content of: <book><part><
partintro><indexterm><primary>
+#. type: Content of: <book><part><
chapter><section><indexterm><primary>
msgid "music publishing"
msgstr "musikkpublisering"
"<quote>piratvirksomheten.</quote> En generasjon amerikanere, advarer "
"krigerne, blir oppdratt til å tro at <quote>eiendom</quote> skal være "
"<quote>gratis.</quote> Glem tatoveringer, ikke tenk på kroppspiercing "
-"— våre barn blir <emphasis>tyver</emphasis>!"
+"– våre barn blir <emphasis>tyver</emphasis>!"
#. type: Content of: <book><part><partintro><para>
msgid ""
"quote>—even against the Girl Scouts."
msgstr ""
"Dette synet går dypt i de pågående debattene. Det er hva jussprofessor "
-"Rochelle Dreyfuss ved NYU kritiserer som <quote>hvis verdi, så rettighet</"
-"quote>-teorien for kreative eierrettigheter <placeholder type=\"footnote\" "
-"id=\"0\"/>—hvis det finnes verdi, så må noen ha rettigheten til denne "
-"verdien. Det er perspektivet som fikk komponistenes rettighetsorganisasjon, "
-"ASCAP, til å saksøke jentespeiderne for å ikke betale for sangene som "
-"jentene sang rundt sine leirbål.<placeholder type=\"footnote\" id=\"1\"/> "
-"Det fantes <quote>verdi</quote> (sangene), så det måtte ha vært en "
-"<quote>rettighet</quote>—til og med i forhold til jentespeiderne."
+"Rochelle Dreyfuss ved New York University kritiserer som <quote>hvis verdi, "
+"så rettighet</quote>-teorien for kreative eierrettigheter <placeholder type="
+"\"footnote\" id=\"0\"/> – hvis det finnes verdi, så må noen ha "
+"rettigheten til denne verdien. Det er perspektivet som fikk komponistenes "
+"rettighetsorganisasjon, ASCAP, til å saksøke jentespeiderne for å ikke "
+"betale for sangene som jentene sang rundt sine leirbål.<placeholder type="
+"\"footnote\" id=\"1\"/> Det fantes <quote>verdi</quote> (sangene), så det "
+"måtte ha vært en <quote>rettighet</quote> – til og med i forhold til "
+"jentespeiderne."
#. PAGE BREAK 32
#. type: Content of: <book><part><partintro><para>
msgid "on republishing vs. transformation of original work"
msgstr "på gjenpublisering vs. endring av opprinnelig verk"
-#. type: Content of: <book><part><chapter><indexterm><primary>
+#. type: Content of: <book><part><chapter><section><para><indexterm><seealso>
msgid "creativity"
msgstr "kreativitet"
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "innovation"
+msgstr "innovasjon"
+
#. type: Content of: <book><part><partintro><indexterm><secondary>
msgid "legal restrictions on"
msgstr "juridiske begrensninger på"
"today regulates both."
msgstr ""
"Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om "
-"å markere — skillet mellom å publisere på nytt noens verk på den ene "
+"å markere – skillet mellom å publisere på nytt noens verk på den ene "
"siden, og bygge på og gjøre om verket på den andre. Da opphavsretten kom "
"var det kun publisering som ble berørt. Opphavsretten i dag regulerer begge."
"Før teknologiene til Internett dukket opp, betød ikke denne begrepsmessige "
"sammenblandingen mye. Teknologiene for å publisere var kostbare, som betød "
"at det meste av publisering var kommersiell. Kommersielle aktører kunne "
-"håndtere byrden pålagt av loven — til og med byrden med den bysantiske "
+"håndtere byrden pålagt av loven – til og med byrden med den bysantiske "
"kompleksiteten som åndsverksloven har blitt. Det var bare nok en kostnad "
"ved å drive forretning."
"utvidelsen ikke ville bety stort hvis åndsverksloven kun regulerte "
"<quote>kopiering,</quote> så betyr utvidelsen mye når loven regulerer så "
"bredt og obskurt som den gjør. Byrden denne loven gir oppveier nå langt "
-"fordelene den ga da den ble vedtatt — helt klart slik den påvirker "
+"fordelene den ga da den ble vedtatt – helt klart slik den påvirker "
"ikke-kommersiell kreativitet, og i stadig større grad slik den påvirker "
"kommersiell kreativitet. Dermed, slik vi ser klarere i de kommende "
"kapitler, er rettsstatens rolle i stadig mindre grad å støtte kreativitet, "
msgid "cartoon films"
msgstr "tegnefilmer"
-#. type: Content of: <book><part><chapter><indexterm><primary>
+#. type: Content of: <book><part><chapter><
blockquote><indexterm><primary>
msgid "films"
msgstr "filmer"
"work of others."
msgstr ""
"Disney hadde laget noe helt nytt, basert på noe relativt nytt. Synkronisert "
-"lyd ga liv til en form for kreativitet som sjeldent hadde — unntatt "
-"fra Disneys hender — vært noe annet en fyllstoff for andre filmer. "
+"lyd ga liv til en form for kreativitet som sjeldent hadde – unntatt "
+"fra Disneys hender – vært noe annet en fyllstoff for andre filmer. "
"Gjennom animasjonfilmens tidligere historie var det Disneys oppfinnelser som "
"satte standarden som andre måtte sloss for å oppfylle. Og ganske ofte var "
"Disneys store geni, hans gnist av kreativitet, bygget på arbeidet til andre."
"han mestret bruken av bredpenslet fysisk komedie på en måte som tente "
"ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</"
"citetitle>. var en klassiker av denne typen, berømt blant film-elskere for "
-"sine utrolige stunts. Filmen var en klassisk Keaton — fantastisk "
+"sine utrolige stunts. Filmen var en klassisk Keaton – fantastisk "
"populær og blant de beste i sin sjanger."
#. type: Content of: <book><part><chapter><section><indexterm><primary>
"industrien. Disney apet alltid etter helaftensfilmene rettet mot "
"massemarkedet rundt ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme "
"gjorde mange andre. Tidlige tegnefilmer er stappfulle av etterapninger "
-"— små variasjoner over suksessfulle temaer, gamle historier fortalt på "
+"– små variasjoner over suksessfulle temaer, gamle historier fortalt på "
"nytt. Nøkkelen til suksess var brilliansen i forskjellene. Med Disney var "
"det lyden som ga gnisten i hans animasjonsfilmer. Senere var det kvaliteten "
"på arbeidet hans i forhold til de masseproduserte tegnefilmene som han "
"(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</"
"citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), "
"<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the "
-"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)"
-"—not to mention a recent example that we should perhaps quickly "
+"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> "
+"(1967)—not to mention a recent example that we should perhaps quickly "
"forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these "
"cases, Disney (or Disney, Inc.) ripped creativity from the culture around "
"him, mixed that creativity with his own extraordinary talent, and then "
"(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), "
"<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> "
"(1959), <citetitle>101 Dalmatinere</citetitle> (1961), <citetitle>Sverdet i "
-"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)"
-"—for ikke å nevne et nylig eksempel som vi bør kanskje glemme raskt, "
+"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967) "
+"– for ikke å nevne et nylig eksempel som vi bør kanskje glemme raskt, "
"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har "
"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt seg, blandet "
"med kreativiteten fra sitt eget ekstraordinære talent, og deretter brent "
"denne typen. Vi trenger ikke gå så langt for å anerkjenne dens betydning. "
"Vi kan kalle dette <quote>Disney-kreativitet,</quote> selv om det vil være "
"litt misvisende. Det er mer presist <quote>Walt Disney-kreativitet</quote> "
-"— en uttrykksform og genialitet som bygger på kulturen rundt oss, og "
+"– en uttrykksform og genialitet som bygger på kulturen rundt oss, og "
"omformer den til noe annet."
-#. type: Content of: <book><
part><chapter><indexterm><primary>
+#. type: Content of: <book><
chapter><section><indexterm><primary>
msgid "copyright"
msgstr "opphavsrett"
"I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt "
"fersk. Allemannseie i 1928 var ikke veldig gammelt, og var dermed ganske "
"levende. Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve år "
-"— for den lille delen av kreative verk som faktisk var "
+"– for den lille delen av kreative verk som faktisk var "
"opphavsrettsbeskyttet.<placeholder type=\"footnote\" id=\"0\"/> Det betyr at "
"i tredve år, i gjennomsnitt, hadde forfattere eller "
"opphavsrettighetsinnehaver av kreative verk en <quote>eksklusiv rett</quote> "
"verket. Ingen tillatelse og dermed heller ingen advokater. Allemannseie er "
"en <quote>advokat-fri sone.</quote> Det meste av innhold fra det nittende "
"århundre var dermed fritt tilgjengelig for Disney til å bruke eller bygge på "
-"i 1928. Det var tilgjengelig for enhver — uansett om de hadde "
+"i 1928. Det var tilgjengelig for enhver – uansett om de hadde "
"forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller "
-"ikke — til å bruke og bygge videre på."
+"ikke – til å bruke og bygge videre på."
#. PAGE BREAK 38
#. type: Content of: <book><part><chapter><para>
"Walt Disney to build upon without permission. Yet today, the public domain "
"is presumptive only for content from before the Great Depression."
msgstr ""
-"Dette er slik det alltid har vært — inntil ganske nylig. I "
+"Dette er slik det alltid har vært – inntil ganske nylig. I "
"mesteparten av vår historie, har allemannseiet vært like over horisonten. "
"Fram til 1978 var den gjennomsnittlige opphavsrettslige vernetiden aldri mer "
"enn trettito år, noe som gjorde at det meste av kultur fra en og en halv "
"emphasis> er en kopi. Kunstneren må gjøre et bidrag til kunsten han "
"kopierer ved å omforme det enten subtilt eller betydelig. En doujinshi-"
"tegneserie kan dermed ta en massemarkedstegneserie og utvikle den i en annen "
-"retning — med en annen historielinje. Eller tegneserien kan beholde "
+"retning – med en annen historielinje. Eller tegneserien kan beholde "
"figuren som den er, men endre litt på utseendet. Det er ingen bestemt "
"formel for hva som gjør en doujinshi tilstrekkelig <quote>forskjellig.</"
"quote> Men de må være forskjellige hvis de skal anses som ekte doujinshi. "
"Likevel eksisterer og blomstrer faktisk dette illegale markedet i Japan, og "
"etter manges syn er det nettopp fordi det eksisterer, at japansk manga "
"blomstrer. Som USAs tegneserieskaper Judd Winick fortalte meg, <quote>I "
-"amerikansk tegneseriers første dager var det ganske likt det som foregår i "
+"amerikanske tegneseriers første dager var det ganske likt det som foregår i "
"Japan i dag. … Amerikanske tegneserier kom til verden ved å kopiere "
-"hverandre. … Det er slik [kunstnerne] lærer å tegne — ved å se "
+"hverandre. … Det er slik [kunstnerne] lærer å tegne – ved å se "
"i tegneseriebøker, og ikke følge streken, men ved å se på dem, og kopiere "
"dem</quote>, og bygge basert på dem.<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
"Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
-"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]"
-"here might be a collective economic rationality that would lead manga and "
-"anime artists to forgo bringing legal actions for infringement. One "
-"hypothesis is that all manga artists may be better off collectively if they "
-"set aside their individual self-interest and decide not to press their legal "
-"rights. This is essentially a prisoner's dilemma solved.</quote>"
+"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. "
+"<quote>[T]here might be a collective economic rationality that would lead "
+"manga and anime artists to forgo bringing legal actions for infringement. "
+"One hypothesis is that all manga artists may be better off collectively if "
+"they set aside their individual self-interest and decide not to press their "
+"legal rights. This is essentially a prisoner's dilemma solved.</quote>"
msgstr ""
"Se Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
"Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
"<citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York "
"University Press, 2001). Se også Lawrence Lessig, <citetitle>The Future of "
"Ideas</citetitle> (New York: Random House, 2001), 293 n. 26. Begrepet "
-"beskriver presist et sett med <quote>eiendoms</quote>-rettigheter — "
-"opphavsretter, patenter, varemerker og forretningshemmeligheter — men "
+"beskriver presist et sett med <quote>eiendoms</quote>-rettigheter – "
+"opphavsretter, patenter, varemerker og forretningshemmeligheter – men "
"egenskapene til disse rettighetene er svært forskjellige."
#. type: Content of: <book><part><chapter><para>
"som ganske enkelt er del av produksjonsprosessen, både for kommersiell og "
"ikke-kommersiell produksjon. Hvis Disneys animatører hadde stjålet et sett "
"med blyanter for å tegne Steamboat Willie, vi ville ikke nølt med å dømme "
-"det som galt — selv om det er trivielt, og selv om det ikke blir "
+"det som galt – selv om det er trivielt, og selv om det ikke blir "
"oppdaget. Men det var intet galt, i hvert fall slik loven var da, med at "
"Disney tok fra Buster Keaton, eller fra Grimm-brødrene. Det var intet galt "
"med å ta fra Keaton, fordi Disneys bruk ville blitt ansett som "
"our tradition does not treat those takings as wrong. Some things remain free "
"for the taking within a free culture, and that freedom is good."
msgstr ""
-"Dermed, selv om de tingene som Disney tok — eller mer generelt, "
-"tingene som blir tatt av enhver som utøver Walt Disney-kreativitet — "
+"Dermed, selv om de tingene som Disney tok – eller mer generelt, "
+"tingene som blir tatt av enhver som utøver Walt Disney-kreativitet – "
"er verdifulle, så anser ikke vår tradisjon det som galt å ta disse tingene. "
"Noen ting forblir frie til å bli tatt i en fri kultur, og denne friheten er "
"bra."
msgstr ""
"Det er det samme med doujinshi-kulturen. Hvis en doujinshi-kunstner brøt "
"seg inn på kontoret til en forlegger, og stakk av med tusen kopier av hans "
-"siste verk — eller bare en kopi — uten å betale, så ville vi "
+"siste verk – eller bare en kopi – uten å betale, så ville vi "
"uten å nøle si at kunstneren har gjort noe galt. I tillegg til å ha trengt "
"seg inn på andres eiendom, ville han ha stjålet noe av verdi. Loven forbyr "
"stjeling i enhver form, uansett hvor stort eller lite som blir tatt."
"kontrollert, har noen gang krevd at enhver bruk skulle bli betalt for, eller "
"at tillatelse for Walt Disney-kreativitet alltid måtte skaffes. I stedet "
"har ethvert samfunn latt en bestemt bit av sin kultur være fritt "
-"tilgjengelig for alle å ta — frie samfunn muligens i større grad enn "
+"tilgjengelig for alle å ta – frie samfunn muligens i større grad enn "
"ufrie, men en viss grad i alle samfunn."
#. type: Content of: <book><part><chapter><para>
"laget uten [skrivefør] tolkning eller forutinntatthet.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
-#. type: Content of: <book><
part><chapter><indexterm><primary>
+#. type: Content of: <book><
chapter><section><section><indexterm><primary>
msgid "democracy"
msgstr "demokrati"
msgstr ""
"Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent "
"ut. Fotografen <quote>tok</quote> noe fra personen eller bygningen som ble "
-"fotografert — røvet til seg noe av verdi. Noen trodde til og med at "
+"fotografert – røvet til seg noe av verdi. Noen trodde til og med at "
"han tok motivets sjel. På samme måte som Disney ikke sto fritt til å ta "
"blyantene som hans animatører brukte for å tegne Mikke, så skulle heller "
"ikke disse fotografene stå fritt til å ta bilder som de fant verdi i."
"without clearing the rights to do the capturing.<placeholder type=\"footnote"
"\" id=\"0\"/>)"
msgstr ""
-"Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse "
+"Heldigvis for Herr Eastman, og for fotografering generelt, gikk disse "
"tidligere avgjørelsene i favør av piratene. Generelt ble det ikke nødvendig "
"å sikre seg tillatelse før et bilde kunne tas og deles med andre. I stedet "
"var det antatt at tillatelse var gitt. Frihet var utgangspunktet. (Loven "
"svært vanskelig å se hvordan fotografering skulle ha blomstret slik det "
"gjorde hvis det var bygd inn krav om godkjenning i reglene som styrte det. "
"Fotografering ville eksistert. Det ville ha økt sin betydning over tid. "
-"Profesjonelle ville ha fortsatt å bruke teknologien slik de gjorde — "
+"Profesjonelle ville ha fortsatt å bruke teknologien slik de gjorde – "
"siden profesjonelle enklere kunne håndtert byrdene pålagt dem av "
"godkjenningssystemet. Men spredningen av fotografering til vanlige folk "
"ville aldri ha skjedd. Veksten det skapte kunne aldri ha skjedd. Og det "
"det er en grammatikk for det skrevne ord, så er det også en for media. Og "
"akkurat slik som unger lærer å skrive ved å skrive masse grusom prosa, så "
"lærer unger å skrive media ved å konstruere en masse (i hvert fall i "
-"begynnelsen) grusome medieinnslag."
+"begynnelsen) grusomme medieinnslag."
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Et voksende felt av akademikere og aktivister ser denne formen for lese- og "
"skriveferdighet som avgjørende for den neste generasjonen av kultur. For "
-"selv om de som har skrevet forstår hvor vanskelig det er å skrive — "
+"selv om de som har skrevet forstår hvor vanskelig det er å skrive – "
"hvor vanskelig det er å bestemme rekkefølge i historien, å holde på "
"oppmerksomheten hos leseren, å forme språket slik at det er forståelig "
-"— så har få av oss en reell følelse av hvor vanskelig medier er. Eller "
+"– så har få av oss en reell følelse av hvor vanskelig medier er. Eller "
"mer fundamentalt, de færreste av oss har en følelse for hvordan media "
"fungerer, hvordan det holder på publikum, eller leder leseren gjennom "
"historien, hvordan det utløser følelser eller bygger opp spenningen."
msgstr ""
"Denne grammatikken har endret seg etter hvert som media har endret seg. Da "
"det kun var film, som Elizabeth Daley, administrerende direktør ved "
-"Universitetet i Sør-Califorias Anneberg-senter for kommunkasjon og rektor "
+"Universitetet i Sør-Califorias Anneberg-senter for kommunikasjon og rektor "
"ved USC skole for kino og TV, forklarte for meg, var grammatikken om "
"<quote>plasseringen av objekter, farger, … rytme, skritt og tekstur.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Men etter hvert som "
"datamaskiner åpner opp et interaktivt rom hvor en historie blir "
-"<quote>fremført</quote> i tillegg til opplevd, endrer gramatikken seg. Den "
+"<quote>fremført</quote> i tillegg til opplevd, endrer grammatikken seg. Den "
"enkle kontrollen til fortellerstemmen er forsvunnet, og dermed er andre "
"teknikker nødvendig. Forfatter Michael Crichton hadde mestret "
"fortellerstemmen til science fiction, men da han forsøkte å lage et "
"directors. The aim is not to improve the profession of filmmaking at all. "
"Instead, as Daley explained,"
msgstr ""
-"Likevel handler innsatsen for å utvide lese- og skriveferdigheter — "
-"som går ut over tekst til å også ta med elementer som høres og ses — "
+"Likevel handler innsatsen for å utvide lese- og skriveferdigheter – "
+"som går ut over tekst til å også ta med elementer som høres og ses – "
"ikke om å skape bedre filmregissører. Målet er ikke å forbedre "
"filmprofesjonen i det hele tatt. I stedet, som Daley forklarer:"
"Som med ethvert annet språk, læres dette språket lettere for noen enn for "
"andre. Det kommer ikke nødvendigvis lettere for dem som gjør det godt "
"skriftlig. Daley og Stephanie Barish, direktør for Institutt for lese- og "
-"skriveferdigeter innen Multimedia ved Annenberg-senteret, beskriver et "
+"skriveferdigheter innen Multimedia ved Annenberg-senteret, beskriver et "
"spesielt sterkt eksempel fra et prosjekt de gjennomførte i en videregående "
"skole. Den videregående skolen var en veldig fattig skole i den indre byen "
"i Los Angeles. Etter alle tradisjonelle måleenheter for suksess var denne "
"skolen en fiasko, men Daley og Barish gjennomførte et program som ga ungene "
"en mulighet til å bruke film til å uttrykke sine meninger om noe som "
-"studentene kjente godt til — våpen-relatert vold."
+"studentene kjente godt til – våpen-relatert vold."
#. type: Content of: <book><part><chapter><para>
msgid ""
"opp, var utfordringen for denne klassen å holde dem unna. <quote>Ungene "
"dukket opp 06:00, og dro igjen 05:00 på natta,</quote> sa Barish. De jobbet "
"hardere enn i noen andre fag for å gjøre det utdanning burde handle om "
-"— å lære hvordan de skulle uttrykke seg."
+"– å lære hvordan de skulle uttrykke seg."
#. type: Content of: <book><part><chapter><para>
msgid ""
"a tool and empowered them to be able to both understand it and talk about it,"
"</quote> Barish explained. That tool succeeded in creating expression—"
"far more successfully and powerfully than could have been created using only "
-"text. <quote>If you had said to these students, `you have to do it in text,' "
-"they would've just thrown their hands up and gone and done something else,</"
-"quote> Barish described, in part, no doubt, because expressing themselves in "
-"text is not something these students can do well. Yet neither is text a form "
-"in which <emphasis>these</emphasis> ideas can be expressed well. The power "
-"of this message depended upon its connection to this form of expression."
+"text. <quote>If you had said to these students, <quote>you have to do it in "
+"text,</quote> they would've just thrown their hands up and gone and done "
+"something else,</quote> Barish described, in part, no doubt, because "
+"expressing themselves in text is not something these students can do well. "
+"Yet neither is text a form in which <emphasis>these</emphasis> ideas can be "
+"expressed well. The power of this message depended upon its connection to "
+"this form of expression."
msgstr ""
"Ved å bruke hva som helst av <quote>fritt tilgjengelig web-stoff de kunne "
"finne,</quote> og relativt enkle verktøy som gjorde det mulig for ungene å "
"ellers ville forstå. Dette var et tema veldig nært livene til disse "
"studentene. Prosjektet <quote>ga dem et verktøy, og bemyndiget dem slik at "
"de både ble i stand til å forstå det og snakke om det,</quote> forklarer "
-"Barish. Dette verktøyet lyktes med å skape uttrykk — mye mer "
+"Barish. Dette verktøyet lyktes med å skape uttrykk – mye mer "
"vellykket og kraftfylt enn noe som hadde blitt laget ved å kun bruke tekst. "
"<quote>Hvis du hadde sagt til disse studentene at <quote>du må gjøre dette i "
"tekstform</quote>, så hadde de bare kastet hendene i været og gått og gjort "
"Utdanning, forklarer Daley, handler om å gi studentene en måte å "
"<quote>konstruere mening.</quote> Å si at det kun betyr skriving, er som å "
"si at å lære bort skriving kun handler om å lære ungene å stave. "
-"Tekstforming er bare en del — og i større grad ikke den viktigste "
-"delen — for å konstruere mening. Som Daley forklarte i den mest "
+"Tekstforming er bare en del – og i større grad ikke den viktigste "
+"delen – for å konstruere mening. Som Daley forklarte i den mest "
"rørende delen av vårt intervju:"
#. type: Content of: <book><part><chapter><blockquote><para>
msgid "CBS"
msgstr "CBS"
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Cyber Rights (Godwin)"
+msgstr "Cyber Rights (Godwin)"
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Godwin, Mike"
+msgstr "Godwin, Mike"
+
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+msgid "news events on"
+msgstr "nyhetsinnslag på"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"But in addition to this produced news about the <quote>tragedy of September "
"on the <quote>Just Think!</quote> bus, the visual images could be mixed with "
"sound or text."
msgstr ""
-"Det er ikke så enkelt som at jeg ønsker å lovprise Internett — selv om "
+"Det er ikke så enkelt som at jeg ønsker å lovprise Internett – selv om "
"jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg "
"ønsker i stedet å peke på viktigheten av denne formen for tale. For på "
"samme måte som en Kodak, gjør Internett folk i stand til å fange bilder. Og "
"Men i motsetning til en hvilken som helst teknologi for å enkelt fange "
"bilder, tillater Internett at en nesten umiddelbart deler disse kreasjonene "
"med et ekstraordinært antall menesker. Dette er noe nytt i vår tradisjon "
-"— ikke bare kan kultur fanges inn mekanisk, og åpenbart heller ikke at "
+"– ikke bare kan kultur fanges inn mekanisk, og åpenbart heller ikke at "
"hendelser blir kommentert kritisk, men at denne blandingen av bilder, lyd "
"og kommentar kan spres vidt omkring nesten umiddelbart."
"citetitle>, available anywhere in the world."
msgstr ""
"11. september var ikke et avvik. Det var en start. Omtrent på samme tid "
-"begynte en form for kommunkasjon, som hadde vokst dramatisk, å komme inn i "
+"begynte en form for kommunikasjon, som hadde vokst dramatisk, å komme inn i "
"offentlig bevissthet: web-loggen, eller blogg. Bloggen er en slags "
"offentlig dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig "
"lik en dagbok. I disse kulturene registrerer den private fakta på en "
-"offentlig måte — det er en slags elektronisk <citetitle>Jerry "
+"offentlig måte – det er en slags elektronisk <citetitle>Jerry "
"Springer</citetitle>, tilgjengelig overalt i verden."
#. type: Content of: <book><part><chapter><indexterm><primary>
"Dette var idéen som fanget fantasien til Alexis de Tocqueville, den franske "
"nittenhundretalls-advokaten som skrev den viktigste historien om det tidlige "
"<quote>demokratiet i Amerika.</quote> Det var ikke allmenn stemmerett som "
-"fascinerte han — det var juryen, en institusjon som ga vanlige folk "
+"fascinerte han – det var juryen, en institusjon som ga vanlige folk "
"retten til å velge mellom liv og død over andre borgere. Og det som "
"fascinerte ham mest var at juryen ikke bare stemte over hvilket resultat de "
"ville legge frem. De diskuterte. Medlemmene argumenterte om hva som var "
"Så kommer bloggen. Selve bloggens arkitektur løser en del av dette "
"problemet. Folk publiserer det de ønsker å publisere, og folk leser det de "
"ønsker å lese. Den vanskeligste tiden er synkron tid. Teknologier som "
-"muliggjør asynkron kommunasjon, slik som e-post, øker muligheten for "
+"muliggjør asynkron kommunikasjon, slik som e-post, øker muligheten for "
"kommunikasjon. Blogger gjør det mulig med offentlig debatt uten at folket "
"noen gang trenger å samle seg på et enkelt offentlig sted."
msgid "blog pressure on"
msgstr "blogg-press på"
-#. type: Content of: <book><part><chapter><indexterm><secondary>
-msgid "news events on"
-msgstr "nyhetsinnslag på"
-
#. f18
#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
msgstr ""
"Disse konfliktene blir mer viktig etter hvert som mediene blir mer "
"sentralstyrt (mer om dette under). Konsentrerte medier kan skjule mer fra "
-"offentligheten enn ikke-konsentrerte medier kan — slik CNN innrømte at "
+"offentligheten enn ikke-konsentrerte medier kan – slik CNN innrømte at "
"de gjorde etter Irak-krigen fordi de var redd for konsekvensene for sine "
"egne ansatte.<placeholder type=\"footnote\" id=\"0\"/> De trenger også å "
"opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste "
"middle man is out of it</quote>—with all the benefits, and costs, that "
"might entail."
msgstr ""
-"Bloggsfæren gir amatører en måte å bli med i debatten — <quote>amatør</"
+"Bloggsfæren gir amatører en måte å bli med i debatten – <quote>amatør</"
"quote> ikke i betydningen uerfaren, men i betydningen av en olympisk atlet, "
"det vil si ikke betalt av noen for å komme med deres rapport. Det tillater "
"en mye bredere rekke av innspill til en historie, slik rapporteringen av "
"\"footnote\" id=\"0\"/> Og det får lesere til å lese på tvers av en rekke "
"fortellinger og <quote>triangulere,</quote> som Winer formulerer det, "
"sannheten. Blogger, sier Winer, <quote>kommuniserer direkte med vår "
-"velgermasse, og mellommannen er fjernet</quote> — med alle de "
-"fordeler og ulemper det kan føre med seg."
+"velgermasse, og mellommannen er fjernet</quote> – med alle de fordeler "
+"og ulemper det kan føre med seg."
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Olafson, Steve"
"Winer er optimistisk når det gjelder en journalistfremtid infisert av "
"blogger. <quote>Det kommer til å bli en nødvendig ferdighet,</quote> spår "
"Winer, for offentlige aktører og også i større grad for private aktører. "
-"Det er ikke klart at <quote>journalismen</quote> er glad for dette — "
+"Det er ikke klart at <quote>journalismen</quote> er glad for dette – "
"noen journalister har blitt bedt om å kutte ut sin blogging.<placeholder "
"type=\"footnote\" id=\"0\"/> Men det er klart at vi fortsatt er i en "
"overgangsfase. <quote>Mye av det vi gjør nå er oppvarmingsøvelser,</quote> "
"Brown tror vi lærer med å fikle. Da <quote>mange av oss vokste opp,</quote> "
"forklarer han, ble fiklingen gjort <quote>på motorsykkelmotorer, "
"gressklippermotorer, biler, radioer og så videre.</quote> Men digitale "
-"teknologier muliggjør en annen type fikling — med abstrakte idéer i "
+"teknologier muliggjør en annen type fikling – med abstrakte idéer i "
"sin konkrete form. Ungene i Just Think! tenker ikke bare på hvordan et "
"reklameinnslag fremstiller en politiker. Ved å bruke digital teknologi kan "
"de ta reklameinnslaget fra hverandre og manipulerer det, fikle med det, og "
"løs en frifotomontasje til fellesskapet, slik at andre folk kan begynne å se "
"på koden din, fikle med den, teste den, se om de kan forbedre den.</quote> "
"Og hver innsats er en slags læretid. <quote>Åpen kildekode blir en stor "
-"lærlingsplatform.</quote>"
+"lærlingsplattform.</quote>"
#. type: Content of: <book><part><chapter><para>
msgid ""
"I denne prosessen, <quote>er de konkrete tingene du fikler med abstrakte. De "
"er kildekode.</quote> Unger <quote>endres til å få evnen til å fikle med "
"det abstrakte, og denne fiklingen er ikke lenger en isolert aktivitet som du "
-"gjør i garasjen din. Du fikler med en fellesskapsplatform. … Du "
+"gjør i garasjen din. Du fikler med en fellesskapsplattform. … Du "
"fikler med andre folks greier. Og jo mer du fikler, jo mer forbedrer du.</"
"quote> Jo mer du forbedrer, jo mer lærer du."
"spre denne kreativiteten over alt. Men vi bygger loven for å stenge ned "
"denne teknologien."
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Kahle, Brewster"
+msgstr "Kahle, Brewster"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet "
"Dermed listet søkemotorindeksen han produserte opp både bilder, som "
"studentene kunne legge inn på sine egne nettsider, kopier av notater og "
"forskning, kopier av informasjonshefter, filmklipp som studentene kanskje "
-"hadde laget, universitetsbrosjyrer — kort sagt alt som brukerne av RPI-"
+"hadde laget, universitetsbrosjyrer – kort sagt alt som brukerne av RPI-"
"nettverket hadde gjort tilgjengelig i en offentlig mappe på sine "
"datamaskiner."
msgstr ""
"Men indeksen listet også opp musikkfiler. Faktisk var en fjerdedel av "
"filene omtalt i Jesses søkemotor musikkfiler. Men det betyr, naturligvis, "
-"at tre fjerdedeler ikke var det, og — slik at dette poenget er helt "
-"klart — Jesse gjorde ingenting for å få folk til å plassere "
+"at tre fjerdedeler ikke var det, og – slik at dette poenget er helt "
+"klart – Jesse gjorde ingenting for å få folk til å plassere "
"musikkfiler i deres offentlige mapper. Han gjorde ingenting for å sikte "
"søkemotoren mot disse filene. Han var en ungdom som fiklet med Google-"
"lignende teknologi ved et universitet der han studerte "
"søkemotoren som jeg kjørte eller … hva jeg hadde gjort med den. Jeg "
"mener, jeg hadde ikke endret den på noen måte som fremmet eller forbedret "
"arbeidet til pirater. Jeg endret kun søkemotoren slik at den ble enklere å "
-"bruke</quote> — igjen, en <emphasis>søkemotor</emphasis>, som Jesse "
+"bruke</quote> – igjen, en <emphasis>søkemotor</emphasis>, som Jesse "
"ikke hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse "
"ikke hadde bygd selv, for å gjøre det mulig for medlemmer av RPI-"
"fellesskapet å få tilgang til innhold, som Jesse ikke hadde laget eller "
"detaljer, var hovedpoenget nøyaktig det samme: store krav om "
"<quote>erstatning</quote> som RIAA påsto de hadde rett på. Hvis du summerte "
"opp disse kravene, ba disse fire søksmålene domstolene i USA å tildele "
-"saksøkerne nesten 100 <emphasis>milliarder</emphasis> dollar — seks "
+"saksøkerne nesten 100 <emphasis>milliarder</emphasis> dollar – seks "
"ganger det <emphasis>totale</emphasis> overskuddet til filmindustrien i 2001."
"<placeholder type=\"footnote\" id=\"0\"/>"
"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)."
msgstr ""
"Occupational Employment Survey, U.S. Dept. of Labor (2001) (27–2042 "
-"— Musikere og Sangere). Se også National Endowment for the Arts, "
+"– Musikere og Sangere). Se også National Endowment for the Arts, "
"<citetitle>More Than One in a Blue Moon</citetitle> (2000)."
#. f3
"pirates join this generation's country club—until now."
msgstr ""
"<emphasis role='strong'>Hvis <quote>piratvirksomhet</quote> betyr</emphasis> "
-"å bruke den kreative eiendommen til andre uten deres tillatelse — hvis "
-"<quote>hvis verdi, så rettighet</quote> er tilfelle — da er historien "
+"å bruke den kreative eiendommen til andre uten deres tillatelse – hvis "
+"<quote>hvis verdi, så rettighet</quote> er tilfelle – da er historien "
"til innholdsindustrien en historie om piratvirksomhet. Hver eneste viktige "
-"sektor av <quote>store medier</quote> i dag — film, plater, radio og "
-"kabel-TV — kom fra en slags piratvirksomhet etter den definisjonen. "
+"sektor av <quote>store medier</quote> i dag – film, plater, radio og "
+"kabel-TV – kom fra en slags piratvirksomhet etter den definisjonen. "
"Den konsekvente fortellingen er at forrige generasjon pirater blir del av "
-"denne generasjonens borgerskap — inntil nå."
+"denne generasjonens borgerskap – inntil nå."
#. type: Content of: <book><part><chapter><section><title>
msgid "Film"
msgstr "Film"
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "Hollywood film industry"
+msgstr "Hollywoods filmindustri"
+
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+msgid "film industry"
+msgstr "filmindustri"
+
+#. type: Content of: <book><chapter><indexterm><primary>
+msgid "patents"
+msgstr "patenter"
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "on film technology"
+msgstr "om filmteknologi"
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro "
"California tidlig i det tjuende århundret delvis for å slippe unna "
"kontrollene som patenter ga den som fant opp å lage film, Thomas Edison. "
"Disse kontrollene ble utøvet gjennom et monopol-<quote>kartell,</quote> The "
-"Motion Pictures Patents company, og var basert på Thomas Edisons kreative "
-"eierrettigheter — patenter. Edison stiftet MPPC for å utøve "
+"Motion Pictures Patents Company, og var basert på Thomas Edisons kreative "
+"eierrettigheter – patenter. Edison stiftet MPPC for å utøve "
"rettighetene som disse kreative eierrettighetene ga ham, og MPPC var seriøs "
"med de krav om kontroll som de fremmet:"
"The Napsters of those days, the <quote>independents,</quote> were companies "
"like Fox. And no less than today, these independents were vigorously "
"resisted. <quote>Shooting was disrupted by machinery stolen, and "
-"`accidents' resulting in loss of negatives, equipment, buildings and "
-"sometimes life and limb frequently occurred.</quote><placeholder type="
-"\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. "
-"California was remote enough from Edison's reach that filmmakers there could "
-"pirate his inventions without fear of the law. And the leaders of Hollywood "
-"filmmaking, Fox most prominently, did just that."
+"<quote>accidents</quote> resulting in loss of negatives, equipment, "
+"buildings and sometimes life and limb frequently occurred.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> That led the independents to "
+"flee the East Coast. California was remote enough from Edison's reach that "
+"filmmakers there could pirate his inventions without fear of the law. And "
+"the leaders of Hollywood filmmaking, Fox most prominently, did just that."
msgstr ""
"Napsterne i de dager, de <quote>uavhengige,</quote> var selskaper som Fox. "
"Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet. "
"om jeg måtte betale for en <quote>offentlig fremføring</quote> hvis jeg "
"spilte inn sangen i mitt eget hus (selv i dag skylder du ingenting til "
"Beatles hvis du synger en av deres sanger i dusjen), eller hvis jeg spilte "
-"inn sangen fra hukommelsen (kopier i din hjerne er ikke — ennå — "
+"inn sangen fra hukommelsen (kopier i din hjerne er ikke – ennå – "
"regulert av åndsverksloven). Så hvis jeg ganske enkelt sang sangen inn i et "
"innspillingsapparat i mitt eget hjem, så var det ikke klart at jeg skyldte "
"komponisten noe. Og enda viktigere, det var ikke klart om jeg skyldte "
"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
"innovators argued, the job of Congress was <quote>to consider first the "
"interest of [the public], whom they represent, and whose servants they are.</"
-"quote> <quote>All talk about `theft,'</quote> the general counsel of the "
-"American Graphophone Company wrote, <quote>is the merest claptrap, for there "
-"exists no property in ideas musical, literary or artistic, except as defined "
-"by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>"
+"quote> <quote>All talk about <quote>theft,</quote></quote> the general "
+"counsel of the American Graphophone Company wrote, <quote>is the merest "
+"claptrap, for there exists no property in ideas musical, literary or "
+"artistic, except as defined by statute.</quote><placeholder type=\"footnote"
+"\" id=\"1\"/>"
msgstr ""
"Disse argumentene høres omtrent ut som argumentene fra våre dager. Det samme "
"gjør argumentene fra den andre siden. Oppfinnerne som utviklet det "
msgstr ""
"Men loven som styrer innspillinger gir innspillingsartisten mindre. Og "
"dermed er effekten at loven <emphasis>subsidierer</emphasis> "
-"musikkindustrien med et slags piratvirksomhet — ved å gi "
+"musikkindustrien med et slags piratvirksomhet – ved å gi "
"innspillingsartister en svakere rettighet enn de gir kreative forfattere. "
"The Beatles har mindre kontroll over deres kreative verk enn Grisham har. "
"Og de som nyter godt av at de har mindre kontroll, er musikkindustrien og "
"hans verk. Radiostasjonen skylder dermed komponisten penger for denne "
"fremføringen."
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "music recordings played on"
+msgstr "musikkinnspillinger spilt på"
+
#. type: Content of: <book><part><chapter><para><indexterm><primary>
msgid "Lovett, Lyle"
msgstr "Lovett, Lyle"
"videre til sine kunder. Selv da kabelselskapene begynte å selge tilgang til "
"TV-kringkastinger, nektet de å betale for det de solgte. Kabelselskapene "
"Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster "
-"noen gang gjorde — Napster tok aldri betalt for innholdet som det ble "
+"noen gang gjorde – Napster tok aldri betalt for innholdet som det ble "
"mulig for andre å gi bort."
#. type: Content of: <book><part><chapter><section><indexterm><primary>
"Hyde, chairman of the Federal Communications Commission). <placeholder type="
"\"indexterm\" id=\"0\"/>"
msgstr ""
-"Endring i åndsverkloven — Kabel-TV: Høring om S. 1006 foran "
+"Endring i åndsverkloven – Kabel-TV: Høring om S. 1006 foran "
"underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on "
"the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde, "
"styreleder i den føderale kommunikasjonskommisjonen.<placeholder type="
"Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, "
"general counsel of the National Association of Broadcasters)."
msgstr ""
-"Endring i åndsverkloven — Kabel-TV, 116 (uttalelse fra Douglas A. "
+"Endring i åndsverkloven – Kabel-TV, 116 (uttalelse fra Douglas A. "
"Anello, sjefsjuristen i Nasjonalforeningen for kringkastere)."
#. type: Content of: <book><part><chapter><section><para>
"Copyright Law Revision—CATV, 126 (statement of Ernest W. Jennes, "
"general counsel of the Association of Maximum Service Telecasters, Inc.)."
msgstr ""
-"Endring i åndsverkloven — Kabel-TV, 126 (uttalelse fra Ernest W. "
+"Endring i åndsverkloven – Kabel-TV, 126 (uttalelse fra Ernest W. "
"Jennes, sjefsjurist ved Association of Maximum Service Telecasters, Inc.). "
#. type: Content of: <book><part><chapter><section><blockquote><para>
"president of United Artists Corp., and John Sinn, president of United "
"Artists Television, Inc.)."
msgstr ""
-"Endring i åndsverkloven — Kabel-TV, 169 (felles uttalelse fra Arthur "
+"Endring i åndsverkloven – Kabel-TV, 169 (felles uttalelse fra Arthur "
"B. Krim, president i United Artists Corp. og John Sinn, president i United "
"Artists Television Inc.)."
"president of the Screen Actors Guild). <placeholder type=\"indexterm\" id="
"\"0\"/>"
msgstr ""
-"Copyright Law Revision — CATV, 209 (uttalelse fra Charlton Heston, "
+"Copyright Law Revision – CATV, 209 (uttalelse fra Charlton Heston, "
"president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><section><para>
"acting assistant attorney general). <placeholder type=\"indexterm\" id="
"\"0\"/>"
msgstr ""
-"Copyright Law Revision — CATV, 216 (uttalelse fra Edwin M. Zimmerman, "
+"Copyright Law Revision – CATV, 216 (uttalelse fra Edwin M. Zimmerman, "
"fungerende assisterende justisminister). <placeholder type=\"indexterm\" id="
"\"0\"/>"
"grown with the Internet.</quote>"
msgstr ""
"Se for eksempel National Music Publisher's Association, <citetitle>The "
-"Engine of Free Expression: Copyright on the Internet — The Myth of "
+"Engine of Free Expression: Copyright on the Internet – The Myth of "
"Free Information</citetitle>, tilgjengelig fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #13</ulink>. <quote>Trusselen fra piratvirksomhet "
-"— bruken av noen andres kreative verk uten tillatelse eller "
-"kompensasjon — har vokst med Internett.</quote>"
+"– bruken av noen andres kreative verk uten tillatelse eller "
+"kompensasjon – har vokst med Internett.</quote>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
msgstr ""
"<emphasis role='strong'>Disse separate historiene</emphasis> synger en "
"felles melodi. Hvis <quote>piratvirksomhet</quote> betyr å bruke verdien "
-"fra noen andres kreative eiendom uten tillatelse fra dets skaper — "
+"fra noen andres kreative eiendom uten tillatelse fra dets skaper – "
"slik det stadig oftere beskrives i dag<placeholder type=\"footnote\" id="
-"\"0\"/> — da er <emphasis>enhver</emphasis> industri påvirket av "
+"\"0\"/> – da er <emphasis>enhver</emphasis> industri påvirket av "
"opphavsrett i dag et produkt av dem som har nytt godt av ulike former for "
"piratvirksomhet. Film, plater, radio, kabel-TV. … Listen er lang, "
"og kunne vært lengre. Hver generasjon ønsker piratene fra den forrige "
-"velkommen. Hver generasjon — inntil nå."
+"velkommen. Hver generasjon – inntil nå."
#. type: Content of: <book><part><chapter><title>
msgid "Chapter Five: <quote>Piracy</quote>"
msgstr ""
"Over hele verden, men spesielt i Asia og Øst-Europa, er det selskaper som "
"ikke gjør annet enn å ta andre folks opphavsrettsbeskyttede innhold, "
-"kopierer det og selger det — alt uten tillatelse fra "
+"kopierer det og selger det – alt uten tillatelse fra "
"opphavsrettseieren. Musikkindustrien estimerer at de taper rundt 4,6 "
"milliarder dollar hvert år på fysisk piratvirksomhet <placeholder type="
"\"footnote\" id=\"0\"/> (det blir ca. en av tre CD-er solgt på "
msgid "in Asia"
msgstr "i Asia"
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "open-source software"
+msgstr "åpen kildekode-programvare"
+
#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "free software/open-source software (FS/OSS)"
msgstr "fri programvare/åpen kildekode-programvare (FS/OSS)"
"bort sine produkter. Hvis Microsoft frykter konkurransen fra GNU/Linux, så "
"kan Microsoft gi bort produktet sitt, slik de for eksempel gjorde med "
"Internet Explorer for å bekjempe Netscape. En eiendomsrett betyr å la "
-"eiendomseieren ha retten til å si hvem som får tilgang til hva — i "
+"eiendomseieren ha retten til å si hvem som får tilgang til hva – i "
"hvert fall vanligvis. Og hvis loven balanserer skikkelig rettighetene til "
"opphavsrettighetseieren med rettighetene for tilgang, så er det å bryte "
"loven fortsatt galt."
msgid "Fanning, Shawn"
msgstr "Fanning, Shawn"
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "innovation"
-msgstr "innovasjon"
-
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
msgid "Christensen, Clayton M."
msgstr "Christensen, Clayton M."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Peer-to-peer sharing "
-"was made famous by Napster. But the inventors of the Napster technology had "
-"not made any major technological innovations. Like every great advance in "
-"innovation on the Internet (and, arguably, off the Internet as "
-"well<placeholder type=\"footnote\" id=\"3\"/>), Shawn Fanning and crew had "
-"simply put together components that had been developed independently."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type="
+"\"indexterm\" id=\"3\"/> Peer-to-peer sharing was made famous by Napster. "
+"But the inventors of the Napster technology had not made any major "
+"technological innovations. Like every great advance in innovation on the "
+"Internet (and, arguably, off the Internet as well<placeholder type=\"footnote"
+"\" id=\"4\"/>), Shawn Fanning and crew had simply put together components "
+"that had been developed independently."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Peer-to-peer-deling "
-"ble gjort berømt av Napster. Men oppfinnerne av Napster-teknologien hadde "
-"ikke gjort noen store teknologiske nyskapninger. Som ethvert stort steg i "
-"nyskapningen på Internett (og, kan det argumenteres for, utenfor "
-"Internett<placeholder type=\"footnote\" id=\"0\"/>) hadde Shawn Fanning og "
-"hans ansatte ganske enkelt satt sammen deler som hadde blitt utviklet "
-"uavhengig av hverandre."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type="
+"\"indexterm\" id=\"3\"/> Peer-to-peer-deling ble gjort berømt av Napster. "
+"Men oppfinnerne av Napster-teknologien hadde ikke gjort noen store "
+"teknologiske nyskapninger. Som ethvert stort steg i nyskapningen på "
+"Internett (og, kan det argumenteres for, utenfor Internett<placeholder type="
+"\"footnote\" id=\"4\"/>) hadde Shawn Fanning og hans ansatte ganske enkelt "
+"satt sammen deler som hadde blitt utviklet uavhengig av hverandre."
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
msgid "Kazaa"
"anderledes arkitektur selv om de ikke er veldig forskjellige i funksjon: "
"Hver av dem gjør det mulig for brukerne å gjøre innhold tilgjengelig til et "
"ubegrenset antall andre brukere. Med et p2p-system kan du dele dine "
-"favorittsanger med dine beste venner — eller dine 20 000 beste "
+"favorittsanger med dine beste venner – eller dine 20 000 beste "
"venner."
#. f7
msgstr ""
"Ifølge en rekke estimater har en stor andel av amerikanere testet "
"fildelingsteknologi. En studie fra Ipsos-Insight i september 2002 estimerte "
-"at 60 millioner amerikanere har lastet ned musikk — 28 prosent av "
+"at 60 millioner amerikanere har lastet ned musikk – 28 prosent av "
"amerikanerne over 12 år.<placeholder type=\"footnote\" id=\"0\"/> En "
"spørreundersøkelse fra NPD-gruppen sitert i <citetitle>The New York Times</"
"citetitle> estimerte at 43 millioner innbyggere brukte fildelingsnettverk "
"Noe av denne nytelsen involverer brudd på opphavsretten. Noe av den gjør "
"det ikke. Og selv for den delen som teknisk sett er brudd på opphavsretten, "
"er det å beregne den faktiske skaden som er påført opphavsrettseierne mer "
-"komplisert enn en skulle tro. Vurder — litt mer nøye enn de "
-"polariserte stemmene i denne debatten vanligvis gjør — de ulike typer "
+"komplisert enn en skulle tro. Vurder – litt mer nøye enn de "
+"polariserte stemmene i denne debatten vanligvis gjør – de ulike typer "
"deling som fildeling muliggjør, og hva slags skader de innebærer."
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "four types of"
+msgstr "fire typer av"
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "range of content on"
+msgstr "variasjon i innhold på"
+
#. PAGE BREAK 81
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"innhold som var tilgjengelig. For innhold som ikke blir solgt, så er dette "
"fortsatt teknisk sett brudd på opphavsretten, selv om det på grunn av at "
"opphavsrettseieren ikke lenger selger innholdet, så er den økonomiske skaden "
-"null — den samme skaden som inntreffer når jeg selger min samling med "
+"null – den samme skaden som inntreffer når jeg selger min samling med "
"45-rpm grammofonplater fra 1960-tallet til en lokal samler."
#. PAGE BREAK 82
"Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til "
"musikk er bra), og ufarlig for artistene (siden verket ellers ikke er "
"tilgjengelig). Så det er vanskelig å avgjøre hvordan deling kommer ut "
-"totalt sett — og helt klart mye vanskeligere enn den gjeldende "
+"totalt sett – og helt klart mye vanskeligere enn den gjeldende "
"retorikken rundt temaet gir inntrykk av."
#. type: Content of: <book><part><chapter><section><para>
msgid "VCRs"
msgstr "Videospillere/opptakere"
+#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
+msgid "DAT (digital audio tape)"
+msgstr "DAT (digital audio tape)"
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
-"<placeholder type=\"indexterm\" id=\"0\"/> 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 practice of cassette taping in the 1970s, "
-"including an advertising campaign featuring a cassette-shape skull and the "
-"caption <quote>Home taping is killing music.</quote> At the time digital "
-"audio tape became a threat, the Office of Technical Assessment conducted a "
-"survey of consumer behavior. In 1988, 40 percent of consumers older than ten "
-"had taped music to a cassette format. U.S. Congress, Office of Technology "
-"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the "
-"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing "
-"Office, October 1989), 145–56."
-msgstr ""
-"<placeholder type=\"indexterm\" id=\"0\"/> Se Cap Gemini Ernst & Young, "
-"<citetitle>Technology Evolution and the Music Industry's Business Model "
-"Crisis</citetitle> (2003), 3. Denne rapporten beskriver musikkindustriens "
-"innsats for å stigmatisere den voksende praksis med å ta opp på kassett på "
-"1970-tallet, inkludert en reklamekampanje med en kasse-formet hodeskalle og "
-"uttrykket <quote>Home taping is killing music.</quote> På det tidspunktet "
-"som digitale lydkassetter ble en trussel, utførte the Office of Technical "
-"Assessment en spørreundersøkelse om forbrukeroppførsel. I 1988 hadde 40 "
-"prosent av forbrukerne eldre enn ti tatt opp musikk på et kassettformat. U."
-"S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home "
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/> 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 "
+"practice of cassette taping in the 1970s, including an advertising campaign "
+"featuring a cassette-shape skull and the caption <quote>Home taping is "
+"killing music.</quote> At the time digital audio tape became a threat, the "
+"Office of Technical Assessment conducted a survey of consumer behavior. In "
+"1988, 40 percent of consumers older than ten had taped music to a cassette "
+"format. U.S. Congress, Office of Technology Assessment, "
+"<citetitle>Copyright and Home Copying: Technology Challenges the Law</"
+"citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing Office, "
+"October 1989), 145–56."
+msgstr ""
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/> Se Cap Gemini Ernst & Young, <citetitle>Technology Evolution "
+"and the Music Industry's Business Model Crisis</citetitle> (2003), 3. Denne "
+"rapporten beskriver musikkindustriens innsats for å stigmatisere den "
+"voksende praksis med å ta opp på kassett på 1970-tallet, inkludert en "
+"reklamekampanje med en kasse-formet hodeskalle og uttrykket <quote>Home "
+"taping is killing music.</quote> På det tidspunktet som digitale "
+"lydkassetter ble en trussel, utførte the Office of Technical Assessment en "
+"spørreundersøkelse om forbrukeroppførsel. I 1988 hadde 40 prosent av "
+"forbrukerne eldre enn ti tatt opp musikk på et kassettformat. U.S. "
+"Congress, Office of Technology Assessment, <citetitle>Copyright and Home "
"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, "
"D.C.: U.S. Government Printing Office, oktober 1989), 145–56."
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
"regulation, MTV was launched, and the industry had a record turnaround. "
-"<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' "
-"… was not the fault of the tapers—who did not [stop after MTV "
-"came into being]—but had to a large extent resulted from stagnation in "
-"musical innovation at the major labels.</quote><placeholder type=\"footnote"
-"\" id=\"0\"/>"
+"<quote>In the end,</quote> Cap Gemini concludes, <quote>the <quote>crisis</"
+"quote> … was not the fault of the tapers—who did not [stop "
+"after MTV came into being]—but had to a large extent resulted from "
+"stagnation in musical innovation at the major labels.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
"Ikke lenge etterpå, og før kongressen fikk muligheten til å innføre "
"reguleringer, ble MTV lansert, og industrien fikk et rekordoppsving. "
"<quote>Til slutt,</quote> konkluderte Cap Gemini, <quote>var ikke "
"<quote>krisen</quote> … forårsaket av de som tok opp på kassett "
-"— som ikke [tok slutt etter at MTV dukket opp] — men hadde i "
+"– som ikke [tok slutt etter at MTV dukket opp] – men hadde i "
"stor grad vært resultatet av en stagnasjon i musikknyskapningen hos de store "
"selskapene.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Men det at industrien har tatt feil før, betyr ikke at de tar feil i dag. "
"For å evaluere den virkelige trusselen som p2p-deling representerer for "
-"industrien spesielt, og samfunnet generelt — eller i hvert fall det "
+"industrien spesielt, og samfunnet generelt – eller i hvert fall det "
"samfunnet som arvet tradisjonen som ga oss filmindustrien, plateindustrien, "
-"radioindustrien, kabel-TV og videospilleren — så er ikke spørsmålet "
+"radioindustrien, kabel-TV og videospilleren – så er ikke spørsmålet "
"kun om type-A-deling er skadelig. Spørsmålet er også <emphasis>hvor</"
"emphasis> skadelig type-A-deling er, og hvor nyttige de andre typene deling "
"er."
"Det er for mange ulike ting som skjer samtidig til å forklare disse tallene "
"med sikkerhet, men en konklusjon er uunngåelig: Musikkindustrien spør "
"stadig, <quote>Hva er forskjellen mellom å laste ned en sang, og å stjele en "
-"CD?</quote> — men deres egne tall avslører forskjellen. Hvis jeg "
+"CD?</quote> – men deres egne tall avslører forskjellen. Hvis jeg "
"stjeler en CD, så er det en mindre CD å selge. Hvert eneste som blir tatt "
"er et tapt salg. Men basert på tallene som RIAA gjør tilgjengelig, så er "
"det helt klart at det samme ikke er sant for nedlastinger. Hvis hver "
-"nedlasting var et tapt salg — hvis hver bruk av Kazaa <quote>robbet "
-"forfatteren for profitten</quote> — da skulle industrien vært påført "
+"nedlasting var et tapt salg – hvis hver bruk av Kazaa <quote>robbet "
+"forfatteren for profitten</quote> – da skulle industrien vært påført "
"100 prosent reduksjon i salg i fjor, ikke en 7 prosents nedgang. Hvis 2,6 "
"ganger antallet solgte CD-er ble lastet ned gratis, og salgsinntektene kun "
"ble redusert med 6,7 prosent, så er det en stor forskjell mellom å "
"real. What of the benefits? File sharing may impose costs on the recording "
"industry. What value does it produce in addition to these costs?"
msgstr ""
-"Dette er skadene — påståtte og muligens overdrevende, men la oss anta "
+"Dette er skadene – påståtte og muligens overdrevende, men la oss anta "
"at de er reelle. Hva er fordelene? Fildeling påfører muligens kostnader "
"for plateindustrien. Hva slags verdi gir det i tillegg til disse kostnadene?"
msgstr ""
"Et estimat forteller at 75 prosent av musikken gitt ut av de store "
"plateselskapene ikke lenger trykkes opp. Se Online Entertainment and "
-"Copyright Law — Coming Soon to a Digital Device Near You: Høring foran "
+"Copyright Law – Coming Soon to a Digital Device Near You: Høring foran "
"the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001) "
"(forberedt innlegg av the Future of Music Coalition), tilgjengelig fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #18</ulink>."
"publisher or the distributor has decided it no longer makes economic sense "
"<emphasis>to the company</emphasis> to make it available."
msgstr ""
-"En fordel er type-C-deling — å gjøre innhold tilgjengelig som teknisk "
+"En fordel er type-C-deling – å gjøre innhold tilgjengelig som teknisk "
"sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt "
"tilgjengelig. Dette er ikke en liten kategori med innhold. Det er millioner "
"av spor som ikke lenger er kommersielt tilgjengelig.<placeholder type="
msgid "resales of"
msgstr "bruktsalg av"
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "used record sales"
+msgstr "bruktplatesalg"
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good "
"they sell; but as with cable companies before statutory licensing, they "
"don't have to pay the copyright owner for the content they sell."
msgstr ""
-"I den virkelige verden — lenge før Internett — hadde markedet et "
+"I den virkelige verden – lenge før Internett – hadde markedet et "
"enkelt svar på dette problemet: bruktbok- og bruktplatebutikker. Det er "
"tusenvis av butikker for brukte bøker og plater i Amerika i dag.<placeholder "
"type=\"footnote\" id=\"0\"/> Disse butikkene kjøper innhold fra eierne, og "
"society are better off. (Actually, much better off: It is a great book!)"
msgstr ""
"Til slutt, og kanskje mest viktig, gjør fildelingsnettverk type-D-deling "
-"mulig — delingen av innhold som opphavsrettseierne ønsker å få delt, "
+"mulig – delingen av innhold som opphavsrettseierne ønsker å få delt, "
"eller der det ikke er verdt etter åndsverkloven. Denne delingen er klart "
"til fordel for forfattere og samfunnet. Science fiction-forfatteren Cory "
"Doctorow, for eksempel, utga sin første roman, <citetitle>Down and Out in "
"<quote>Men er ikke krigen bare en krig mot ulovlig deling? Er ikke "
"angrepsmålet bare det du kaller type-A-deling?</quote>"
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "zero tolerance in"
+msgstr "nulltoleranse i"
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "infringing material blocked by"
+msgstr "materiale som bryter opphavsretten blokkert av"
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "infringement protections in"
+msgstr "beskyttelser mot brudd på opphavsretten i"
+
#. f17
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
msgid "composers, copyright protections of"
msgstr "komponister, opphavsrettsbeskyttelser for"
-#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-msgid "music recordings played on"
-msgstr "musikkinnspillinger spilt på"
-
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "copyright protections in"
msgstr "opphavsrettsbeskyttelser i"
"av loven. De ga på samme måte kabel-TV-selskapene rett til innholdet, så "
"lenge de betalte den lovbestemte prisen."
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "two central goals of"
+msgstr "to sentrale mål for"
+
#. PAGE BREAK 88
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"without giving the past (broadcasters) control over the future (cable)."
msgstr ""
"Dette kompromisset, på samme måte som kompromisset som påvirket plater og "
-"automatiske piano, oppnådde to mål — faktisk de to sentrale målene i "
+"automatiske piano, oppnådde to mål – faktisk de to sentrale målene i "
"enhver opphavsrettslovgiving. For det første, sikret loven at nye "
"oppfinnere ville ha friheten til å utvikle nye måter å levere innhold på. "
"For det andre, sikret loven at opphavsrettsinnehaverne ville få betalt for "
msgid "Betamax"
msgstr "Betamax"
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "Sony"
+msgstr "Sony"
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "Betamax technology developed by"
+msgstr "Betamax-teknologi utviklet av"
+
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"In the same year that Congress struck this balance, two major producers and "
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, "
"30, 40 million of these VCRs in the land, we will be invaded by millions of "
-"`tapeworms,' eating away at the very heart and essence of the most precious "
-"asset the copyright owner has, his copyright.</quote><placeholder type="
-"\"footnote\" id=\"0\"/> <quote>One does not have to be trained in "
-"sophisticated marketing and creative judgment,</quote> he told Congress, "
-"<quote>to understand the devastation on the after-theater marketplace caused "
-"by the hundreds of millions of tapings that will adversely impact on the "
-"future of the creative community in this country. It is simply a question of "
-"basic economics and plain common sense.</quote><placeholder type=\"footnote"
-"\" id=\"1\"/> Indeed, as surveys would later show, 45 percent of VCR owners "
-"had movie libraries of ten videos or more<placeholder type=\"footnote\" id="
-"\"2\"/> — a use the Court would later hold was not <quote>fair.</"
-"quote> By <quote>allowing VCR owners to copy freely by the means of an "
-"exemption from copyright infringement without creating a mechanism to "
-"compensate copyright owners,</quote> Valenti testified, Congress would "
-"<quote>take from the owners the very essence of their property: the "
-"exclusive right to control who may use their work, that is, who may copy it "
-"and thereby profit from its reproduction.</quote><placeholder type=\"footnote"
-"\" id=\"3\"/>"
+"<quote>tapeworms,</quote> eating away at the very heart and essence of the "
+"most precious asset the copyright owner has, his copyright.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> <quote>One does not have to "
+"be trained in sophisticated marketing and creative judgment,</quote> he told "
+"Congress, <quote>to understand the devastation on the after-theater "
+"marketplace caused by the hundreds of millions of tapings that will "
+"adversely impact on the future of the creative community in this country. It "
+"is simply a question of basic economics and plain common sense.</"
+"quote><placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys would "
+"later show, 45 percent of VCR owners had movie libraries of ten videos or "
+"more<placeholder type=\"footnote\" id=\"2\"/> — a use the Court would "
+"later hold was not <quote>fair.</quote> By <quote>allowing VCR owners to "
+"copy freely by the means of an exemption from copyright infringement without "
+"creating a mechanism to compensate copyright owners,</quote> Valenti "
+"testified, Congress would <quote>take from the owners the very essence of "
+"their property: the exclusive right to control who may use their work, that "
+"is, who may copy it and thereby profit from its reproduction.</"
+"quote><placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""
"MPAA-presidenten Jack Valenti ble studioenes mest synlige forkjemper. "
"Valenti kalte videospillerne for <quote>båndormer</quote> (engelsk: "
"quote><placeholder type=\"footnote\" id=\"1\"/> Og ganske riktig, viser "
"senere spørreundersøkelser, 45 prosent av videospillereierne hadde "
"filmbiblioteker som inneholdt ti filmer eller mer.<placeholder type="
-"\"footnote\" id=\"2\"/> — en bruk som retten senere ville avgjøre ikke "
+"\"footnote\" id=\"2\"/> – en bruk som retten senere ville avgjøre ikke "
"var <quote>rimelig.</quote> Ved å <quote>tillate videospillereierne å "
"kopiere fritt ved hjelp av et unntak fra brudd på opphavsrettsloven uten å "
"lage en mekanisme for å kompensere opphavsrettseierne,</quote> forklarte "
"machines. Under the Ninth Circuit's rule, this totally familiar "
"technology—which Jack Valenti had called <quote>the Boston Strangler "
"of the American film industry</quote> (worse yet, it was a "
-"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)"
-"—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
+"<emphasis>Japanese</emphasis> Boston Strangler of the American film "
+"industry)—was an illegal technology.<placeholder type=\"footnote\" id="
+"
\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Det tok åtte år før denne saken ble avgjort av Høyesterett. I mellomtiden "
-"hadde den niende ankekrets, som har Hollywood i sin jurisdiksjon — det "
+"hadde den niende ankekrets, som har Hollywood i sin jurisdiksjon – det "
"den ledende dommeren Alex Kozinski, som er medlem i den domstolen, omtaler "
-"som <quote>Hollywood-kretsen</quote> — funnet at Sony måtte holdes "
+"som <quote>Hollywood-kretsen</quote> – funnet at Sony måtte holdes "
"ansvarlig for de opphavsrettsbruddene som ble gjort mulig med deres "
"maskiner. Ifølge regelen til niende ankekrets var denne kjente teknologien "
-"— som Jack Valenti hadde omtalt som <quote>Boston-kveleren for "
+"– som Jack Valenti hadde omtalt som <quote>Boston-kveleren for "
"amerikansk filmindustri</quote> (verre enn dette, det var en "
"<emphasis>japansk</emphasis> Boston-kveler for amerikansk filmindustri) "
-"&
mdash; en ulovlig teknologi.<placeholder type=\"footnote\" id=\"0\"/> "
+"&
ndash; en ulovlig teknologi.<placeholder type=\"footnote\" id=\"0\"/> "
"<placeholder type=\"indexterm\" id=\"1\"/>"
#. PAGE BREAK 90
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
-"These are the most important instances in our history, but there are other "
-"cases as well. The technology of digital audio tape (DAT), for example, was "
-"regulated by Congress to minimize the risk of piracy. The remedy Congress "
-"imposed did burden DAT producers, by taxing tape sales and controlling the "
-"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the "
-"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. "
-"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not "
-"eliminate the opportunity for free riding in the sense I've described. See "
-"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From "
-"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law "
-"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" "
-"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"Dette er de viktigste forekomstene i vår historie, men det er også andre "
-"tilfeller. For eksempel var teknologien til digitale lydkasetter (DAT) "
-"regulert av Kongressen for å minimere risikoen for piratkopiering. "
-"Medisinen som Kongressen valgte, påførte en belastning for DAT-produsenter, "
-"ved å legge en skatt på kassettsalg og ved å kontrollere DAT-teknologien. Se "
-"Audio Home Recording Act fra 1992 (overskrift 17 i <citetitle>United States "
+"<placeholder type=\"indexterm\" id=\"0\"/> These are the most important "
+"instances in our history, but there are other cases as well. The technology "
+"of digital audio tape (DAT), for example, was regulated by Congress to "
+"minimize the risk of piracy. The remedy Congress imposed did burden DAT "
+"producers, by taxing tape sales and controlling the technology of DAT. See "
+"Audio Home Recording Act of 1992 (Title 17 of the <citetitle>United States "
"Code</citetitle>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S."
-"C. §1001. Igjen eliminerte heller ikke denne regulereringen muligheten for "
-"gratispassasjerer slik jeg har beskrevet. Se Lessig <citetitle>Future</"
-"citetitle>, 71. Se også Picker, <quote>From Edison to the Broadcast Flag,</"
+"C. §1001. Again, however, this regulation did not eliminate the opportunity "
+"for free riding in the sense I've described. See Lessig, <citetitle>Future</"
+"citetitle>, 71. See also Picker, <quote>From Edison to the Broadcast Flag,</"
"quote> <citetitle>University of Chicago Law Review</citetitle> 70 (2003): "
-"293–96. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
-"\"indexterm\" id=\"1\"/>"
+"293–96. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
+"\"indexterm\" id=\"2\"/>"
+msgstr ""
+"<placeholder type=\"indexterm\" id=\"0\"/> Dette er de viktigste "
+"forekomstene i vår historie, men det er også andre tilfeller. For eksempel "
+"var teknologien til digitale lydkasetter (DAT) regulert av Kongressen for å "
+"minimere risikoen for piratkopiering. Medisinen som Kongressen valgte, "
+"påførte en belastning for DAT-produsenter, ved å legge en skatt på "
+"kassettsalg og ved å kontrollere DAT-teknologien. Se Audio Home Recording "
+"Act fra 1992 (overskrift 17 i <citetitle>United States Code</citetitle>), "
+"Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U.S.C. §1001. Igjen "
+"eliminerte heller ikke denne regulereringen muligheten for gratispassasjerer "
+"slik jeg har beskrevet. Se Lessig <citetitle>Future</citetitle>, 71. Se "
+"også Picker, <quote>From Edison to the Broadcast Flag,</quote> "
+"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): "
+"293–96. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
+"\"indexterm\" id=\"2\"/>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"<quote>All this hand waving about balance and incentives,</quote> they say, "
"<quote>misses a fundamental point. Our content,</quote> the warriors insist, "
"<quote>is our <emphasis>property</emphasis>. Why should we wait for Congress "
-"to `rebalance' our property rights? Do you have to wait before calling the "
-"police when your car has been stolen? And why should Congress deliberate at "
-"all about the merits of this theft? Do we ask whether the car thief had a "
-"good use for the car before we arrest him?</quote>"
+"to <quote>rebalance</quote> our property rights? Do you have to wait before "
+"calling the police when your car has been stolen? And why should Congress "
+"deliberate at all about the merits of this theft? Do we ask whether the car "
+"thief had a good use for the car before we arrest him?</quote>"
msgstr ""
"<emphasis role='strong'>Men når noen</emphasis> begynner å snakke om "
"<quote>balanse,</quote> kommer opphavsrettskrigerne med et annet argument. "
"du plasserte bak huset ditt. Jeg tar en ting, hagebordet, og etter at jeg "
"har tatt det, har ikke du det. Men hva tar jeg når jeg tar den gode "
"<emphasis>idéen</emphasis> som du hadde om å plassere hagebordet i bakhagen "
-"— ved å for eksempel dra til butikken Sears, kjøpe et bord, og "
+"– ved å for eksempel dra til butikken Sears, kjøpe et bord, og "
"plassere det i min egen bakhage? Hva er tingen jeg tar da?"
#. type: Content of: <book><chapter><section><section><indexterm><primary>
"\"footnote\" id=\"0\"/>"
msgstr ""
"Poenget er ikke bare om hvorvidt hagebord og idéer er ting, selv om det er "
-"en viktig forskjell. Poenget er i stedet at i det vanlige tilfelle—"
+"en viktig forskjell. Poenget er i stedet at i det vanlige tilfelle – "
"faktisk i praktisk talt ethvert tilfelle unntatt en begrenset rekke med "
-"unntak — er idéer som er sluppet ut i verden frie. Jeg tar ingenting "
-"fra deg når jeg kopierer måten du kler deg — selv om det ville se sært "
+"unntak – er idéer som er sluppet ut i verden frie. Jeg tar ingenting "
+"fra deg når jeg kopierer måten du kler deg – selv om det ville se sært "
"ut hvis jeg gjorde det hver dag, og spesielt sært hvis du er en kvinne. I "
"stedet, som Thomas Jefferson sa (og det er spesielt sant når jeg kopierer "
"hvordan noen andre kler seg), <quote>Den som mottar en idé fra meg, får selv "
"quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Men hvordan lovverket gjør det, og i hvilken utstrekning, og i hvilken form "
-"— detaljene, med andre ord — betyr noe. For å få en god "
+"– detaljene, med andre ord – betyr noe. For å få en god "
"forståelse om hvordan denne praksis om å gjøre det immaterielle om til "
"eiendom vokste frem, trenger vi å plassere slik <quote>eiendom</quote> i sin "
"rette sammenheng.<placeholder type=\"footnote\" id=\"0\"/>"
"<quote>opphavsrettsbeskyttet materiale er eiendom</quote> i sammenheng. "
"Hvor kom idéen fra? Hva er dens begrensninger? Hvordan fungerer dette i "
"praksis? Etter disse historiene vil betydningen til dette sanne utsagnet "
-"— <quote>opphavsrettsbeskyttet materiale er eiendom</quote> — "
+"– <quote>opphavsrettsbeskyttet materiale er eiendom</quote> – "
"bli litt mer klart, og dets implikasjoner vil bli avslørt som ganske "
"forskjellig fra implikasjonene som opphavsrettskrigerne vil at vi skal "
"forstå."
"Julie</citetitle>, utga han en utrolig rekke liste av verk som ennå er "
"hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben "
"Jonson, John Milton, og John Dryden. Se Keith Walker: <quote>Jacob Tonson, "
-"Bookseller,</quote> <citetitle>American Scholar</citetitle> 61:3 (1992): 424-"
-"31."
+"Bookseller,</quote> <citetitle>American Scholar</citetitle> 61:3 (1992): "
+"424–31."
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
msgstr ""
"I 1774, nesten 180 år etter at <citetitle>Romeo og Julie</citetitle> ble "
"skrevet, mente mange at <quote>opphavsretten</quote> kun tilhørte én eneste "
-"utgiver i London, J
ohn Tonson. <placeholder type=\"footnote\" id=\"0\"/> "
-"Tonson var den mest fremstående av en liten gruppe utgivere kalt <quote>the "
+"utgiver i London, J
acob Tonson. <placeholder type=\"footnote\" id=\"0\"/> "
+"Tonson var den mest fremstående av en liten gruppe utgivere kalt <quote>The "
"Conger</quote><placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte "
"boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde "
"en evigvarende enerett over <quote>kopier</quote> av bøker de hadde fått av "
"<quote>Stationers,</quote> had an exclusive right to print books."
msgstr ""
"Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva "
-"opphavsrett innebar — faktisk hadde ingen i verden det. På den tiden "
+"opphavsrett innebar – faktisk hadde ingen i verden det. På den tiden "
"da engelskmennene vedtok <quote>Statute of Anne,</quote> var det ingen annen "
"lovgivning om opphavsrett. Den siste loven som regulerte utgivere var "
"lisensieringsloven av 1662, utløpt i 1695. At loven ga utgiverne monopol "
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "common law"
-msgstr "sedvanerett"
+msgstr "rettspraksis"
#. type: Content of: <book><part><chapter><para>
msgid ""
"det ikke fantes noen lov. Den angloamerikanske juridiske tradisjon ser både "
"til lover skapt av det lovgivende statsorgan, og til lover (prejudikater) "
"skapt av domstolene for å bestemme hvordan folket skal oppføre seg. Vi "
-"kaller politikernes lover for positiv lov og vi kaller lovene fra dommerne "
-"sedvanerett. Sedvaneretten angir bakgrunnen for de lovgivendes lovgivning; "
+"kaller politikernes lover for positiv lov, og vi kaller lovene fra dommerne "
+"rettspraksis. Rettspraksis angir bakgrunnen for de lovgivendes lovgivning; "
"vedtatte lover vil vanligvis overstyre bakgrunnen kun hvis det vedtas en lov "
"for å erstatte den. Så det egentlige spørsmålet etter at "
-"lisensieringslovene hadde utløpt, var om sedvanerett beskyttet en "
+"lisensieringslovene hadde utløpt, var om rettspraksis beskyttet en "
"opphavsrett uavhengig av eventuell positiv lov."
#. type: Content of: <book><part><chapter><indexterm><primary>
"the exclusive right to copy, the exclusive right to distribute, the "
"exclusive right to perform, and so on."
msgstr ""
-"Først om opphavsretten / kopiretten. I de siste tre hundre år har vi kommet "
+"Først om opphavsretten/kopiretten. I de siste tre hundre år har vi kommet "
"til å bruke begrepet <quote>kopirett</quote> i stadig videre forstand. Men i "
"1710 var det ikke så mye et konsept som det var en bestemt rett. "
"Opphavsretten ble født som et svært spesifikt sett med begrensninger: den "
"ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne "
"fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt "
"lov til å lage filmer. <quote>Kopiretten</quote> var bare en eksklusiv rett "
-"til å trykke — ikke noe mindre, selvfølgelig, men heller ikke mer."
+"til å trykke – ikke noe mindre, selvfølgelig, men heller ikke mer."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Henry VIII, King of England"
"en lang og stygg erfaring med <quote>eksklusive rettigheter,</quote> "
"spesielt <quote>enerett</quote> gitt av kongen. Engelskmennene hadde "
"utkjempet en borgerkrig delvis mot kongens praksis med å dele ut monopoler "
-"— spesielt monopoler for verk som allerede eksisterte. Kong Henrik "
+"– spesielt monopoler for verk som allerede eksisterte. Kong Henrik "
"VIII hadde gitt patent på å trykke Bibelen og monopol til Darcy for å lage "
"spillkort. Det engelske parlament begynte å kjempe tilbake mot denne makten "
"hos kongen. I 1656 ble <quote>Statute of Monopolis</quote> vedtatt for å "
"Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. "
"Det var også et monopol som bokhandlerne hadde. En bokhandler høres grei og "
"ufarlig ut for oss, men slik var det ikke i syttenhundretallets England. "
-"Medlemmene i <quote>the Conger</quote> ble av flere og flere sett på som "
-"monopolister av verste sort — et verktøy for kongens undertrykkelse, "
+"Medlemmene i <quote>The Conger</quote> ble av flere og flere sett på som "
+"monopolister av verste sort – et verktøy for kongens undertrykkelse, "
"de solgte Englands frihet mot å være garantert en monopolinntekt. Men "
"monopolistene ble kvast kritisert: Milton beskrev dem som <quote>gamle "
"patentholdere og monopolister i bokhandlerkunsten</quote>; de var "
"med saker. Deres argument var enkelt og direkte: <quote>Statute of Anne</"
"quote> ga forfatterne en viss beskyttelse gjennom positiv lov, men denne "
"beskyttelsen var ikke ment som en erstatning for felles lov. I stedet var de "
-"ment å supplere felles lov. Ifølge sedvanerett var det galt å ta en annen "
+"ment å supplere felles lov. Ifølge rettspraksis var det galt å ta en annen "
"persons kreative eiendom og bruke den uten hans tillatelse. <quote>Statute "
"of Anne,</quote> hevdet bokhandlere, endret ikke dette faktum. Derfor "
"betydde ikke det at beskyttelsen gitt av <quote>Statute of Anne</quote> "
-"utløp, at beskyttelsen fra sedvaneretten utløp: Ifølge sedvaneretten hadde "
-"de rett til å forby publiseringen av en bok, selv om <quote>Statute of Anne</"
+"utløp, at beskyttelsen fra rettspraksis utløp: Ifølge rettspraksis hadde de "
+"rett til å forby publiseringen av en bok, selv om <quote>Statute of Anne</"
"quote> sa at de var falt i det fri. Dette, mente de, var den eneste måten å "
"beskytte forfatterne."
"friend Andrew Erskine, published an anthology of contemporary Scottish poems "
"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
-"Donaldson var en fremmed for Londons <quote>the Conger.</quote> Han startet "
+"Donaldson var en fremmed for Londons <quote>The Conger.</quote> Han startet "
"sin karriere i Edinburgh i 1750. Hans forretningsidé var billige kopier av "
"standardverk falt i det fri, i hvert fall fri ifølge <quote>Statute of Anne."
"</quote><placeholder type=\"footnote\" id=\"0\"/> Donaldsons forlag vokste "
msgstr ""
"Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så "
"flyttet han butikken til London. Her solgte han billige utgaver av <quote>de "
-"mest populære, engelske bøker, i kamp mot sedvanerettens rett til litterær "
+"mest populære, engelske bøker, i kamp mot rettspraksisens rett til litterær "
"eiendom.</quote> <placeholder type=\"footnote\" id=\"0\"/> Bøkene hans var "
-"mellom 30 prosent og 50 prosent billigere enn <quote>the Conger</quote>s, og "
+"mellom 30 prosent og 50 prosent billigere enn <quote>The Conger</quote>s, og "
"han baserte sin rett til å konkurrere på at bøkene, takket være "
"<quote>Statute of Anne,</quote> var falt i det fri."
"Thomsons dikt <quote>The Seasons.</quote> Millar hadde da full beskyttelse "
"gjennom <quote>Statute of Anne,</quote> men etter at denne beskyttelsen var "
"utløpt, begynte Robert Taylor å trykke en konkurrerende utgave. Millar gikk "
-"til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva "
+"til sak, og hevdet han hadde en evig rett gjennom rettspraksis, uansett hva "
"<quote>Statute of Anne</quote> sa.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
"Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av "
"de største dommere i engelsk historie, Lord Mansfield, enig med "
"bokhandlerne. Uansett hvilken beskyttelse <quote>Statute of Anne</quote> gav "
-"bokhandlerne, så sa han at den ikke fortrengte noe fra sedvaneretten. "
-"Spørsmålet var hvorvidt sedvaneretten beskyttet forfatterne mot "
-"<quote>pirater.</quote> Mansfield svar var ja: Sedvaneretten nektet Taylor å "
-"reprodusere Thomsons dikt uten Millars tillatelse. Slik gav sedvaneretten "
+"bokhandlerne, så sa han at den ikke fortrengte noe fra rettspraksis. "
+"Spørsmålet var hvorvidt rettspraksis beskyttet forfatterne mot "
+"<quote>pirater.</quote> Mansfield svar var ja: Rettspraksis nektet Taylor å "
+"reprodusere Thomsons dikt uten Millars tillatelse. Slik gav rettspraksis "
"bokselgerne en evig publiseringsrett til bøker solgt til dem."
#. PAGE BREAK 103
"Britain would mature from the controlled culture that the Crown coveted to "
"the free culture that we inherited."
msgstr ""
-"Ser man på det som et spørsmål innen abstrakt jus — dersom man "
+"Ser man på det som et spørsmål innen abstrakt jus – dersom man "
"resonnerer som om rettferdighet bare var logisk deduksjon fra de første bud "
-"— kunne Mansfields konklusjon gitt mening. Men den overså det "
+"– kunne Mansfields konklusjon gitt mening. Men den overså det "
"Parlamentet hadde kjempet for i 1710: Hvordan man på best mulig vis kunne "
"innskrenke utgivernes monopolmakt. Parlamentets strategi hadde vært å kjøpe "
"fred gjennom å tilby en beskyttelsesperiode også for eksisterende verk, men "
"På en måte som de færreste rettsaker gjør, fikk rettsaken "
"<citetitle>Donaldson</citetitle> mot <citetitle>Beckett</citetitle> enorm "
"oppmerksomhet over hele Storbritannia. Donaldsons advokater mente at "
-"uavhengig av hvilke rettigheter som eksisterte i henhold til sedvaneretten, "
+"uavhengig av hvilke rettigheter som eksisterte i henhold til rettspraksis, "
"så var disse fortrengt av <quote>Statute of Anne.</quote> Etter at "
"<quote>Statute of Anne</quote> var blitt vedtatt, skulle den eneste lovlige "
"beskyttelse for trykkerett komme derfra. Og derfor, argumenterte de, ville "
"time, after which the work protected by copyright passed into the public "
"domain."
msgstr ""
-"Rapportene om jusslordene stemmer er uenige. På enkelte punkter ser det ut "
+"Rapportene om jusslordenes stemmer er uenige. På enkelte punkter ser det ut "
"som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om "
"hvordan resten av Overhuset stemte. Med en majoritet på to mot en (22 mot "
"11) stemte de ned forslaget om en evig beskyttelse. Uansett hvordan man "
-"hadde tolket sedvaneretten, var nå opphavsretten begrenset til en periode, "
-"og etter denne ville verket falle i det fri."
+"hadde tolket rettspraksis, var nå opphavsretten begrenset til en periode, og "
+"etter denne ville verket falle i det fri."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Bacon, Francis"
"om hva å falle i det fri innebar. Før 1774 var det jo en allmenn oppfatning "
"om at kopiretten var evigvarende. Men etter 1774 ble allemannseiet født. For "
"første gang i angloamerikansk historie var den lovlige beskyttelsen av et "
-"verk utgått, og de største verk i engelsk historie — inkludert "
-"Shakespeare, Bacon, Milton, Johnson og Bunyan — var frie."
+"verk utgått, og de største verk i engelsk historie – inkludert "
+"Shakespeare, Bacon, Milton, Johnson og Bunyan – var frie."
#. f13
#. type: Content of: <book><part><chapter><para><footnote><para>
"vekst ikke lenger var kontrollert av en liten gruppe utgivere. Som alle frie "
"markeder, ville dette markedet vokse og utvikle seg etter tilbud og "
"etterspørsel. Den engelske kulturen ble nå formet slik flertallet av "
-"Englands lesere ville at det skulle formes — gjennom valget av hva de "
+"Englands lesere ville at det skulle formes – gjennom valget av hva de "
"kjøpte og skrev, gjennom valget av memer (idéer) de gjentok og beundret. "
"Valg i en <emphasis>konkurrerende sammenheng</emphasis>, ikke der hvor "
"valgene var om hvilken kultur som skulle være tilgjengelig for folket, og "
"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>"
msgstr ""
"Deretter, fortalte Else: <quote>skjedde to ting. Først oppdaget vi … "
-"at Matt Groening ikke eide sitt eget verk — i hvert fall at noen [hos "
+"at Matt Groening ikke eide sitt eget verk – i hvert fall at noen [hos "
"Fox] trodde at han ikke eide sitt eget verk.</quote> Som det andre krevde "
"Fox <quote>ti tusen dollar i lisensavgift for disse fire og et halvt "
"sekundene med … fullstendig tilfeldig <citetitle>Simpson</citetitle> "
"første tanke <quote>rimelig bruk.</quote><placeholder type=\"footnote\" id="
"\"0\"/> Elses bruk av 4,5 sekunder med et indirekte klipp av en "
"<citetitle>Simpsons</citetitle>-episode er et klart eksempel på rimelig bruk "
-"av <citetitle>The Simpsons</citetitle> — og rimelig bruk krever ingen "
+"av <citetitle>The Simpsons</citetitle> – og rimelig bruk krever ingen "
"tillatelse fra noen."
#. PAGE BREAK 109
"and interviews with figures important to his career."
msgstr ""
"Alben var veldig interessert i ny teknologi. Han var fascinert av det "
-"voksende markedet for CD-ROM-teknologi — ikke for å distribuere film, "
+"voksende markedet for CD-ROM-teknologi – ikke for å distribuere film, "
"men for å gjøre ting med filmen som før ville vært svært vanskelig. I 1993 "
"lanserte han idéen om å utvikle et produkt for å vise tilbakeblikk på "
"verkene til bestemte skuespillere. Den første skuespilleren som ble valgt, "
"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Teknisk sett var rettighetene som Alben måtte klarere i hovedsak de om "
-"publisitet — rettigheten en artist har til å kontrollere den "
+"publisitet – rettigheten en artist har til å kontrollere den "
"kommersielle utnyttelsen av sitt bilde. Men disse rettighetene belaster "
"også <quote>ripp, miks, brenn</quote>-kreativiteten slik dette kapittelet "
"demonstrerer. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
"Vi bestemte at det ville være rettferdig hvis vi tilbød dem en "
"dagsspillersats for retten til å bruke klippet. Vi snakker tross alt om et "
"klipp på under et minutt, men satsen for å bruke klippet på CD-ROM lå på den "
-"tiden på 600 dollar. Så vi måtte identifisere personene — noen var "
+"tiden på 600 dollar. Så vi måtte identifisere personene – noen var "
"vanskelig å identifisere, siden det ofte er vanskelig å vite hvem som er "
"skuespilleren og hvem som er stuntmannen i Eastwoods filmer. Og deretter "
"samlet vi oss en gjeng og begynte å ringe rundt."
"particular). But eventually, Alben and his team had cleared the rights to "
"this retrospective CD-ROM on Clint Eastwood's career."
msgstr ""
-"Noen skuespillere var glade for å kunne hjelpe — Donald Sutherland "
+"Noen skuespillere var glade for å kunne hjelpe – Donald Sutherland "
"fulgte for eksempel opp saken personlig for å sørge for at alt var greit. "
"Andre brydde seg mest om pengene. Alben kunne spørre <quote>Hei, kan jeg "
"betale deg 600 dollar, eller hvis du var i to filmer, 1200 dollar?</quote> "
"only time he knew of that a team had undertaken such a massive project for "
"the purpose of releasing a retrospective."
msgstr ""
-"Alben er stolt av arbeidet sitt. Prosjektet var det første av sitt slag, og "
+"Alben er stolt av verket sitt. Prosjektet var det første av sitt slag, og "
"første gang han hadde hørt om et team som hadde tatt på seg så mye arbeid "
"for å gi ut en samling av tidligere arbeider."
"to put one of these things together."
msgstr ""
"Absolutt. Jeg tror at hvis det fantes en form for lisensieringsmekanisme "
-"— hvor du ikke risikerte å bli offer for forglemmelser eller "
-"problematiske ekskoner — ville man kanskje ha sett mange flere av "
+"– hvor du ikke risikerte å bli offer for forglemmelser eller "
+"problematiske ekskoner – ville man kanskje ha sett mange flere av "
"denne typen verk, rett og slett fordi det ikke ville sett så "
"skrekkinngytende ut å sette sammen et tilbakeblikk på noens karriere, og å "
"bruke mange media-illustrasjoner fra vedkommendes karriere. Du ville kunne "
"question: <quote>Do you know how many federal laws were just violated in "
"this room?</quote>"
msgstr ""
-"Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer, "
+"Da lysene kom på, kikket jeg over til min medpaneldeltaker, David Nimmer, "
"kanskje den ledende opphavsrettsakademiker og -utøver i nasjonen. Han hadde "
"et forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med "
"over 250 godt underholdte dommere. Med en illevarslende tone, begynte han "
msgstr ""
"Vi lever i en <quote>klipp og lim</quote>-kultur som er muliggjort av dagens "
"teknologi. Alle som lager presentasjoner vet hvilken særskilt frihet "
-"Internetts <quote>klipp og lim</quote>-arkitektur gir — på et sekund "
+"Internetts <quote>klipp og lim</quote>-arkitektur gir – på et sekund "
"kan du finne akkurat det bildet du vil ha, og du kan få det inn i "
"presentasjonen din."
"Saturday Night Live og Austin Powers). I følge kunngjøringen skulle "
"DreamWorks og Myers arbeide for å skape en <quote>unik filmskaperavtale.</"
"quote> Under denne avtalen ville DreamWorks <quote>få rett til å benytte "
-"eksisterende filmklipp, skrive nye manus og — med hjelp av moderne "
-"digitalteknologi — sette inn Myers og andre skuespillere i filmene, og "
+"eksisterende filmklipp, skrive nye manus og – med hjelp av moderne "
+"digitalteknologi – sette inn Myers og andre skuespillere i filmene, og "
"slik skape et helt nytt stykke underholdning.</quote>"
#. type: Content of: <book><part><chapter><para>
"kunngjøring følgende: Det er Mike Myers, og kun Mike Myers, som har lov til "
"å gjøre slikt. All generell frihet til å fortsette å bygge på verdens "
"filmkultur, en frihet som i andre sammenhenger er en selvfølge, er et "
-"privilegium forbeholdt de morsomme og berømte — og antakelig rike."
+"privilegium forbeholdt de morsomme og berømte – og antakelig rike."
#. type: Content of: <book><part><chapter><para>
msgid ""
"jurist til å forsvare dine <quote>rimelig bruk</quote>-rettigheter, eller så "
"betaler du en jurist for å oppspore og ordne med rettighetene du trenger, "
"slik at du slipper å stole på rimelig bruk. I begge tilfeller er den "
-"kreative prosessen blitt en prosess med å betale jurister — igjen, et "
+"kreative prosessen blitt en prosess med å betale jurister – igjen, et "
"privilegium forbeholdt de få."
#. type: Content of: <book><part><chapter><title>
"copies of the Internet and stored them."
msgstr ""
"<emphasis role='strong'>I april 1996</emphasis> hadde millioner av "
-"<quote>bot-er</quote> — dataprogramkode utformet for å <quote>kravle</"
-"quote>, eller automatisk søke på Internett og kopiere innhold — gått i "
+"<quote>bot-er</quote> – dataprogramkode utformet for å <quote>kravle</"
+"quote>, eller automatisk søke på Internett og kopiere innhold – gått i "
"gang på nettet. Side for side kopierte disse bot-ene Internett-basert "
"informasjon til et lite sett maskiner plassert i en kjeller i San Franciscos "
"Presidio. Da bot-ene var ferdig med hele Internett, startet de på nytt. "
"I oktober 2001 hadde bot-ene samlet mer enn fem år med kopier. Ved en liten "
"kunngjøring ved Berkeley, California, ble arkivet som disse kopiene "
"utgjorde, Internett-arkivet, åpnet for verden. Ved å bruke en teknologi ved "
-"navn <quote>Way Back machine</quote> kan du skrive inn en nettside og se "
+"navn <quote>Way Back Machine</quote> kan du skrive inn en nettside og se "
"alle dens kopier helt tilbake til 1996, samt se når disse sidene endret seg."
#. type: Content of: <book><part><chapter><indexterm><primary>
"Det er det samme med Internett. Hvis du besøker en nettside i dag, så har "
"du ingen måte å vite om innholdet du leser nå er det samme som innholdet du "
"leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt "
-"være helt annerledes. Internett er Orwells bibliotek — kontinuerlig "
+"være helt annerledes. Internett er Orwells bibliotek – kontinuerlig "
"oppdatert, uten en pålitelig hukommelse."
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the "
-"White House changes its own press releases without notice. A May 13, 2003, "
-"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> "
-"That was later changed, without notice, to <quote>Major Combat Operations in "
-"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> The temptations "
+"remain, however. Brewster Kahle reports that the White House changes its own "
+"press releases without notice. A May 13, 2003, press release stated, "
+"<quote>Combat Operations in Iraq Have Ended.</quote> That was later changed, "
+"without notice, to <quote>Major Combat Operations in Iraq Have Ended.</"
+"quote> E-mail from Brewster Kahle, 1 December 2003."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det "
-"hvite hus endrer sine egne pressemeldinger uten varsel. En pressemelding "
-"fra 13. mai 2003 inneholdt <quote>Kampoperasjoner i Irak er over.</quote> "
-"Det ble senere endret, uten varsel, til <quote>Større kampoperasjoner i Irak "
-"er over.</quote> E-post fra Brewster Kahle, 1. desember 2003."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Fristelsene er dog der "
+"fortsatt. Brewster Kahle forteller at Det hvite hus endrer sine egne "
+"pressemeldinger uten varsel. En pressemelding fra 13. mai 2003 inneholdt "
+"<quote>Kampoperasjoner i Irak er over.</quote> Det ble senere endret, uten "
+"varsel, til <quote>Større kampoperasjoner i Irak er over.</quote> E-post "
+"fra Brewster Kahle, 1. desember 2003."
#. type: Content of: <book><part><chapter><para>
msgid ""
"bibliotek og se i avisene. Disse artiklene finnes sannsynligvis på "
"microfiche. Hvis du er heldig, så eksisterer de også på papir. Uansett, så "
"står du fritt til, ved å bruke et bibliotek, å gå tilbake for å huske "
-"— ikke bare det som er behagelig å huske, men å huske slikt som er nær "
+"– ikke bare det som er behagelig å huske, men å huske slikt som er nær "
"sannheten."
#. type: Content of: <book><part><chapter><para>
"reformere samfunnet, så blir det viktigere og viktigere å bevare det i en "
"eller annen historisk form. Det er helt sært å tenke på at vi har masse "
"arkiver med aviser fra små tettsteder rundt om i hele verden, men det finnes "
-"bare en kopi av Internett — den som blir oppbevart av Internett-"
+"bare en kopi av Internett – den som blir oppbevart av Internett-"
"arkivet."
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Way Back Machine er det største arkivet over menneskelig kunnskap i "
"menneskehetens historie. Ved slutten av 2002 inneholdt det <quote>to hundre "
-"og tredve terabyte med materiale</quote> — og var <quote>ti ganger "
+"og tredve terabyte med materiale</quote> – og var <quote>ti ganger "
"større enn kongressbiblioteket.</quote> Og dette var bare det første av "
"arkivene som Kahle gikk i gang med å bygge. I tillegg til Internett-arkivet "
"er Kahle i gang med å konstruere TV-arkivet. TV, viser det seg, er enda mer "
"flyktig enn Internett. Selv om mye av kulturen i det tjuende århundret ble "
"til gjennom fjernsyn, så er bare en liten andel av den kulturen tilgjengelig "
"for dem som vil se det i dag. Tre timer med nyheter blir tatt opp hver "
-"kveld av Vanderbilt University — takket være et spesifikt unntak i "
+"kveld av Vanderbilt University – takket være et spesifikt unntak i "
"opphavsrettsloven. Dette innholdet blir gjort søkbart, og er tilgjengelig "
"for forskere for en svært lav avgift. <quote>Men bortsett fra dette, så er "
"[TV] nesten fullstendig utilgjengelig,</quote> fortalte Kahle meg. "
"dette … så ville det være nesten umulig … Dette materialet "
"er nesten umulig å finne. …"
-#. type: Content of: <book><part><chapter><indexterm><primary>
+#. type: Content of: <book><part><chapter><
section><indexterm><primary>
msgid "newspapers"
msgstr "aviser"
"Disse reglene gjaldt også for filmer, men i 1915 gjorde kongressbiblioteket "
"et unntak for film. Filmer kunne bli opphavsrettsbeskyttet så lenge det ble "
"gjort slik deponering, men filmskaperne fikk så lov til å låne tilbake de "
-"deponerte filmene — så lenge de ville uten noe kostnad. Bare i 1915 "
+"deponerte filmene – så lenge de ville uten noe kostnad. Bare i 1915 "
"var det mer enn 5475 filmer deponert og <quote>lånt tilbake.</quote> Dermed "
"var det ikke noe eksemplar i noe bibliotek da vernetiden til filmen utløp. "
-"Eksemplaret finnes — hvis det finnes i det hele tatt — i "
+"Eksemplaret finnes – hvis det finnes i det hele tatt – i "
"arkivbiblioteket til filmselskapet.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
"part of American culture is practically invisible to anyone who would look."
msgstr ""
"Det samme er generelt sett sant også for TV. Fjernsynssendinger var "
-"opprinnelig ikke opphavsrettsbeskyttet — det fantes ingen måte å ta "
+"opprinnelig ikke opphavsrettsbeskyttet – det fantes ingen måte å ta "
"opp sendinger, så det var ikke noe frykt for <quote>tyveri.</quote> Men "
"etter hvert som teknologien gjorde det mulig å ta opp TV-sendinger, baserte "
"kringkastere seg i større grad på loven. Loven krevde at de laget et "
"delen av vår kultur. Vil du se et eksemplar av <quote>Dukk og skjul deg</"
"quote>-filmen som gir barn instrukser om hvordan de skal redde seg selv "
"under et atomangrep? Besøk archive.org, og du kan laste ned filmen på noen "
-"få minutter — gratis."
+"få minutter – gratis."
#. type: Content of: <book><part><chapter><para>
msgid ""
"mulighet til å selge tilgang til det. Målet hans er å sikre konkurranse "
"rundt tilgang til denne viktige delen av kulturen vår. Ikke i den "
"kommersielle delen av en kreativ eiendoms liv, men i løpet av den andre "
-"fasen som all kreativ eiendom har — en ikke-kommersiell fase."
+"fasen som all kreativ eiendom har – en ikke-kommersiell fase."
#. PAGE BREAK 124
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Likevel gjelder i stadig mindre grad antagelsen om en stabil annen fase for "
"kreativ eiendom hos de viktigste komponentene som utgjør populærkulturen i "
-"det tjuende og tjueførste århundre. For disse — TV, filmer, musikk, "
-"radio, Internett — finnes det ingen garanti for en annen fase. For "
+"det tjuende og tjueførste århundre. For disse – TV, filmer, musikk, "
+"radio, Internett – finnes det ingen garanti for en annen fase. For "
"denne typen kultur, er det som om vi har byttet ut biblioteker med Barnes "
"& Noble-supermarkeder. Med denne kulturen er det ingenting annet "
"tilgjengelig enn det som et visst begrenset marked etterspør. Ut over det "
msgid "total number of"
msgstr "totalt antall"
+#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
+msgid "music recordings"
+msgstr "musikkinnspillinger"
+
#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
"It looks like there's about two to three million recordings of music. Ever. "
"det for å forstå den. Andre for å kritisere den. Noen vil bruke den, slik "
"Walt Disney gjorde, for å gjenskape fortiden for fremtiden. Disse "
"teknologiene har lovnaden om noe som hadde blitt umulig å tenke seg i store "
-"deler av vår fortid — en fremtid <emphasis>for</emphasis> vår fortid. "
+"deler av vår fortid – en fremtid <emphasis>for</emphasis> vår fortid. "
"Teknologien til digital kunst kan gjøre drømmen om biblioteket i Alexandria "
"virkelig igjen."
msgid "Kennedy, John F."
msgstr "Kennedy, John F."
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+msgid "background of"
+msgstr "bakgrunnen til"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of "
msgstr ""
"<emphasis role='strong'>Jack Valenti</emphasis> har vært president for "
"Motion Picture Assication of America siden 1966. Han ankom Washington D.C. "
-"med Lyndon Johnson-administrasjonen — bokstavelig talt. På det "
+"med Lyndon Johnson-administrasjonen – bokstavelig talt. På det "
"berømte bildet av edsavleggelsen til Johnson på Air Force One etter "
"snikmordet på president Kennedy befinner Valenti seg i bakgrunnen. I sine "
"nesten førti år som leder av MPAA har Valenti etablert seg som kanskje den "
"mest synlige og effektive lobbyisten i Washington."
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Sony Pictures Entertainment"
-msgstr "Sony Pictures Entertainment"
-
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "MGM"
msgstr "MGM"
msgid "Twentieth Century Fox"
msgstr "Twentieth Century Fox"
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Sony Pictures Entertainment"
+msgstr "Sony Pictures Entertainment"
+
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Universal Pictures"
msgstr "Universal Pictures"
"Valenti er den tredje presidenten i MPAA. Ingen president før ham har hatt "
"like mye innflytelse over organisasjonen, eller over Washington. Valenti, "
"som kommer fra Texas, har mestret den viktigste politiske enkeltferdighet "
-"som trengs av en fra sørstatene — evnen til å fremstå enkel og treg "
+"som trengs av en fra sørstatene – evnen til å fremstå enkel og treg "
"mens en skjuler sitt lynraske intellekt. Valenti spiller fortsatt en enkel "
"og ydmyk mann. Men denne mannen, som har MBA fra Harvard, skrevet fire "
"bøker, fullført videregående skole i en alder av femten år, og fløyet mer "
"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 "
"(testimony of Jack Valenti)."
msgstr ""
+"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, H.R. "
+"4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on Courts, "
+"Civil Liberties, and the Administration of Justice of the Committee on the "
+"Judiciary of the House of Representatives, 97th Cong., 2nd sess. (1982): 65 "
+"(vitnemål fra Jack Valenti)."
#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
msgstr ""
"Forfatterne av vår Grunnlov elsket <quote>eiendom.</quote> Faktisk elsket "
"de eiendom så sterkt at de bygde inn en viktig forutsetning i Grunnloven. "
-"Hvis myndigheten tar din eiendom — hvis den kondemnerer huset ditt "
-"eller eksproprierer et stykke land fra gården din — så er det et krav, "
+"Hvis myndigheten tar din eiendom – hvis den kondemnerer huset ditt "
+"eller eksproprierer et stykke land fra gården din – så er det et krav, "
"ifølge det femte grunnlovstilleggets <quote>beslagleggingsavsnitt,</quote> "
"at du må få <quote>rimelig kompensasjon</quote> for det som blir "
"beslaglagt. Grunnloven garanterer dermed at eiendom på en måte er "
"institusjoner utformet for å sikre at artister får betalt også må "
"kontrollere hvordan kultur utvikler seg."
+#. type: Content of: <book><chapter><indexterm><primary>
+msgid "Lessig, Lawrence"
+msgstr "Lessig, Lawrence"
+
#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "four modalities of constraint on"
msgstr "fire modaliteter for begrensninger på"
#. type: Content of: <book><part><chapter><section><figure>
msgid ""
-"<graphic fileref=\"images/1331.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/1331.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
msgstr ""
-"<graphic fileref=\"images/nb/1331.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/nb/1331.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
#. type: Content of: <book><part><chapter><para>
"tilfelle gjennom hele denne teksten kan vi beskrive det enten som en "
"regulering eller som en rettighet. For enkelhets skyld vil jeg kun omtale "
"det som en regulering.) Ovalene representerer fire måter for hvordan "
-"individet eller gruppen kan reguleres — enten begrenset eller "
+"individet eller gruppen kan reguleres – enten begrenset eller "
"alternativt muliggjort. Lovverket er den mest åpenbare begrensningen (i "
"hvert fall for advokater). Den begrenser ved å true med straff i ettertid "
"hvis forhåndsbestemte regler blir brutt. Dermed, hvis du for eksempel "
"Markedet er en tredje type begrensning. Dets begrensing skjer gjennom "
"betingelser. Du kan gjøre X hvis du betaler Y, og du vil få betalt M hvis "
"du gjør N. Disse begrensningene er åpenbart ikke uavhengig av lover og "
-"normer — det er eiendomsretten som definerer hva som må kjøpes før det "
+"normer – det er eiendomsretten som definerer hva som må kjøpes før det "
"skal kunne tas på lovlig vis, og det er normer som sier hva det er greit å "
"selge. Men gitt et sett med normer og en bakgrunn med eiendoms- og "
"kontraktslovgiving, så påfører markedet samtidig begrensninger for hvordan "
"flight to New York, it is the market that enforces this constraint."
msgstr ""
"Til slutt, og kanskje for øyeblikket det mest mystiske, <quote>arkitektur</"
-"quote> — den fysiske verden slik den oppleves — er en "
+"quote> – den fysiske verden slik den oppleves – er en "
"begrensning på adferd. En nedrast bro kan begrense din mulighet til å komme "
"over en elv. Jernbanespor kan begrense et samfunns mulighet til å holde ved "
"like sitt sosiale liv. På samme måte som med markedet, påfører ikke "
"bli straffet av naboene. Den samme normen vil ikke være like effektiv i en "
"annen by, eller om natten."
-#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"By describing the way law affects the other three modalities, I don't mean "
"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of "
"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence "
"Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal "
-"Studies</citetitle>, June 1998."
+"Studies</citetitle>, June 1998. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Ved å beskrive hvordan loven påvirker de andre tre modalitetene, mener jeg "
"ikke å foreslå at de andre tre ikke påvirker loven. Det gjør de "
"uttrykkes mer beskjedent. Se Lawrence Lessig <citetitle>Code: And Other "
"Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; "
"Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal "
-"of Legal Studies</citetitle>, juni 1998."
+"of Legal Studies</citetitle>, juni 1998. <placeholder type=\"indexterm\" id="
+"\"0\"/>"
#. PAGE BREAK 135
#. type: Content of: <book><part><chapter><para>
"Loven kan brukes til å kreve flere fartsdumper, for slik å gjøre det "
"vanskeligere å kjøre raskt. Loven kan brukes til å finansiere "
"reklamekampanjer som stigmatiserer stygg kjøring, eller loven kan brukes til "
-"å kreve at andre lover blir mer strengere — et føderalt krav som sier "
-"at delstatene må redusere fartsgrensene — for slik å gjøre det mindre "
+"å kreve at andre lover blir mer strengere – et føderalt krav som sier "
+"at delstatene må redusere fartsgrensene – for slik å gjøre det mindre "
"attraktivt å kjøre fort."
#. type: Content of: <book><part><chapter><figure>
msgid ""
-"<graphic fileref=\"images/1361.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/1361.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
msgstr ""
-"<graphic fileref=\"images/nb/1361.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/nb/1361.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
"interventions should be accounted for in order to understand the effective "
"liberty that each of these groups might face. <placeholder type=\"indexterm"
"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
-"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"
+"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> "
+"<placeholder type=\"indexterm\" id=\"4\"/>"
msgstr ""
"Noen personer protesterer på denne måten å snakke om <quote>frihet.</quote> "
"De protesterer fordi deres fokus når de vurderer begrensninger som "
"arbeidsfrihet fra begrensninger pålagt av markedet; John R. Commons, "
"<quote>The Right to Work,</quote> i Malcom Rutherford og Warren J. Samuels, "
"eds., <citetitle>John R. Commons: Selected Essays</citetitle> (London: "
-"Routledge: 1997), 62. *The Americans with Disabilities Act* øker friheten "
-"til folk med fysiske handikap ved å endre arkitekturen til bestemte "
-"offentlige steder, og gjør dermed tilgang til disse stedene enklere; 42 "
-"<citetitle>United States Code</citetitle>, del 12101 (2000). Hver av disse "
-"inngrepene for å endre eksisterende vilkår endrer friheten til en bestemt "
-"gruppe. Effekten av disse inngrepene bør tas hensyn til for å forstå den "
-"effektive friheten som hver av disse gruppene møter. <placeholder type="
-"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
-"id=\"3\"/>"
+"Routledge: 1997), 62. The Americans with Disabilities Act (tilsvarer norske "
+"bestemmelser om universell utforming) øker friheten til folk med "
+"funksjonshemninger ved å endre utformingen på utvalgte offentlige steder, og "
+"gir dermed enklere tilgang til disse stedene; 42 <citetitle>United States "
+"Code</citetitle>, del 12101 (2000). Hver av disse inngrepene for å endre "
+"eksisterende vilkår endrer friheten til en bestemt gruppe. Effekten av "
+"disse inngrepene bør tas hensyn til for å forstå den effektive friheten som "
+"hver av disse gruppene møter. <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
+"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type="
+"\"indexterm\" id=\"4\"/>"
#. type: Content of: <book><part><chapter><para>
msgid ""
"dem som kopierer og deler innhold. Denne straffen er forsterket av "
"teknologier som gjør det vanskelig å kopiere og dele innhold (arkitektur), "
"og dyrt å kopiere og dele innhold (marked). Til slutt er disse straffene "
-"mildnet av normer som vi alle gjenkjenner — et eksempel er barn som "
+"mildnet av normer som vi alle gjenkjenner – et eksempel er barn som "
"tar opp andre barns plater. Denne bruken av opphavsrettsbeskyttet materiale "
"kan det godt hende er brudd på opphavsretten, men normene i vårt samfunn (i "
"hvert fall før Internett) hadde ikke noe problem med denne form for "
#. type: Content of: <book><part><chapter><section><figure>
msgid ""
-"<graphic fileref=\"images/1381.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/1381.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
msgstr ""
-"<graphic fileref=\"images/nb/1381.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/nb/1381.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
#. type: Content of: <book><part><chapter><section><indexterm><primary>
"the government to bail them out when imports (market) wipe out the U.S. "
"steel industry."
msgstr ""
-"Denne blandede strategien var akkurat det opphavsretten trengte — hvis "
+"Denne blandede strategien var akkurat det opphavsretten trengte – hvis "
"den skulle bevare den bestemte balansen som eksisterte før endringen som ble "
"påført av Internett. Og det er akkurat det vi bør forvente at "
"innholdsindustrien presser på for. Det er så amerikansk som det kan bli å "
"would <quote>abridge</quote> the freedom of speech, it should ask— "
"carefully—whether such regulation is justified."
msgstr ""
-"I sammenheng med lover som regulerer ytringer — hvilket åpenbart "
-"inkluderer opphavsrettsloven — er plikten enda sterkere. Når "
+"I sammenheng med lover som regulerer ytringer – hvilket åpenbart "
+"inkluderer opphavsrettsloven – er plikten enda sterkere. Når "
"industrien klager over teknologier som endrer seg, og ber Kongressen om å "
"svare på en måte som belaster ytring og kreativitet, bør beslutningstakere "
"være spesielt skeptiske til forespørselen. Det er alltid en dårlig avtale "
"første grunnlovstillegg: <quote>Kongressen skal ikke vedta noen lov som "
"… begrenser ytringsfriheten.</quote> Så når Kongressen blir spurt om "
"å vedta lover som ville <quote>begrense</quote> ytringsfriheten, bør den "
-"vurdere — svært nøye — hvorvidt slik regulering er berettiget."
+"vurdere – svært nøye – hvorvidt slik regulering er berettiget."
#. PAGE BREAK 140
#. type: Content of: <book><part><chapter><section><para>
"eiendom</quote> helt klart; dens uttrykkelige begrensninger forsterker det "
"engelske mål om å unngå for mektige utgivere."
-#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in constitutional Progress Clause"
msgstr "i Grunnlovens Fremskrittsbestemmelse"
"til Kongressen på en måte som, i hvert fall for i forhold til vår Grunnlov, "
"er veldig uvanlig. Artikkel I, del 8, setningsdel 8 i grunnloven vår lyder:"
-#. PAGE BREAK 142
-#. type: Content of: <book><part><chapter><section><para>
+#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"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 "
-"<quote>Progress Clause,</quote> for notice what this clause does not say. It "
-"does not say Congress has the power to grant <quote>creative property rights."
-"</quote> It says that Congress has the power <emphasis>to promote progress</"
-"emphasis>. The grant of power is its purpose, and its purpose is a public "
-"one, not the purpose of enriching publishers, nor even primarily the purpose "
-"of rewarding authors."
+"to their respective Writings and Discoveries."
msgstr ""
"Kongressen har myndighet til å fremme utviklingen av vitenskap og nyttig "
"kunst ved å sikre forfattere og oppfinnere, i et begrenset tidsrom, "
-"eksklusive rettigheter til sine respektive skrifter og oppdagelser. Vi "
-"kaller dette <quote>Fremskrittsbestemmelsen,</quote> og legg merke til hva "
-"denne bestemmelsen ikke sier. Den sier ikke at Kongressen har myndighet til "
-"å dele ut <quote>kreative eiendomsretter.</quote> Den sier at Kongressen "
-"har myndighet til <emphasis>å fremme fremskritt</emphasis>. Tildeling av "
-"myndighet er dets formål, og dets formål er for fellesskapet. Formålet er "
-"ikke å berike utgivere, og formålet er heller ikke hovedsaklig å belønne "
-"forfattere."
+"eksklusive rettigheter til sine respektive skrifter og oppdagelser."
+
+#. type: Content of: <book><part><chapter><section><para>
+msgid ""
+"We can call this the <quote>Progress Clause,</quote> for notice what this "
+"clause does not say. It does not say Congress has the power to grant "
+"<quote>creative property rights.</quote> It says that Congress has the power "
+"<emphasis>to promote progress</emphasis>. The grant of power is its purpose, "
+"and its purpose is a public one, not the purpose of enriching publishers, "
+"nor even primarily the purpose of rewarding authors."
+msgstr ""
+"Vi kaller dette <quote>Fremskrittsbestemmelsen,</quote> og legg merke til "
+"hva denne bestemmelsen ikke sier. Den sier ikke at Kongressen har myndighet "
+"til å dele ut <quote>kreative eiendomsretter.</quote> Den sier at "
+"Kongressen har myndighet til <emphasis>å fremme fremskritt</emphasis>. "
+"Tildeling av myndighet er dets formål, og dets formål er for fellesskapet. "
+"Formålet er ikke å berike utgivere, og formålet er heller ikke hovedsaklig å "
+"belønne forfattere."
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "history of American"
"kort. For å hindre at for mye makt samlet seg hos en kirke, forbød de "
"føderale myndigheter å etablere en kirke. For å hindre at for mye makt "
"samlet seg hos de føderale myndigheter bygget de strukturer som forsterket "
-"makten til delstatene — inkludert i Senatet, hvis medlemmer på den "
+"makten til delstatene – inkludert i Senatet, hvis medlemmer på den "
"tiden ble utpekt av delstatene, og en valgforsamling, også utpekt av "
"delstatene, som valgte president. I hvert tilfelle, bygget de en "
"<emphasis>struktur</emphasis> av kontrollmekanismer inn i den "
#. type: Content of: <book><part><chapter><section><figure>
msgid ""
-"<graphic fileref=\"images/1442.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/1442.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
msgstr ""
-"<graphic fileref=\"images/nb/1442.svg\" align=\"center\" width=\"50%\"></"
+"<graphic fileref=\"images/nb/1442.svg\" align=\"center\" width=\"45%\"></"
"graphic>"
#. PAGE BREAK 144
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "common law protections of"
-msgstr "sedvanerettsbeskyttelse av"
+msgstr "rettspraksisbeskyttelse av"
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "balance of U.S. content in"
msgid ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
-"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the "
-"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, "
-"or were supposed by some to have, under the Common Law</emphasis></quote> "
-"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>"
+"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of "
+"<quote>the supreme Law of the Land,</quote> <emphasis>the perpetual rights "
+"which authors had, or were supposed by some to have, under the Common Law</"
+"emphasis></quote> (emphasis added). <placeholder type=\"indexterm\" id="
+"\"0\"/>"
msgstr ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
-"vol. 1, 485–86: <quote>utraderer, ved enkel implikasjon av `*the "
-"supreme Law of the Land*,' <emphasis>de evige rettigheter som forfattere "
-"hadde, eller som de var antatt av noen å ha, i henhold til sedvanerett</"
-"emphasis></quote> (min utheving). <placeholder type=\"indexterm\" id=\"0\"/>"
+"vol. 1, 485–86: <quote>opphever, implisitt ved å være plassert i "
+"<quote>landets fremste lov,</quote> <emphasis>de evige rettigheter som "
+"forfattere hadde, eller var antatt å ha, som følge av rettspraksis</"
+"emphasis></quote> (min utheving). [I USA bygger rettskjennelser som "
+"hovedregel på tidligere dommer (prejudikat). Unntaket er når forholdet det "
+"er tvist om reguleres av Grunnloven (<quote>landets fremste lov</quote>). "
+"Dersom Grunnloven og et prejudikat eller en lokal lov er i konflikt med "
+"hverandre, går Grunnloven alltid foran. o.a.] <placeholder type=\"indexterm"
+"\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"den de samme usikkerhetene rundt status for kreativ eiendom som "
"engelskmennene hadde blitt konfrontert med i 1774. Flere delstater hadde "
"vedtatt lover som beskyttet kreativ eiendom, og noen mente at disse lovene "
-"enkelt og greit var tillegg til sedvanerettigheter som allerede beskyttet "
-"kreativt forfatterskap.<placeholder type=\"footnote\" id=\"0\"/> Dette betød "
-"at det ikke var noe garantert allemannseie i USA i 1790. Hvis opphavsretten "
-"var beskyttet av sedvaneretten, så var det ingen enkel måte å vite hvorvidt "
-"et verk publisert i USA var kontrollert eller fritt. Akkurat som i England "
-"ville denne vedvarende usikkerheten gjøre det vanskelig for utgivere å "
-"basere seg på allemannseiet når de ønsket å gi ut på nytt og distribuere "
-"verk."
+"enkelt og greit var tillegg til rettspraksisrettigheter som allerede "
+"beskyttet kreativt forfatterskap.<placeholder type=\"footnote\" id=\"0\"/> "
+"Dette betød at det ikke var noe garantert allemannseie i USA i 1790. Hvis "
+"opphavsretten var beskyttet av rettspraksis, så var det ingen enkel måte å "
+"vite hvorvidt et verk publisert i USA var kontrollert eller fritt. Akkurat "
+"som i England ville denne vedvarende usikkerheten gjøre det vanskelig for "
+"utgivere å basere seg på allemannseiet når de ønsket å gi ut på nytt og "
+"distribuere verk."
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "federal vs. state"
"reguleringer. Dermed er bøkene <emphasis>faktisk</emphasis> ikke lenger "
"kontrollert av opphavsretten. Den eneste praktiske kommersielle bruken av "
"bøkene på dette stadiet er å selge bøkene som brukte bøker. Denne bruken "
-"— fordi den ikke involverer publisering — er effektivt uten "
+"– fordi den ikke involverer publisering – er effektivt uten "
"begrensninger."
#. type: Content of: <book><part><chapter><indexterm><secondary>
"utvidet Kongressen fornyingsvernetiden fra 14 til 28 år, og vedtok dermed en "
"maksimal vernetid på 56 år."
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "CTEA"
+msgstr "CTEA"
+
#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)"
msgstr "Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA) (1998)"
"opphavsrettsvernetidsloven</quote> vedtatt som utvidet vernetiden for "
"eksisterende og fremtidige opphavsretter med tyve år."
-#. type: Content of: <book><chapter><indexterm><primary>
-msgid "patents"
-msgstr "patenter"
-
#. type: Content of: <book><part><chapter><indexterm><secondary>
msgid "in public domain"
msgstr "i allemannseie (public domain)"
"copyrights will pass into the public domain by virtue of the expiration of a "
"copyright term."
msgstr ""
-"Effekten av disse utvidelsene er ganske enkelt å skattelegge, eller "
-"forsinke, når verk faller i det fri og blir allemannseie. Denne siste "
-"utvidelsen betyr at allemannseie vil ha blitt skattlagt for trettini av "
-"femtifem år, eller 70 prosent av tiden siden 1962. Dermed vil det i de "
-"første tjue årene etter Sonny Bono-loven, samtidig som en million patenter "
-"har blitt allemannseie, ikke være et eneste opphavsrettsbeskyttet verk som "
-"har falt i det fri på grunn av utløp av vernetiden i opphavsretten."
+"Effekten av disse utvidelsene er ganske enkelt å fryse, eller forsinke, når "
+"verk faller i det fri og blir allemannseie. Denne siste utvidelsen betyr at "
+"allemannseie vil ha vært frosset i trettini av femtifem år, eller 70 prosent "
+"av tiden siden 1962. Dermed vil det i de første tjue årene etter Sonny Bono-"
+"loven, samtidig som en million patenter har blitt allemannseie, ikke være et "
+"eneste opphavsrettsbeskyttet verk som har falt i det fri på grunn av utløp "
+"av vernetiden i opphavsretten."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"then available. After the Sonny Bono Act, that term was ninety-five years."
msgstr ""
"USA forlot dette fornuftige systemet i 1976. For alle verk skapt etter 1978 "
-"var det kun en vernetid — maksimal vernetid. For <quote>naturlige</"
+"var det kun en vernetid – maksimal vernetid. For <quote>naturlige</"
"quote> forfattere var vernetiden livslang pluss femti år. For selskaper var "
"vernetiden syttifem år. Så, i 1992, fjernet Kongressen kravet om fornying "
"for alle verk skapt før 1978. Alle verk beskyttet av opphavsretten ville få "
"De fleste verk trengte tydeligvis ikke opphavsrettsbeskyttelse, så "
"registrering begrenset lovreguleringen til de få som trengte det. Den samme "
"begrunnelsen rettferdiggjorde kravet om at et verk måtte merkes som "
-"opphavsrettighetsbeskyttet — slik var det enkelt å vite hvorvidt noen "
+"opphavsrettsbeskyttet – slik var det enkelt å vite hvorvidt noen "
"påberopte seg opphavsrettsbeskyttelse. Kravet om at verket ble deponert, "
"var for å sikre at etter at vernetidens utløp, ville det eksistere et "
"eksemplar av verket en eller annen plass slik at det kunne kopieres av andre "
"denne typen urimelig konkurranse. I 1790 var det 174 utgivere i USA."
"<placeholder type=\"footnote\" id=\"0\"/> Opphavsrettslovgivingen var dermed "
"en liten regulering av en liten andel av en liten del av det kreative "
-"markedet i USA — utgivere."
+"markedet i USA – utgivere."
#. PAGE BREAK 149
#. type: Content of: <book><part><chapter><section><para>
"automatisk beskyttet. Faktisk gjelder det ikke bare boken din. Enhver e-"
"post, hver notat til din kjære, hver krusedull, <emphasis>hver eneste</"
"emphasis> kreative handling som blir redusert til en håndgripelig form "
-"— alt dette er automatisk opphavsrettsbeskyttet. Det er intet behov "
+"– alt dette er automatisk opphavsrettsbeskyttet. Det er intet behov "
"for å registrere eller merke ditt verk. Beskyttelsen følger av det å skape, "
"ikke de steg du tar for å beskytte det."
"fundamentally different from the wrong of direct piracy."
msgstr ""
"For å unngå at rettigheten ble en spøk, skapte loven en forbløffende makt "
-"innen fri kultur — det er i hvert fall forbløffende når du forstår at "
+"innen fri kultur – det er i hvert fall forbløffende når du forstår at "
"loven ikke bare gjelder for den kommersielle utgiver, men for enhver med en "
"datamaskin. Jeg forstår at det er galt å duplisere og selge andres verk. "
"Men uansett hvor galt <emphasis>det</emphasis> er, omforming av andres verk "
"er en annen type galt. Noen ser ikke på omforminger som galt i det hele "
-"tatt — de mener at vårt lovverk, slik grunnlovsforfatterne formulerte "
+"tatt – de mener at vårt lovverk, slik grunnlovsforfatterne formulerte "
"det, ikke skulle beskytte avledede verk i det hele tatt.<placeholder type="
"\"footnote\" id=\"0\"/> Uansett om du går så langt eller ikke, så virker det "
"klart at det som er galt med omforming, er fundamentalt forskjellig fra det "
"is a copy, there is a right."
msgstr ""
"Dette er en forenkling av loven, men ikke en særlig stor en. Loven "
-"regulerer helt klart mer enn <quote>eksemplarer</quote> — en offentlig "
+"regulerer helt klart mer enn <quote>eksemplarer</quote> – en offentlig "
"fremføring av en opphavsrettsbeskyttet sang er for eksempel regulert selv om "
"fremføringen i seg selv ikke lager et eksemplar; 17 <citetitle>United States "
"Code</citetitle>, del 106(4). Og det er helt klart at noen ganger regulerer "
"copyrighted work must look exclusively to category 3, fair uses, to bear the "
"burden of this shift."
msgstr ""
-"Så kom Internett — et distribuert, digitalt nettverk hvor enhver bruk "
+"Så kom Internett – et distribuert, digitalt nettverk hvor enhver bruk "
"av et opphavsrettsbeskyttet verk produserer en kopi.<placeholder type="
"\"footnote\" id=\"0\"/> På grunn av denne ene, vilkårlige egenskapen i "
"utformingen av digitale nettverk, endres dekningsområdet for kategori 1 "
"å være regulert. Det finnes ikke lenger et sett med antatt uregulerte "
"bruksområder som definerer friheter knyttet til et opphavsrettsbeskyttet "
"verk. I stedet er enhver bruk nå omfavnet av opphavsretten, fordi enhver "
-"bruk også lager en kopi — kategori 1 blir suget inn i kategori 2. Og "
+"bruk også lager en kopi – kategori 1 blir suget inn i kategori 2. Og "
"de som vil forsvare den uregulerte bruken av opphavsrettsbeskyttede verk må "
"nå kun se til kategori 3, rimelig bruk, for å bære byrden av denne endringen."
"argument som opphavsrettseieren kunne bruke for å kontrollere bruken av sin "
"bok. Opphavsrettsloven ville ikke ha noe å si om du leste boken en gang, ti "
"ganger, eller hver natt før du gikk til sengs. Ingen av disse forekomstene "
-"av bruk — lesing — kunne bli regulert av opphavsrettsloven fordi "
+"av bruk – lesing – kunne bli regulert av opphavsrettsloven fordi "
"ingen av disse bruksmåtene produserte et eksemplar."
#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgstr ""
"Dette poenget om rimelig bruk er fullstendig ignorert, selv av talsmenn for "
"fri kultur. Vi har havnet i et hjørne der vi må argumentere for at våre "
-"rettigheter er avhenging av rimelig bruk — og har aldri adressert det "
+"rettigheter er avhenging av rimelig bruk – og har aldri adressert det "
"tidligere nevnte spørsmålet om utvidelsen av effektiv regulering. En svak "
"beskyttelse med utgangspunkt i rimelig bruk gir mening når det store "
"flertall av bruksområder <emphasis>ikke er regulert</emphasis>. Men når alt "
msgid "Video Pipeline"
msgstr "Video Pipeline"
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "film industry"
-msgstr "filmindustri"
-
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "trailer advertisements of"
msgstr "filmtrailer-reklamene til"
"planla å distribuere trailere via Internett (i stedet for å sende kassetter) "
"til distributører av deres filmer. To år senere ba Disney Video Pipeline om "
"å stoppe. Eieren av Video Pipeline ba Disney om at de snakket om saken "
-"— han hadde bygd opp sin forretning for distribusjon av dette "
+"– han hadde bygd opp sin forretning for distribusjon av dette "
"innholdet som en måte å hjelpe Disney å selge filmer, og hadde kunder som "
"var avhengig av at han leverte dette innholdet. Disney ville kun gå med på "
"å snakke med ham hvis Video Pipeline stoppet distribusjonen øyeblikkelig. "
"to enable video stores to sell copies of those movies, Disney was now suing "
"Video Pipeline for $100 million."
msgstr ""
-"Disney sendte inn motsøksmål — om 100 millioner dollar i "
+"Disney sendte inn motsøksmål – om 100 millioner dollar i "
"skadeerstatning. Disse skadene ble estimert ut fra et krav om at Video "
"Pipeline hadde <quote>bevisst krenket</quote> Disneys opphavsrett. Når en "
"domstol konkluderer med bevisst krenkelse, så kan de tildele skader, ikke "
msgid "Future of Ideas, The (Lessig)"
msgstr "Future of Ideas, The (Lessig)"
-#. type: Content of: <book><chapter><indexterm><primary>
-msgid "Lessig, Lawrence"
-msgstr "Lessig, Lawrence"
-
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Finally (and most embarrassingly), here are the permissions for the original "
msgstr ""
"Ingen kopiering, ingen utskrift, og våg ikke å prøve å lytte til denne boken!"
-#. f21
+#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
+msgid "contracts"
+msgstr "kontrakter"
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"In principle, a contract might impose a requirement on me. I might, for "
"it only three times, or that I promise to read it three times. But that "
"obligation (and the limits for creating that obligation) would come from the "
"contract, not from copyright law, and the obligations of contract would not "
-"necessarily pass to anyone who subsequently acquired the book."
+"necessarily pass to anyone who subsequently acquired the book. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"I prinsippet kan en kontrakt pålegge meg et krav. Jeg kan for eksempel "
"kjøpe en bok fra deg der det følger med en kontrakt som sier at jeg kun skal "
"forpliktelsen (og begrensningene for å skape den forpliktelsen) ville komme "
"fra kontrakten og ikke fra opphavsrettslovgiving, og forpliktelsene i "
"kontrakten ville ikke nødvendigvis videreføres til alle som senere kjøpte "
-"boken."
+"boken. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"control that the law would enable."
msgstr ""
"I Adobe eBook Reader kalles disse kontrollene <quote>tillatelser</quote> "
-"— som om utgiver har myndighet til å kontrollere hvordan du bruker "
+"– som om utgiver har myndighet til å kontrollere hvordan du bruker "
"disse verkene. For verk vernet av opphavsretten har opphavsrettsinnehaveren "
-"helt klart denne myndigheten — innenfor begrensningene i "
+"helt klart denne myndigheten – innenfor begrensningene i "
"opphavsrettsloven. Men for verk som ikke er vernet av opphavsretten er det "
"ingen slik opphavsrettslig myndighet.<placeholder type=\"footnote\" id=\"0\"/"
"> Når min e-bok <citetitle>Middlemarch</citetitle> sier at jeg kun har "
"you do; instead, if you push the Read Aloud button with my book, the machine "
"simply won't read aloud."
msgstr ""
-"Kontrollen kommer i stedet fra kildekoden — fra teknologien der e-"
+"Kontrollen kommer i stedet fra kildekoden – fra teknologien der e-"
"boken <quote>lever.</quote> Selv om e-boken sier at disse er tillatelser, "
"så er de ikke den type <quote>tillatelser</quote> som de fleste av oss "
"forholder oss til. Når en tenåring får <quote>tillatelse</quote> til å være "
"ikke datamaskinen lage flere. Det samme gjelder utskriftsbegrensningene: "
"Etter ti sider vil ikke eBook Reader skrive ut flere sider. Det er det "
"samme med den tullete begrensningen som sier at du ikke kan bruke Les Høyt-"
-"knappen til å lese boken min høyt — det er ikke at selskapet vil "
+"knappen til å lese boken min høyt – det er ikke at selskapet vil "
"saksøke deg hvis du gjør det. I stedet er det at hvis du trykker på Les "
"Høyt-knappen med min bok, så vil maskinen ganske enkelt ikke lese høyt."
msgid "robotic dog"
msgstr "robothund"
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Sony"
-msgstr "Sony"
-
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "Aibo robotic dog produced by"
msgstr "Aibo robothund produsert av"
"heavy badgering by Microsoft lawyers, Ed Felten stood his ground. He was not "
"about to be bullied into being silent about something he knew very well."
msgstr ""
-"La oss la den hunden sove et øyeblikk, og snu oss mot et ponnishow — "
+"La oss la den hunden sove et øyeblikk, og snu oss mot et ponnishow – "
"ikke bokstavelig, men heller en artikkel som akademikeren Ed Felten ved "
"Princeton skrev til en konferanse. Denne Princeton-akademikeren er velkjent "
"og respektert. Han ble hyret inn av myndighetene i Microsoft-saken for å "
"Agreement and could subject you and your research team to actions under the "
"Digital Millennium Copyright Act (<quote>DMCA</quote>)."
msgstr ""
-"Enhver offentliggjøring av informasjon mottatt ved å delta i Offentlig "
-"Utfordring (Public Challenge) vil være utenfor rammen av aktiviteter "
+"Enhver offentliggjøring av informasjon mottatt ved å delta i den Offentlige "
+"Utfordringen (Public Challenge) vil være utenfor rammen av aktiviteter "
"tillatt av Avtalen, og kan utsette deg og din forskergruppe for reaksjoner i "
"henhold til Opphavsrettslov for et Digitalt Århundre (<quote>DMCA</quote>)."
"DMCA-en ble vedtatt som et svar på opphavsrettseiernes første frykt om "
"kyberrommet. Frykten var at opphavsrettskontrollen effektivt sett var død, "
"og svaret var å finne teknologier som kunne motvirke dette. Disse nye "
-"teknologiene ville være opphavsrettsbeskyttelesesteknologier — "
+"teknologiene ville være opphavsrettsbeskyttelesesteknologier – "
"teknologier for å kontrollere kopiering og distribusjon av "
"opphavsrettsbeskyttet materiale. De ble utformet som <emphasis>kode</"
"emphasis> for å endre den opprinnelige <emphasis>koden</emphasis> til "
"teknologi. Det ga forbrukere mulighet til å kopiere filmer uten tillatelse "
"fra opphavsrettseieren. Det var ingen tvil om at det fantes lovlige "
"bruksområder for denne teknologien: For eksempel hadde Fred Rogers, kjent "
-"som <quote><citetitle>Mr. Rogers</citetitle>,</quote> vitnet i saken at han "
+"som <quote><citetitle>Herr Rogers</citetitle>,</quote> vitnet i saken at han "
"ønsket folk skulle stå fritt til å ta opp Mr. Rogers Neighborhood. "
"<placeholder type=\"indexterm\" id=\"0\"/>"
"i stand til å ta opp slike programmer, og vise dem på mer hensiktsmessige "
"tidspunkt. Jeg har alltid følt det slik med fremveksten av all denne nye "
"teknologien som gjør det mulig for folk å ta opp <quote>Neighborhood,</"
-"quote> og jeg snakker om <quote>Neighborhood</quote> for det er dette jeg "
-"produserer, at de dermed blir mer aktivt involvert i å styre TV-livet til "
-"sin familie. For å være ærlig så er jeg imot at folk blir styrt av andre. "
-"Hele min tilnærming til kringkasting har alltid vært at <quote>Du er en "
-"viktig person akkurat slik du er. Du kan ta sunne avgjørelser.</quote> "
+"quote> og jeg snakker på vegne av <quote>Neighborhood</quote> for det er "
+"dette jeg produserer, at de dermed blir mer aktivt involvert i å styre TV-"
+"livet til sin familie. For å være ærlig så er jeg imot at folk blir styrt av "
+"andre. Hele min tilnærming til kringkasting har alltid vært at <quote>Du er "
+"en viktig person akkurat slik du er. Du kan ta sunne avgjørelser.</quote> "
"Kanskje holder jeg på for lenge, men jeg føler bare at alt som tillater en "
"person å være mer aktiv i å kontrollere hans eller hennes liv, på en sunn "
"måte, er viktig.<placeholder type=\"footnote\" id=\"0\"/>"
"— On which item have the courts ruled that manufacturers and retailers "
"be held responsible for having supplied the equipment?"
msgstr ""
-"— For hvilken enhet har rettsvesenet bedømt at produsenter og "
+" – For hvilken enhet har rettsvesenet bedømt at produsenter og "
"forhandlere skal holdes ansvarlig for å ha forsynt utstyret?"
#. type: Content of: <book><part><chapter><section><figure>
msgid ""
-"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" width=\"65%\"></"
+"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" width=\"55%\"></"
"graphic>"
msgstr ""
-"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" width=\"65%\"></"
+"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" width=\"55%\"></"
"graphic>"
#. type: Content of: <book><part><chapter><section><para>
"Målet for antiomgåelsesbestemmelsene i DMCA-en er "
"opphavsrettsomgåelsesteknologier. Omgåelsesteknologier kan brukes for andre "
"formål. De kan for eksempel brukes til å muliggjøre massiv piratvirksomhet "
-"mot opphavsrettsbeskyttet materiale — et dårlig formål. Eller de kan "
+"mot opphavsrettsbeskyttet materiale – et dårlig formål. Eller de kan "
"brukes til å gjøre bruk av utvalgte opphavsrettsbeskyttede materiale mulig "
-"på måter som ville anses som rimelig bruk — et godt formål."
+"på måter som ville anses som rimelig bruk – et godt formål."
#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "handguns"
"Det er slik <emphasis>programkode</emphasis> blir <emphasis>lovverk</"
"emphasis>. Kontrollene som er bygget inn i teknologien for beskyttelse mot "
"kopiering og tilgang blir regler, som hvis de brytes, også blir et "
-"lovbrudd. På denne måten utvider programkoden lovverket — utvider "
+"lovbrudd. På denne måten utvider programkoden lovverket – utvider "
"dets regulering, selv om subjektet den regulerer (aktiviteter som ellers "
"helt klart ville vært rimelig bruk) er utenfor dekningsområdet til loven. "
"Programkode blir lovverk. Programkode utvider lovverket og programkode "
-"utvider dermed effekten av kontrollen til opphavsrettseierne — i hvert "
+"utvider dermed effekten av kontrollen til opphavsrettseierne – i hvert "
"fall for de opphavsrettsinnehaverne som har advokater som kan skrive slike "
"ubehagelige brev som Felten og aibopet.com mottok."
"and creativity; it would be totally unrecognizable to those who gave birth "
"to copyright's control."
msgstr ""
-"Opphavsrettens varighet har økt dramatisk — tredoblet seg de siste "
-"tretti årene, og opphavsrettens omfang har også økt — fra å kun "
+"Opphavsrettens varighet har økt dramatisk – tredoblet seg de siste "
+"tretti årene, og opphavsrettens omfang har også økt – fra å kun "
"regulere utgivere til å nå regulere omtrent alle. Og opphavsrettens "
"rekkevidde har endret seg, etter hvert som hver handling lager en kopi og "
"dermed blir antatt regulert. Etter hvert som teknologer finner bedre måter "
"sendinger til 74 prosent av kabel-TV-abonnenter over hele landet.</"
"quote><placeholder type=\"footnote\" id=\"2\"/>"
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "ownership consolidation in"
+msgstr "eierskapskonsolideringer i"
+
#. PAGE BREAK 174
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"kontrollerer kun fire selskaper 90 prosent av nasjonens annonseinntekter på "
"radio."
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "ownership consolidation of"
+msgstr "eierskapskonsolideringer av"
+
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Newspaper ownership is becoming more concentrated as well. Today, there are "
"filminntekter. De ti største kabel-TV-selskapene står for 85 prosent av all "
"kabelinntekt. Dette er et marked langt fra den frie pressen som "
"grunnlovsforfatterne ønsket å beskytte. Faktisk, så er dette et marked som "
-"er svært godt beskyttet — av markedet."
+"er svært godt beskyttet – av markedet."
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
msgid "Fallows, James"
"id=\"0\"/>"
msgstr ""
"Murdochs selskaper utgjør nå et produksjonssystem uten like når det gjelder "
-"dets integrasjon. De forsyner innhold — Fox-filmer … Fox TV-"
+"dets integrasjon. De forsyner innhold – Fox-filmer … Fox TV-"
"show … Fox-kontrollerte sportssendinger, pluss aviser og bøker. De "
-"selger innhold til offentligheten og til annonsører—i aviser, i "
+"selger innhold til offentligheten og til annonsører – i aviser, i "
"kringkastingsnettet og på kabel-TV-kanaler. Og de opererer et fysisk "
"distribusjonssystem som lar innholdet nå forbrukerne. Murdochs "
"satellittsystem distribuerer nå News Corp.-innhold i Europa og Asia. Hvis "
"nettverkene å kontrollere innholdet de syndikerte. Loven krevde et skille "
"mellom nettverkene og innholdsprodusentene. Den delingen garanterte Lear "
"friheten. Og så sent som i 1992, på grunn av disse reglene, var majoriteten "
-"av kjernetids-TV — 75 prosent — <quote>uavhengig</quote> av "
+"av kjernetids-TV – 75 prosent – <quote>uavhengig</quote> av "
"nettverkene."
#. f30
"president of Writers Guild of America, West, in her Remarks at FCC En Banc "
"Hearing, Richmond, Virginia, 27 February 2003."
msgstr ""
+"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media "
+"Ownership Before the Senate Commerce Committee, 108th Cong., 1st sess. "
+"(2003) (vitnemål fra Gene Kimmelman på vegne av Consumers Union og the "
+"Consumer Federation of America), tilgjengelig fra <ulink url=\"http://free-"
+"culture.cc/notes/\">link #30</ulink>. Kimmelman siterer Victoria Riskin, "
+"president for Writers Guild of America, West, i sine kommentarer ved FCC En "
+"Banc Hearing, Richmond, Virginia, 27. februar 2003."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"available at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>."
msgstr ""
"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with "
-"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, redigert avskrift "
+"Bill Moyers</citetitle>, Bill Moyers, 25. april 2003, redigert avskrift "
"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #31</"
"ulink>."
"uavhengige produksjonsselskaper som laget TV-programmer. Nå har vi mindre "
"enn en håndfull.<placeholder type=\"footnote\" id=\"0\"/>"
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "media concentration and"
+msgstr "mediekonsentrering og"
+
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This narrowing has an effect on what is produced. The product of such large "
msgstr ""
"Denne innsnevringen har en effekt på det som blir produsert. Produktet fra "
"slike store og konsentrerte nettverk er stadig mer ensrettet. Stadig mer "
-"trygt. Stadig mer sterilt. Produktet nyhetssendinger fra slike nettverk er "
-"i stadig større grad skreddersydd med meldingen som nettverket ønsker å "
-"formidle. Dette er ikke kommunistpartiet, selv om det nok fra innsiden må "
-"føles litt som kommunistpartiet. Ingen kan stille spørsmål uten å risikere "
-"konsekvenser — ikke nødvendigvis forvisning til Sibir, men likefullt "
-"straff. Uavhengige, kritiske, avvikende syn blir skviset ut. Dette er ikke "
-"et miljø for demokrati."
+"trygt. Stadig mer sterilt. Produktet med nyhetssendinger fra slike "
+"nettverk er i stadig større grad skreddersydd med budskapet som nettverket "
+"ønsker å formidle. Dette er ikke kommunistpartiet, selv om det nok fra "
+"innsiden må føles litt som kommunistpartiet. Ingen kan stille spørsmål uten "
+"å risikere konsekvenser – ikke nødvendigvis forvisning til Sibir, men "
+"likefullt straff. Uavhengige, kritiske, avvikende syn blir skviset ut. "
+"Dette er ikke et miljø for demokrati."
#. type: Content of: <book><part><chapter><section><indexterm><primary>
msgid "Clark, Kim B."
"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The "
"Revolutionary National Bestseller that Changed the Way We Do Business</"
"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen "
-"annerkjenner at ideen ble først foreslått av Dean Kim Clark. Se Kim B. "
-"Clark, <quote>The Interaction of Design Hierarchies and Market Concepts in "
+"anerkjenner at idéen ble først foreslått av Dean Kim Clark. Se Kim B. Clark, "
+"<quote>The Interaction of Design Hierarchies and Market Concepts in "
"Technological Evolution,</quote> <citetitle>Research Policy</citetitle> 14 "
"(1985): 235–51. For en nyere undersøkelse, se Richard Foster og Sarah "
"Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to "
-"Last Underperform the Market — and How to Successfully Transform Them</"
+"Last Underperform the Market – and How to Successfully Transform Them</"
"citetitle> (New York: Currency/Doubleday, 2001)."
#. type: Content of: <book><part><chapter><section><para>
"But there is a quintessentially obvious example that does strongly suggest "
"the concern."
msgstr ""
-"Men det er typiske og åpenbare eksempler som gir oss sterk grunn til "
-"bekymring."
+"Men det er et vesentlig og åpenbart eksempel som sterkt foreslår denne "
+"bekymringen."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Myndighetenes politikk er sterkt rettet mot narkotikakartellene. Straffe- "
"og sivildomstolene er fylt opp med konsekvensene av denne kampen."
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "criminal justice system"
+msgstr "kriminal-juridisk system"
+
#. PAGE BREAK 178
#. type: Content of: <book><part><chapter><section><para>
msgid ""
msgstr ""
"La meg herved diskvalifisere meg fra enhver mulig oppnevning til en hvilken "
"som helst stilling hos myndighetene ved å si at jeg tror denne krigen er en "
-"grunnleggende tabbe. Jeg er ikke for narkotika. Faktisk kommer jeg fra en "
-"familie som en gang havarerte på grunn av narkotika — selv om all "
-"narkotikaen som havarerte familien min var helt lovlig. Jeg tror denne "
-"krigen er en grunnleggende tabbe fordi den utilsiktede skaden fra den er så "
-"stor at å føre denne krigen er galskap. Når du summerer byrden på det "
-"kriminal-juridiske systemet, desperasjonen for generasjoner av barn hvis "
-"eneste økonomiske mulighet er som narkotikakriger, ødeleggelsen av de "
-"grunnlovsfestede beskyttelsene på grunn av den kontinuerlige overvåkningen "
-"denne krigen krever, og mest dyptgående, den totale ødeleggelsen av de "
-"juridiske systemene i mange søramerikanske land på grunn av makten de lokale "
+"diger tabbe. Jeg er ikke for narkotika. Faktisk kommer jeg fra en familie "
+"som en gang havarerte på grunn av narkotika – selv om all narkotikaen "
+"som havarerte familien min var helt lovlig. Jeg tror denne krigen er en "
+"diger tabbe fordi den utilsiktede skaden fra den er så stor at å føre denne "
+"krigen er galskap. Når du summerer byrden på det kriminal-juridiske "
+"systemet, desperasjonen for generasjoner av barn hvis eneste økonomiske "
+"mulighet er som narkotikakriger, ødeleggelsen av de grunnlovsfestede "
+"beskyttelsene på grunn av den kontinuerlige overvåkningen denne krigen "
+"krever, og mest dyptgående, den totale ødeleggelsen av de juridiske "
+"systemene i mange søramerikanske land på grunn av makten de lokale "
"narkotikakartellene har. Jeg finner det umulig å tro at den marginale "
"fordelen i redusert narkotikaforbruk hos amerikanerne på noe måte kan "
"oppveie for disse kostnadene."
"Can you do it?"
msgstr ""
"Men la oss si at du mener dette er et galt budskap, og du ønsker å kjøre en "
-"motreklame. La oss si at du ønsker å sende en serie med annonser som "
+"motkampanje. La oss si at du ønsker å sende en serie med reklameinnslag som "
"forsøker å vise den ekstraordinære utilsiktede skade som krigen mot "
"narkotika fører til. Kan du gjøre det?"
"\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> "
"<placeholder type=\"indexterm\" id=\"5\"/> <placeholder type=\"indexterm\" "
"id=\"6\"/> Marihuana-politikkprosjektet forsøkte i februar 2003 å få "
-"plassert reklamer som direkte svarte på Nick og Norm-serien på stasjoner i "
-"Washington D.C-området. Comcast avviste reklamen som <quote>mot [deres] "
-"regler.</quote> Den lokale NBC-fillialen, WRC, avviste reklamene uten å "
-"titte på dem. Den lokale ABC-fillialen, WJOA, gikk opprinnelig med på å "
-"kjøre reklamen, og tok imot betaling for å gjøre det, men bestemte seg "
-"senere for å ikke kjøre reklamen, og returnerte pengene. Intervju med Neal "
-"Levine, 15. oktober 2003. Disse begrensningene er naturligvis ikke begrenset "
-"til narkotikapolitikk. Se for eksempel Nat Ives, <quote>On the Issue of an "
-"Iraq War, Advocacy Ads Meet with Rejection from TV Networks,</quote> "
-"<citetitle>New York Times</citetitle>, 13. mars 2003, C4. Ut over "
-"valgkamprelatert sendetid er det veldig lite som FCC eller domstolene er "
-"villig til å gjøre for å få gi like vilkår for alle. For en generell "
-"oversikt, se Rhonda Brown, <quote>Ad Hoc Access: The Regulation of Editorial "
-"Advertising on Television and Radio,</quote> <citetitle>Yale Law and Policy "
-"Review</citetitle> 6 (1988): 449–79, og for en nylig oppdatering av "
-"posisjonen til FCC og domstolene, se <citetitle>Radio-Television News "
-"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d "
-"872 (D.C. Cir. 1999). Kommunale administrasjoner utøver den samme "
-"autoriteten som nettverkene. I et nylig eksempel fra San Francisco, avviste "
-"kollektivtransportmyndighetene en reklame som kritiserte deres Muni diesel-"
-"busser. Phillip Matier og Andrew Ross, <quote>Antidiesel Group Fuming After "
-"Muni Rejects Ad,</quote> SFGate.com, 16. juni 2003, tilgjengelig fra <ulink "
-"url=\"http://free-culture.cc/notes/\">link #32</ulink>. Begrunnelsen var at "
-"kritikken var <quote>for kontroversiell.</quote>"
+"plassert reklameinnslag som direkte svarte på Nick og Norm-serien på "
+"stasjoner i Washington D.C.-området. Comcast avviste innslagene som "
+"<quote>mot [deres] regler.</quote> Den lokale NBC-fillialen, WRC, avviste "
+"innslagene uten å titte på dem. Den lokale ABC-fillialen, WJOA, gikk "
+"opprinnelig med på å kjøre innslagene, og tok imot betaling for å gjøre det, "
+"men bestemte seg senere for å ikke kjøre innslagene, og returnerte pengene. "
+"Intervju med Neal Levine, 15. oktober 2003. Disse begrensningene er "
+"naturligvis ikke begrenset til narkotikapolitikk. Se for eksempel Nat Ives, "
+"<quote>On the Issue of an Iraq War, Advocacy Ads Meet with Rejection from TV "
+"Networks,</quote> <citetitle>New York Times</citetitle>, 13. mars 2003, C4. "
+"Ut over valgkamprelatert sendetid er det veldig lite som FCC eller "
+"domstolene er villig til å gjøre for å få gi like vilkår for alle. For en "
+"generell oversikt, se Rhonda Brown, <quote>Ad Hoc Access: The Regulation of "
+"Editorial Advertising on Television and Radio,</quote> <citetitle>Yale Law "
+"and Policy Review</citetitle> 6 (1988): 449–79, og for en nylig "
+"oppdatering av posisjonen til FCC og domstolene, se <citetitle>Radio-"
+"Television News Directors Association</citetitle> v. <citetitle>FCC</"
+"citetitle>, 184 F. 3d 872 (D.C. Cir. 1999). Kommunale administrasjoner "
+"utøver den samme autoriteten som nettverkene. I et nylig eksempel fra San "
+"Francisco, avviste kollektivtransportmyndighetene en reklame som kritiserte "
+"deres Muni diesel-busser. Phillip Matier og Andrew Ross, <quote>Antidiesel "
+"Group Fuming After Muni Rejects Ad,</quote> SFGate.com, 16. juni 2003, "
+"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #32</"
+"ulink>. Begrunnelsen var at kritikken var <quote>for kontroversiell.</quote>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"\"footnote\" id=\"0\"/>"
msgstr ""
"Nei, det kan du ikke. TV-stasjoner har en generell regel om å unngå "
-"<quote>kontroversielle</quote> annonser. Annonser sponset av myndighetene "
-"anses som ukontroversielle. Annonser som er uenig med myndighetene er "
-"kontroversielle. Denne utvelgelsen kan kanskje tenkes å være i strid med "
-"det første grunnlovstillegget, men Høyesterett har avgjort at stasjonene har "
-"rett til å velge hva de sender. Dermed vil de store kommersielle "
-"mediekanalene blokkere muligheten som den en siden av en viktig debatt har "
-"til å legge frem sin sak. Og domstolene vil forsvare stasjonenes rett til å "
-"være så ensidig.<placeholder type=\"footnote\" id=\"0\"/>"
+"<quote>kontroversielle</quote> reklameinnslag. Innslag sponset av "
+"myndighetene anses som ukontroversielle. Innslag som er uenig med "
+"myndighetene er kontroversielle. Denne utvelgelsen kan kanskje tenkes å "
+"være i strid med det første grunnlovstillegget, men Høyesterett har avgjort "
+"at stasjonene har rett til å velge hva de sender. Dermed vil de store "
+"kommersielle mediekanalene blokkere muligheten som den ene siden av en "
+"viktig debatt har til å legge frem sin sak. Og domstolene vil forsvare "
+"stasjonenes rett til å være så ensidig.<placeholder type=\"footnote\" id="
+"\"0\"/>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"handful of companies selects. But you should not like a world in which a "
"mere few get to decide which issues the rest of us get to know about."
msgstr ""
-"Jeg ville også med glede forsvart nettverkenes rettigheter — hvis vi "
+"Jeg ville også med glede forsvart nettverkenes rettigheter – hvis vi "
"levde i et mediemarked som virkelig var mangfoldig. Men konsentreringen i "
"media får en til å tvile på den forutsetningen. Hvis en håndfull selskaper "
"kontrollerer tilgangen til media, og denne lille gruppen selskaper får "
"past, then we have to ask whether this property should be redefined."
msgstr ""
"Men når vi ser hvor dramatisk denne <quote>eiendommen</quote> har endret seg "
-"— når vi innser hvordan den, slik den nå er knyttet til både teknologi "
+"– når vi innser hvordan den, slik den nå er knyttet til både teknologi "
"og marked, betyr at de effektive begrensningene i friheten til å kultivere "
-"kulturen vår er dramatisk forskjellig — begynner kravet å se mindre "
+"kulturen vår er dramatisk forskjellig – begynner kravet å se mindre "
"uskyldig og åpenbart ut. Gitt (1) kraften i teknologien til å supplere "
"lovens kontroll, og (2) kraften i innsnevrede markeder til å svekke "
"muligheten til å være uenig, når strikt håndheving av den massivt utvidete "
-"<quote>eiendomsretten</quote> delt ut av opphavsretten fundamentalt endrer "
+"<quote>eiendomsretten</quote> innvilget av opphavsretten fundamentalt endrer "
"friheten i denne kulturen til å kultivere og bygge på vår fortid, så må vi "
"spørre oss om denne eiendommen bør omdefineres."
"få oss til å vurdere hvorvidt en annen justering er nødvendig. Ikke en "
"justering som øker opphavsrettens makt. Ikke en justering som øker dens "
"vernetid. I stedet en justering som gjenoppretter balansen som tradisjonelt "
-"har definert opphavsrettens regulering — en svekkelse av denne "
+"har definert opphavsrettens regulering – en svekkelse av denne "
"reguleringen for å styrke kreativiteten."
#. type: Content of: <book><part><chapter><section><para>
"most significant regulation of culture that our free society has known."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
-"Ikke da opphavsretten var evig, for da opphavsrett var evig, påvirket de kun "
-"det spesifikke kreative verket. Ikke da kun utgivere hadde "
+"Ikke da opphavsretten var evigvarende, for da opphavsrett var evigvarende, "
+"påvirket de kun det spesifikke kreative verket. Ikke da kun utgivere hadde "
"publiseringsutstyr, for markedet var da mye mer variert. Ikke når det kun "
"fantes tre TV-nettverk, for selv da var aviser, filmstudio, radiostasjoner "
"og utgivere uavhengige av nettverkene. <emphasis>Aldri</emphasis> har "
-"opphavsretten beskyttet en så stor rekke av rettigheter, mot en så stor "
-"rekke av aktører, med en vernetid som var i nærheten av så lang. Denne form "
-"for regulering — en liten regulering av en liten del av den kreative "
-"energien til en nasjon i emning — er nå en massiv regulering av hele "
-"den kreative prosessen. Lovverk pluss teknologi pluss marked jobber nå "
-"sammen for å gjøre denne historisk ubetydelige regulering til den mest "
+"opphavsretten beskyttet en så stor mengde av rettigheter, mot en så stor "
+"mengde av aktører, med en vernetid som var i nærheten av så lang. Denne "
+"form for regulering – en liten regulering av en liten del av den "
+"kreative energien til en nasjon i emning – er nå en massiv regulering "
+"av hele den kreative prosessen. Lovverk pluss teknologi pluss marked jobber "
+"nå sammen for å gjøre denne historisk ubetydelige regulering til den mest "
"betydningsfulle reguleringen av kulturen som vårt frie samfunn har kjent."
"<placeholder type=\"footnote\" id=\"0\"/>"
"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point "
"can now be briefly stated."
msgstr ""
-"<emphasis role='strong'>Det har vært</emphasis> et langt kapittel. Dets "
+"<emphasis role='strong'>Dette har vært</emphasis> et langt kapittel. Dets "
"poeng kan nå formuleres ganske kort."
#. type: Content of: <book><part><chapter><section><para>
"with registration, and only those who intended to benefit commercially would "
"register, copying through publishing of noncommercial work was also free."
msgstr ""
-"Selve det å publisere et kart, diagram og bok var regulert av "
-"opphavsrettsloven. Ingenting annet. Det var fritt frem for omforminger. "
-"Og i og med at opphavsretten kun gjaldt etter registrering, og kun de som "
-"planla å ha kommersiell nytte ville registrere, var kopiering gjennom "
-"publisering av ikke-kommersielle verk også fritt frem."
+"Det å publisere et kart, diagram og bok var regulert av opphavsrettsloven. "
+"Ingenting annet. Omforminger var fritt frem. Og i og med at opphavsretten "
+"kun gjaldt ved registrering, og kun de som planla å ha kommersiell nytte "
+"ville registrere, var kopiering gjennom publisering av ikke-kommersielle "
+"verk også fritt frem."
#. type: Content of: <book><part><chapter><section><para>
msgid "By the end of the nineteenth century, the law had changed to this:"
"commercially. But noncommercial publishing and transformation were still "
"essentially free."
msgstr ""
-"Avledede verk var nå regulert av opphavsrettsloven — hvis de var "
-"publisert, som betød, gitt økonomien til publisering på den tiden, betød å "
-"tilby den kommersielt. Men det var fortsatt i hovedsak fritt frem for ikke-"
+"Avledede verk var nå regulert av opphavsrettsloven – hvis de var "
+"publisert, som betød, gitt økonomien til publisering på den tiden, å tilby "
+"den kommersielt. Men det var fortsatt i hovedsak fritt frem for ikke-"
"kommersiell publisering og omforming."
#. type: Content of: <book><part><chapter><section><para>
msgstr ""
"I 1909 ble loven endret til å regulere eksemplarer og ikke publisering, og "
"etter denne endringen var omfanget av loven knyttet til teknologi. Etter "
-"hvert som teknologien for eksemplarfremstilling / kopiering ble mer utbredt, "
+"hvert som teknologien for eksemplarfremstilling/kopiering ble mer utbredt, "
"utvidet rekkevidden til loven seg. Dermed kan vi si at i 1975, etter hvert "
"som fotokopimaskiner ble mer vanlig, begynte loven å se slik ut:"
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
msgid "© / Free"
-msgstr "© / Fri"
+msgstr "©/Fri"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
msgstr ""
"Hvert område er styrt av åndsverksloven, mens mesteparten av kreativiteten "
"ikke var styrt av den tidligere. Loven regulerer nå hele omfanget av "
-"kreativiteten — kommersiell eller ikke, omformende eller ikke — "
+"kreativiteten – kommersiell eller ikke, omformende eller ikke – "
"med de samme reglene som ble utformet for å regulere kommersielle utgivere."
#. type: Content of: <book><part><chapter><section><para>
"derivative rights were more sharply restricted."
msgstr ""
"Jeg er ikke i tvil om at det er en god idé å regulere kommersiell "
-"kopiering. Men jeg har heller ingen tvil om at det gjør mer skade en gavn "
+"kopiering. Men jeg har heller ingen tvil om at det gjør mer skade enn gavn "
"når en regulerer (slik det reguleres akkurat nå) ikke-kommersiell kopiering, "
"og spesielt ikke-kommersiell omforming. Og i stadig større grad, av årsaker "
"skissert spesielt i kapitlene <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"recorders\"/> og <xref xrefstyle=\"select: labelnumber\" linkend="
-"\"transformers\"/>, kan en godt undre på hvorvidt den gjør mer skade en gavn "
-"for kommersiell omforming. Flere kommersielle omformede verk ville vært "
-"skapt hvis avledede rettigheter var skarpere begrenset."
+"\"transformers\"/>, kan en godt undre på hvorvidt den gjør mer skade enn "
+"gavn for kommersiell omforming. Flere kommersielle omformede verk ville "
+"vært skapt hvis avledede rettigheter var skarpere begrenset."
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "legal realist movement"
"utgjør (kapittel <xref xrefstyle=\"select: labelnumber\" linkend="
"\"transformers\"/>). Og å tildele arkiver og biblioteker en bred frihet til "
"å samle, uavhengig av krav om eiendom, er en avgjørende del av det å "
-"garantere sjelen til kulturen (kapittel <xref xrefstyle=\"select: labelnumber"
-"\" linkend=\"collectors\"/>). Fri kultur, på samme måte som frie markeder, "
-"er bygget på eiendom. Men naturen til eiendommen som bygger en fri kultur "
-"er svært forskjellig fra den ekstremistvisjonen som dominerer debatten i dag."
+"garantere sjelen til en kultur (kapittel <xref xrefstyle=\"select: "
+"labelnumber\" linkend=\"collectors\"/>). Fri kultur, på samme måte som frie "
+"markeder, er bygget på eiendom. Men naturen til eiendommen som bygger en "
+"fri kultur er svært forskjellig fra den ekstremistvisjonen som dominerer "
+"debatten i dag."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
#. type: Content of: <book><part><chapter><title>
msgid "Chapter Eleven: Chimera"
-msgstr "Kapittel elleve: Fantasifoster / Chimera"
+msgstr "Kapittel elleve: Fantasifoster/Chimera"
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "chimeras"
-msgstr "fantasifoster / chimera"
+msgstr "fantasifoster/chimera"
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Wells, H. G."
"he's just thick. Indeed, as they increasingly notice the things he can't do "
"(hear the sound of grass being stepped on, for example), they increasingly "
"try to control him. He, in turn, becomes increasingly frustrated. "
-"<quote>`You don't understand,' he cried, in a voice that was meant to be "
-"great and resolute, and which broke. `You are blind and I can see. Leave me "
-"alone!'</quote>"
+"<quote><quote>You don't understand,</quote> he cried, in a voice that was "
+"meant to be great and resolute, and which broke. <quote>You are blind and I "
+"can see. Leave me alone!</quote></quote>"
msgstr ""
"Ting blir ikke helt som han har planlagt. Han forsøker å forklare idéen om "
"syn til landsbyboerne. De forstår ikke. Han forteller dem at de er "
msgstr ""
"Legen fortsetter: <quote>Jeg tror jeg med rimelig sikkerhet kan si at for å "
"kunne helbrede ham er alt vi trenger å gjøre en enkel og lett kirurgisk "
-"operasjon — nemlig å fjerne disse irriterte organene [øynene].</quote>"
+"operasjon – nemlig å fjerne disse irriterte organene [øynene].</quote>"
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"<emphasis role='strong'>Det skjer</emphasis> noen ganger at eggene til "
"tvillinger sveises sammen i morens livmor. Den sammensveisingen skaper et "
-"<quote>fantasifoster / chimera.</quote> Et fantasifoster er en enkelt "
+"<quote>fantasifoster/chimera.</quote> Et fantasifoster er en enkelt "
"skapning med to sett med DNA. DNA-et i blodet kan for eksempel være "
"forskjellig fra DNA-et i huden. Denne muligheten er en for lite brukt "
"handling i mordmysterier. <quote>Men DNA-et viser med 100 prosent sikkerhet "
"snakker om. For eksempel i kampen om spørsmålet <quote>Hva er p2p-fildeling?"
"</quote> har begge sider rett, og begge sider tar feil. En side sier, "
"<quote>fildeling er akkurat som om to unger tar opp hverandres plater på "
-"bånd — akkurat slik vi har gjort det de siste tredve årene uten at "
+"bånd – akkurat slik vi har gjort det de siste tredve årene uten at "
"noen har stilt spørsmål ved det i det hele tatt.</quote> Det er riktig, i "
"hvert fall delvis. Når jeg ber min beste venn om å høre på en ny CD jeg har "
"kjøpt, og i stedet for å bare sende CD-en, så viser jeg han til min p2p-"
"rules should govern it?"
msgstr ""
"Poenget er ikke at beskrivelsen fra begge sider er feil. Poenget er at "
-"begge sider har rett — både som RIAA beskriver det, og som Kazaa "
+"begge sider har rett – både som RIAA beskriver det, og som Kazaa "
"beskriver det. Det er et fantasifoster. Og i stedet for å ganske enkelt "
"benekte det den andre siden hevder, så må vi begynne å tenke på hvordan vi "
"kan svare på dette fantasifosteret. Hvilke regler bør styre det?"
"ulink>. <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
"\"indexterm\" id=\"2\"/>"
msgstr ""
+"<placeholder type=\"indexterm\" id=\"0\"/> For en utmerket oppsummering, se "
+"rapporten lagd av GartnerG2 og Berkman Center for Internet and Society at "
+"Harvard Law School, <quote>Copyright and Digital Media in a Post-Napster "
+"World,</quote> 27. juni 2003, tilgjengelig ved <ulink url=\"http://free-"
+"culture.cc/notes/\">link #33</ulink>. Representantene John Conyers Jr. "
+"(demokrat i Michigan) og Howard L. (demokrat i California) har introdusert "
+"et lovforslag som vil behandle uautorisert elektronisk kopiering som en "
+"strafferettslig forbrytelse med opp til fem års fengselstraff; se Jon Healey "
+"<quote>House Bill Aims to Up Stakes on Piracy,</quote> <citetitle>Los "
+"Angeles Times</citetitle>, 17. juli 2003, tilgjengelig ved <ulink url="
+"\"http://free-culture.cc/notes/\">link #34</ulink>. Nå er erstatningskravet "
+"150 000 dollar per kopierte sang. Det ble lagt frem i en nylig (og "
+"mislykket) utfordring av et RIAA krav til en internettleverandør om å "
+"avsløre identiteten til en bruker som var anklaget for å ha delt mer enn 600 "
+"sanger gjennom familiens datamaskin, se <citetitle>RIAA</citetitle> v. "
+"<citetitle>Verizon Internet Services (In re. Verizon Internet Services)</"
+"citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). En slik bruker kan være "
+"ansvarlig for erstatningskrav opp til 90 millioner dollar. Slike astronomisk "
+"store verdier gir RIAA et kraftig arsenal til dens forfølgelse av fildelere. "
+"Fire studenter som er anklaget for massiv fildeling ved universitetsnettverk "
+"har forlikt for mellom 12 000 og 17 500 dollar, og dette må virke "
+"som en luselønn i forhold til de 98 millioner dollar RIAA kunne ha krevd "
+"dersom saken ble avgjort ved rettsak. Se Elizabeth Young, <quote>Downloading "
+"Could Lead to Fines,</quote> redandblack.com, august 2003, tilgjengelig ved "
+"<ulink url=\"http://free-culture.cc/notes/\">link #35</ulink>. For et "
+"eksempel på RIAAs målretter fildeling gjort av studenter, og stevningene de "
+"ga til universiteter for å få dem til å avsløre identiteten til fildelende "
+"studenter, se James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to "
+"Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8. august 2003, "
+"D3, tilgjengelig ved <ulink url=\"http://free-culture.cc/notes/\">link #36</"
+"ulink>.<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
+"\"indexterm\" id=\"2\"/>"
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Likevel er nulltoleranse i stadig større grad våre myndigheters politikk. "
"Midt i dette kaoset som Internett har skapt, finner et ekstraordinært "
-"eiendomstyveri sted. Retten og teknologien endres til å gi "
+"eiendomstyveri fra fellesskapet sted. Retten og teknologien endres til å gi "
"innholdsinnehaverne en type kontroll over kulturen vår som de aldri har hatt "
"før. Og i denne ekstremiteten vil mange muligheter for nye oppfinnelser og "
"ny kreativitet gå tapt."
"vice president, Global Public Policy and Standards, EMusic.com), available "
"in LEXIS, Federal Document Clearing House Congressional Testimony File."
msgstr ""
+"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital "
+"Entertainment on the Internet and Other Media: Hearing Before the "
+"Subcommittee on Telecommunications, Trade, and Consumer Protection, House "
+"Committee on Commerce, 106th Cong. 29 (1999) (uttalelse fra Peter Harter, "
+"visepresident, Global Public Policy and Standards, EMusic.com), tilgjengelig "
+"i LEXIS, Federal Document Clearing House Congressional Testimony File."
#. type: Content of: <book><part><chapter><blockquote><para>
msgid ""
msgstr ""
"<emphasis role='strong'>Ved å bekjempe</emphasis> <quote>piratvirksomhet</"
"quote> for å beskytte <quote>eiendom</quote> har innholdsindustrien erklært "
-"krig. Lobbyering og mange valgkampbidrag har nå dratt myndighetene inn i "
-"denne krigen. Og som med enhver krig vil en både ha direkte og utilsiktet "
+"krig. Lobbyvirksomhet og mange valgkampbidrag har nå dratt myndighetene inn "
+"i denne krigen. Og som med enhver krig vil en både ha direkte og utilsiktet "
"skadevirkning. Og som med enhver forbudskrig, er det mest våre egne folk "
"som lider under disse ødeleggelsene."
"Du kan skrive et innlegg om inkonsekvenser i argumentene til en politiker "
"som du elsker å hate, eller du kan lage en kort film som setter uttalelser "
"mot hverandre. Du kan skrive et dikt som uttrykker din kjærlighet, eller du "
-"kan veve sammen en tråd — en nettfletting — av sanger fra dine "
+"kan veve sammen en tråd – en nettfletting – av sanger fra dine "
"favorittartister i en slags fotomontasje, og gjøre den tilgjengelig på "
"nettet."
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "digital sharing within"
+msgstr "digital deling innen"
+
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"This digital <quote>capturing and sharing</quote> is in part an extension of "
"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #37</"
"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
+#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
+msgid "tort reform"
+msgstr "erstatningsrettsreform"
+
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "Bush, George W."
msgstr "Bush, George W."
msgid ""
"The bill, modeled after California's tort reform model, was passed in the "
"House of Representatives but defeated in a Senate vote in July 2003. For an "
-"overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be "
-"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and "
-"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #39</ulink>. "
-"President Bush has continued to urge tort reform in recent months. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"overview, see Tanya Albert, <quote>Measure Stalls in Senate: <quote>We'll Be "
+"Back,</quote> Say Tort Reformers,</quote> amednews.com, 28 July 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, "
+"and <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July "
+"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #39</"
+"ulink>. President Bush has continued to urge tort reform in recent months. "
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/>"
msgstr ""
"Lovforslaget, som var modellert etter Californias erstatningsrettsreform-"
"modell, ble vedtatt i Representantenes hus, men stoppet i Senatet i juli "
"2003. For en oversikt, se Tanya Albert, <quote>Measure Stalls in Senate: "
-"`We'll Be Back,' Say Tort Reformers,</quote> amednews.com, 28. juli 2003, "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #38</"
-"ulink>, og <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, "
-"9. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #39</ulink>. President Bush har fortsatt å argumentere for "
+"<quote>We'll Be Back,</quote> Say Tort Reformers,</quote> amednews.com, 28. "
+"juli 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
+"\">link #38</ulink>, og <quote>Senate Turns Back Malpractice Caps,</quote> "
+"CBSNews.com, 9. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture."
+"cc/notes/\">link #39</ulink>. President Bush har fortsatt å argumentere for "
"erstatningsrettsreform de siste månedene. <placeholder type=\"indexterm\" id="
-"\"0\"/>"
+"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"forbløffende harde. De fire studentene som ble truet av RIAA (Jesse Jordan "
"i kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"catalogs\"/> er "
"bare en av dem), ble truet med et 98-milliarder dollar-søksmål for å lage "
-"søkemotorer som tillot sanger å bli kopiert. Mens World-Com — som "
+"søkemotorer som tillot sanger å bli kopiert. Mens World-Com – som "
"svindlet investorer for 11 milliarder dollar, og førte til et tap hos "
-"investorer i markedskapital på over 200 milliarder dollar — førte til "
+"investorer i markedskapital på over 200 milliarder dollar – førte til "
"en bot som kun var på 750 millioner dollar.<placeholder type=\"footnote\" id="
"\"0\"/> Og i henhold til lovgiving som fremmes i Kongressen akkurat nå, kan "
"en lege som skjødesløst fjerner feil fot i en operasjon ville risikere ikke "
"betaler seg aldri å gjøre noe annet enn å betale for retten til å skape, og "
"dermed vil kun de som kan betale få lov til å skape. Slik det var tilfelle "
"i Sovjetunionen, dog av helt andre årsaker, så vil vi begynne å se en verden "
-"av undergrunnskunst —i kke fordi budskapet nødvendigvis er politisk, "
+"av undergrunnskunst – ikke fordi budskapet nødvendigvis er politisk, "
"eller fordi temaet er kontroversielt, men på grunn av at selve det å skape "
"denne kunsten er juridisk skummelt. Utstillinger med <quote>ulovlig kunst</"
"quote> har allerede vært på turné i USA.<placeholder type=\"footnote\" id="
msgstr ""
"Men rimelig bruk i USA betyr bare at en har rett til å hyre inn en advokat "
"til å forsvare din rett til å skape. Og som advokater liker å glemme er "
-"vårt system for å forsvare ens rett utrolig dårlig — i nær sagt i "
-"enhver sammenheng, men spesielt her. Det koster for mye, det leverer for "
-"tregt, og det som blir levert har ofte liten tilknytning til rettferdigheten "
-"i det underliggende kravet. Rettssystemet er kanskje tolererbart for de "
-"veldig rike. Men for alle andre er det pinlig for en tradisjon som ellers "
-"liker å være stolt av rettssikkerheten."
+"vårt system for å forsvare ens rett utrolig dårlig – i nær sagt enhver "
+"sammenheng, men spesielt her. Det koster for mye, det leverer for tregt, og "
+"det som blir levert har ofte liten tilknytning til rettferdigheten i det "
+"underliggende kravet. Rettssystemet er kanskje tolererbart for de veldig "
+"rike. Men for alle andre er det pinlig for en tradisjon som ellers liker å "
+"være stolt av rettssikkerheten."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"loven bør tillate. Men det viser hvor fjernt vårt juridiske system har "
"blitt at noen faktisk kan tro dette. Reglene som utgivere pålegger "
"forfattere, reglene som filmdistributører pålegger filmskapere, reglene som "
-"aviser pålegger journalister — dette er de virkelige lovene som styrer "
+"aviser pålegger journalister – dette er de virkelige lovene som styrer "
"kreativitet. Og disse reglene har lite til felles med <quote>loven</quote> "
"som dommerne trøster hverandre med."
"enkelt bevisst opphavsrettsbrudd, og som krever titusener av dollar bare for "
"å forsvare seg mot en påstand om å ha brutt opphavsretten, og som aldri vil "
"gi dem som er feilaktig anklaget tilbake noen av de kostnadene hun ble "
-"påført for å forsvare sin rett til å uttale seg — i den verden, "
+"påført for å forsvare sin rett til å uttale seg – i den verden, "
"knebler de utrolig vidtrekkende reguleringene som går under navnet "
"<quote>opphavsrett</quote> både tale og kreativitet. Og i den verden kreves "
"det en utstudert blindhet for at noen fortsatt skal tro at de lever i en fri "
"if you think that, you might think there's little in this story to worry you."
msgstr ""
"Historien i den siste delen var en knasende venstreorientert historie "
-"— knust kreativitet, kunstnere får ikke uttrykke seg, bla bla bla. "
-"Kanskje slikt ikke overbeviser deg. Kanskje du mener det er nok sær kunst "
-"der ute, og uttrykk som er kritiske til omtrent alt mulig. Og hvis du "
-"tenker slik, så mener du kanskje at det er lite i den historien du trenger å "
-"bekymre deg for."
+"– knust kreativitet, kunstnere får ikke uttrykke seg, bla bla bla. "
+"Kanskje slikt ikke overbeviser deg. Kanskje du mener det finnes nok sær "
+"kunst der ute, og nok uttrykk som er kritiske til omtrent hva som helst. Og "
+"hvis du tenker slik, så mener du kanskje at det er lite i den historien du "
+"trenger å bekymre deg for."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"quote> The point is the same, even if the interests affecting culture are "
"more fundamental."
msgstr ""
-"Men det er det en fasett ved denne historien som overhodet ikke er "
-"venstrevridd. Faktisk er det en fasett som kunne vært skrevet av den mest "
-"ekstreme ideologiske markedets forkjemper. Hvis du er en av disse (og en "
+"Men det er et aspekt ved denne historien som overhodet ikke er venstrevridd "
+"i det hele tatt. Faktisk er det et aspekt som kunne vært skrevet av den "
+"mest ekstreme ideologiske markedsforkjemper. Hvis du er en av disse (og en "
"svært spesiell en, <xref xrefstyle=\"select: pagenumber\" linkend="
-"\"innovators\"/> sider inn i en bok som denne), så kan du se denne andre "
-"fasetten ved å bytte inn <quote>fritt marked</quote> hver gang jeg har "
-"snakket om <quote>fri kultur.</quote> Poenget er det samme, selv om "
-"interessene som påvirker kultur er mer fundamentale."
+"\"innovators\"/> sider inn i en bok som denne), så kan du se dette aspektet "
+"ved å bytte inn <quote>fritt marked</quote> hver gang jeg har snakket om "
+"<quote>fri kultur.</quote> Poenget er det samme, selv om interessene som "
+"påvirker kultur er mer fundamentale."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
msgstr ""
"Argumentene jeg har fremmet om regulering av kulturen er de samme som "
"forkjempere av frie markeder fremmer om markedsregulering. Alle er enige om "
-"at en viss regulering av markedene er nødvendig — som et minimum "
+"at en viss regulering av markedene er nødvendig – som et minimum "
"trenger vi regler om eiendom og kontrakter, og domstoler til å håndheve "
"begge deler. På samme måten i denne kulturdebatten er alle enige om at det "
"trengs i hvert fall et visst opphavsrettsrammeverk. Men begge perspektivene "
"lage noe nytt hvis de har aksept fra siste generasjons dominerende "
"industrier. Den leksjonen har blitt lært bort gjennom en serie med saker "
"som ble utformet og utført for å lære venturekapitalister en lekse. Leksen "
-"— som tidligere Napster-CEO Hank Barry kaller en <quote>kjernefysisk "
-"skygge</quote> som har spredt seg over Silicon Vally — har blitt lært."
+"– som tidligere Napster-CEO Hank Barry kaller en <quote>kjernefysisk "
+"skygge</quote> som har spredt seg over Silicon Vally – har blitt lært."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"you could get access to that music once you signed into your account. The "
"system was therefore a kind of music-lockbox."
msgstr ""
-"Denne idéen krevde et enkel måte å samle inn data om hva brukerne "
+"Denne idéen krevde en enkel måte å samle inn data om hva brukerne "
"foretrekker. MP3.com kom opp med en svært snedig måte å samle inn data om "
"hva brukerne foretrakk. Januar 2000 lanserte selskapet tjenesten my.mp3."
"com. Ved å bruke programvare fra MP3.com logget brukeren inn på en konto, "
"og satte så en CD inn i datamaskinen sin. Programvaren ville kjenne igjen CD-"
"en, og så gi brukeren tilgang til det innholdet. Dermed kunne du, hvis du f."
"eks. satte inn en CD av Jill Sobule, få tilgang til den musikken uansett "
-"hvor du var — på jobb eller hjemme — så snart du hadde logget "
+"hvor du var – på jobb eller hjemme – så snart du hadde logget "
"inn på konto. Systemet var dermed et slags låsbart musikkskrin."
#. PAGE BREAK 199
msgstr ""
"Denne strategien er ikke begrenset kun til advokater. I april 2003 leverte "
"Universal og EMI inn et søksmål mot Hummer Winblad, venturekapitalfirmaet "
-"(VC) som hadde finansiert Napster på et bestemt steg i dets utvikling, dets "
+"(VC) som hadde finansiert Napster på et bestemt steg i dets utvikling; dets "
"medstifter (John Hummer) og dets generelle partner (Hank Berry).<placeholder "
"type=\"footnote\" id=\"0\"/> Påstanden her var også VC-en burde ha forstått "
"at innholdsindustrien hadde rett til å kontrollere hvordan industrien burde "
"start a company. It is impossibly hard if that company is constantly "
"threatened by litigation."
msgstr ""
-"Dette er verden til mafiaen — fylt med <quote>penger eller livet</"
+"Dette er verden til mafiaen – fylt med <quote>penger eller livet</"
"quote>-trusler, som ikke er regulert av domstolene, men av trusler som loven "
"gir rettighetsinnehaver mulighet til å komme med. Det er et system som "
"åpenbart og nødvendigvis vil kvele ny innovasjon. Det er vanskelig nok å "
"starte et selskap. Det blir helt umulig hvis selskapet er stadig truet av "
"søksmål."
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "transaction cost of"
+msgstr "transaksjonskonstnader fra"
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "legal murkiness on"
+msgstr "juridisk uklarhet fra"
+
#. PAGE BREAK 201
#. type: Content of: <book><part><chapter><section><para>
msgid ""
msgstr ""
"Oppbyggingen av en tillatelseskultur, i stedet for en fri kultur, er den "
"første viktige måten der endringene jeg har beskrevet vil belaste "
-"nyskapning. En tillatelseskultur betyr en kultur med advokater — en "
+"nyskapning. En tillatelseskultur betyr en kultur med advokater – en "
"kultur der evnen til å skape krever en samtale med din advokat. Igjen, jeg "
"er ikke mot advokater, i hvert fall når de holdes seg der de hører hjemme. "
"Og jeg er absolutt ikke mot lovverket. Men vår profesjon har tapt "
"familiar to the free market crowd."
msgstr ""
"<emphasis role='strong'>Det er en</emphasis> mer åpenbar måte som denne "
-"krigen har skadet nyskapning — igjen, en historie som vil være ganske "
+"krigen har skadet nyskapning – igjen, en historie som vil være ganske "
"familiær for dem som støtter det frie markedet."
#. type: Content of: <book><part><chapter><section><para>
"et eksempel som inneholder essensen av dem alle. Dette er historien om "
"utryddelsen av Internett-radio."
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+msgid "Monroe, Marilyn"
+msgstr "Monroe, Marilyn"
+
#. PAGE BREAK 204
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"\"pirates\"/>, når en radiostasjon spiller en sang, får ikke plateartisten "
"betaling for <quote>radioavspillingen</quote> med mindre han eller hun også "
"er komponisten. Dermed, hvis for eksempel Marilyn Monroe hadde spilt inn en "
-"versjon av <quote>Gratulerer med dagen</quote> — for å minne om hennes "
+"versjon av <quote>Gratulerer med dagen</quote> – for å minne om hennes "
"berømte forestilling foran president Kennedy ved Madison Square Garden "
-"— så ville, hver gang platen ble spilt på radio, den aktuelle "
+"– så ville, hver gang platen ble spilt på radio, den aktuelle "
"opphavsrettseieren av <quote>Gratulerer med dagen</quote> få litt penger, "
"mens Marilyn Monroe ikke ville få noen."
msgstr ""
"Så kom Internett-radio. Som vanlig radio er Internett-radio en teknologi "
"som sender innhold fra en kringkaster til en lytter. Kringkastingen farer "
-"over Internett, og ikke gjennom radiospekterets eter. Dermed kan vi "
-"<quote>stille oss inn</quote> til en Internett-radiostasjon i Berlin mens vi "
-"sitter i San Francisco, selv om det ikke er mulig for meg å stille meg inn "
-"på en regulær radiostasjon på særlig større avstand enn byområdet til San "
+"over Internett, og ikke gjennom radiospekterets eter. Dermed kan jeg "
+"<quote>peile meg inn</quote> til en Internett-radiostasjon i Berlin mens jeg "
+"sitter i San Francisco, selv om det ikke er mulig for meg å peile meg inn på "
+"en vanlig radiostasjon på særlig større avstand enn byområdet til San "
"Francisco."
#. type: Content of: <book><part><chapter><section><para>
"million users worldwide have tuned in to this new form of radio."
msgstr ""
"Denne egenskapen i arkitekturen til Internett-radio betyr at det potensielt "
-"er et ubegrenset antall radiostasjoner som en bruker kan stille seg inn på "
+"er et ubegrenset antall radiostasjoner som en bruker kan peile seg inn på "
"ved hjelp av sin datamaskin, mens med den eksisterende arkitekturen for "
"kringkastingsradio er det en åpenbar begrensning når det gjelder antall "
"kringkastere og klare kringkastingsfrekvenser. Internett-radio kan dermed "
"type=\"footnote\" id=\"0\"/> to retard the growth of this competing "
"technology."
msgstr ""
-"Dette potensialet for FM-radio ble aldri realisert — ikke på grunn av "
+"Dette potensialet for FM-radio ble aldri realisert – ikke på grunn av "
"at Armstrong tok feil av teknologien, men fordi han undervurderte kraften i "
"<quote>økonomiske interesser, vaner, skikker og lovgiving</"
"quote><placeholder type=\"footnote\" id=\"0\"/> i å hemme veksten av denne "
"gangen er det ingen tekniske begrensninger som kan begrense antallet "
"Internett-radioer. Den eneste begrensningen for Internett-radio er de som "
"blir pålagt av lovverket. Opphavsrettsloven er en slik lov. Så det første "
-"spørsmålet vi bør stille er, hvilke opphavsrettsregler bør styre Internett-"
-"radio?"
+"spørsmålet vi bør stille er, hvilke opphavsrettsregler bestemmer over "
+"Internett-radio?"
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
msgid "on radio"
"neutral toward Internet radio—the law actually burdens Internet radio "
"more than it burdens terrestrial radio."
msgstr ""
-"Men her er makten til lobbyistene motsatt. Internett-radio er en ny "
-"industri. Plateartistene derimot har en svært mektig lobby, RIAA. Dermed "
+"Men her er makten til lobbyistene motsatt. Internett-radio er en ny "
+"industri. Plateartistene derimot har en svært mektig lobby, RIAA. Dermed "
"hadde lobbyistene forberedt Kongressen til å vedta en annen regel for "
"Internett-radio enn reglene som gjelder for landbasert radio, da de vurderte "
-"fenomenet Internett-radio i 1995. Mens landbasert radio ikke må, "
-"hypotetisk, betale Marilyn Monroe når den, hypotetisk, spiller hennes "
-"opptak av <quote>Gratulerer med dagen</quote> på luften, <emphasis>så må "
-"Internett-radio betale</emphasis>. Ikke bare er lovverket ikke nøytralt når "
-"det gjelder Internettradio — lovverket belaster Internett-radio mye "
-"mer enn det belaster landbasert radio."
+"fenomenet Internett-radio i 1995. Mens landbasert radio ikke må, hypotetisk, "
+"betale Marilyn Monroe når den, hypotetisk, spiller hennes opptak av "
+"<quote>Gratulerer med dagen</quote> på luften, <emphasis>så må Internett-"
+"radio betale</emphasis>. Ikke bare er lovverket ikke nøytralt når det "
+"gjelder Internett-radio – lovverket belaster Internett-radio mye mer "
+"enn det belaster landbasert radio."
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgid "CARP (Copyright Arbitration Royalty Panel)"
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Dette eksemplet ble avledet fra avgifter fastsatt i det opprinnelige "
-"høringen i panelet for opphavsrettsroyaltyvoldgift (CARP), og utledet fra et "
-"eksempel fremmet av professor William Fisher. Konferanseforedragssamling, "
-"iLaw (Stanford), 3. juli 2003, arkivert hos forfatteren. Professorene "
-"Fisher og Zittrain vitnet i CARP-høringen som ble avvist til slutt. Se "
-"Johnathan Zittrain, Digital Performance right in Sound Recordings and "
-"Ephemerial Recordings, Docket No. 2000-9, CARP DTRA 1 og 2, tilgjengelig fra "
-"<ulink url=\"http://free-culture.cc/notes/\">link #45</ulink>. For en "
-"utmerket analyse som fremmer et lignende argument, se Randal C. Picker, "
-"<quote>Copyright as Entry Policy: The Case of Digital Distribution,</quote> "
-"<citetitle>Antitrust Bulletin</citetitle> (Sommer/høst 2002): 461: "
-"<quote>Dette var ikke forvirret, dette var gode gamle sperrer for "
-"nykommere. Analoge radiostasjoner beskyttes fra digitale nykommere, og "
-"nykommere og variasjon reduseres. Ja, dette gjøres for å skaffe royalty-"
-"betaling til opphavsrettsinnehavere, men, uten ingripen fra mektige "
-"interesse kunne dette vært gjort på en media-nøytral måte.</quote> "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/>"
+"høringen i panelet for opphavsrettsroyaltyvoldgift (Copyright Arbitration "
+"Royalty Panel, CARP), og utledet fra et eksempel fremmet av professor "
+"William Fisher. Konferanseforedragssamling, iLaw (Stanford), 3. juli 2003, "
+"arkivert hos forfatteren. Professorene Fisher og Zittrain vitnet i CARP-"
+"høringen som ble avvist til slutt. Se Johnathan Zittrain, Digital "
+"Performance right in Sound Recordings and Ephemerial Recordings, Docket No. "
+"2000-9, CARP DTRA 1 og 2, tilgjengelig fra <ulink url=\"http://free-culture."
+"cc/notes/\">link #45</ulink>. For en utmerket analyse som fremmer et "
+"lignende argument, se Randal C. Picker, <quote>Copyright as Entry Policy: "
+"The Case of Digital Distribution,</quote> <citetitle>Antitrust Bulletin</"
+"citetitle> (Sommer/høst 2002): 461: <quote>Dette var ikke forvirret, dette "
+"var gode gamle sperrer for nykommere. Analoge radiostasjoner beskyttes fra "
+"digitale nykommere, og nykommere og variasjon reduseres. Ja, dette gjøres "
+"for å skaffe royalty-betaling til opphavsrettsinnehavere, men, uten "
+"inngripen fra mektige interesse kunne dette vært gjort på en media-nøytral "
+"måte.</quote> <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
+"\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"transaction</emphasis>:"
msgstr ""
"Byrden er ikke kun økonomisk. Ifølge det opprinnelige forslag til regler, "
-"måtte en Internett-radiostasjon (men ikke en bakkebasert radiostasjon) samle "
+"måtte en Internett-radiostasjon (men ikke en landbasert radiostasjon) samle "
"inn følgende informasjon for <emphasis>hver eneste lytter-transaksjon</"
"emphasis>:"
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "type of program (archived/looped/live);"
-msgstr "type program (fra arkivet/i løkke/direkte)"
+msgstr "type program (fra arkivet / i løkke / direkte)"
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
msgid "date of transmission;"
"Kongressbibliotekaren stoppet til slutt disse rapporteringskravene, i "
"påvente av flere undersøkelser. Han endret også de opprinnelige prisene "
"satt av voldgiftspanelet som fikk oppgaven med å fastsette prisene. Men den "
-"grunnleggende forskjellen mellom Internett-radio og bakkesendt radio består: "
+"grunnleggende forskjellen mellom Internett-radio og landbasert radio består: "
"Internett-radio må betale <emphasis>en slags opphavsrettsavgift</emphasis> "
-"som bakkesendt radio slipper."
+"som landbasert radio slipper."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"either the right or the left, who is doing anything effective to prevent it."
msgstr ""
"Oversettelse: Målet er å bruke loven til å fjerne konkurranse, slik at denne "
-"platformen som potensielt muliggjør massiv konkurranse, og dermed fører til "
+"plattformen som potensielt muliggjør massiv konkurranse, og dermed fører til "
"en eksplosjon i mangfold og omfang av tilgjengelig innhold, ikke forårsaker "
"smerte for eldre tiders dinosaurer. Ingen, hverken på høyre- eller "
"venstresiden, burde bifalle denne bruken av loven. Og likevel er det "
"(250 000 dollar i advokatutgifter) fikk Jordan til å velge å betale "
"alle pengene han hadde i verden (12 000 dollar) for å bli kvitt "
"søksmålet. Den samme strategien driver RIAAs søksmål mot individuelle "
-"brukere. I september 2003 saksøkte RIAA 261 individer — inkludert en "
+"brukere. I september 2003 saksøkte RIAA 261 individer – inkludert en "
"tolv år gammel jente som bodde i en kommunal leilighet, og en sytti år "
"gammel dame som ikke hadde noe idé om hva fildeling var.<placeholder type="
"\"footnote\" id=\"0\"/> Som disse offerlammene oppdaget, vil det alltid "
"ganger narkotika, jobbet ulovlig uten å betale skatt, og kjørt ulovlig. "
"Dette er unger der det å oppføre seg i strid med loven i stadig større grad "
"er normen. Og så skal vi, som jussprofessorer, lære dem å oppføre seg etisk "
-"— hvordan si nei til bestikkelser, til å holde strengt skille mellom "
+"– hvordan si nei til bestikkelser, til å holde strengt skille mellom "
"egne og klienters penger, eller støtte et krav om å utlevere et dokument som "
-"betyr at saken deres stopper fullstendig. Generasjoner av amerikanere "
-"— mer betydelig i noen deler av USA enn andre, men likefullt over hele "
-"USA i dag — kan ikke leve sitt liv både normalt og lovlydig, siden "
+"betyr at saken deres er over. Generasjoner av amerikanere – mer "
+"betydelig i noen deler av USA enn andre, men likefullt over hele USA i dag "
+"– kan ikke leve sitt liv både normalt og lovlydig, siden "
"<quote>normalt</quote> innebærer en viss grad av lovbrudd."
#. type: Content of: <book><part><chapter><section><para>
"quote> We need to be able to call these twenty million Americans "
"<quote>citizens,</quote> not <quote>felons.</quote>"
msgstr ""
-"Poenget mitt er i stedet et som demokratier har forstått i generasjoner, men "
-"som vi nylig har lært å glemme. Rettsikkerheten er avhengig av at folk "
-"følger loven. Jo oftere og dess flere ganger vi som borgere opplever "
-"lovbrudd, jo mindre respekterer vi rettsvesenet. I de fleste tilfeller er "
-"åpenbart det viktige temaet rettsvesenet, og ikke respekt for rettsvesenet. "
-"Jeg bryr meg ikke om en voldtektsmann respekterer lovverket eller ikke. Jeg "
-"ønsker at han fanges og bures inne. Men jeg bryr meg om hvorvidt mine "
-"studenter respekterer rettsvesenet. Og jeg bryr meg hvis lovverket sår "
-"økende respektmangel på grunn av de ekstreme reguleringene de påfører. Tjue "
-"millioner amerikanere har vokst til siden Internett introduserte denne nye "
-"idéen om <quote>deling.</quote> Vi må være i stand til å kalle disse tjue "
-"millionene amerikanere <quote>borgere,</quote> ikke <quote>forbrytere.</"
-"quote>"
+"Poenget mitt er i stedet ett som demokratier har forstått i generasjoner, "
+"men som vi nylig har lært å glemme. Respekt for loven er avhengig av at "
+"folk følger loven. Jo oftere og dess flere ganger vi som borgere erfarer å "
+"bryte loven, jo mindre respekterer vi loven. I de fleste tilfeller er "
+"åpenbart det viktige temaet loven, og ikke respekt for loven. Jeg bryr meg "
+"ikke om en voldtektsmann respekterer loven eller ikke. Jeg ønsker at han "
+"fanges og bures inne. Men jeg bryr meg om hvorvidt mine studenter "
+"respekterer loven. Og jeg bryr meg hvis lovverket sår økende respektmangel "
+"på grunn av de ekstreme reguleringene de påfører. Tjue millioner "
+"amerikanere har vokst til siden Internett introduserte denne nye idéen om "
+"<quote>deling.</quote> Vi må være i stand til å kalle disse tjue millionene "
+"amerikanere <quote>borgere,</quote> ikke <quote>forbrytere.</quote>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Rettsvesenet beskytter vår rett til å kjøpe og selge denne plastikken. Det "
"er ikke å krenke opphavsretten hvis jeg selger alle mine klassiske plater "
"hos en bruktplatehandel, og kjøper jazzplater for å erstatte dem. Det er "
-"fritt frem for den <quote>bruken</quote> av platene."
+"fritt frem for denne <quote>bruken</quote> av platene."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
msgstr ""
"Denne <quote>bruken</quote> av mine plater er helt klart verdifull. Jeg har "
"begynt en stor prosess hjemme for å rippe (kopiere) alle mine og min kones "
-"CD-er, og lagrer dem i et arkiv. Dermed kan vi, vet hjelp av iTunes fra "
+"CD-er, og lagrer dem i et arkiv. Dermed kan vi, ved hjelp av iTunes fra "
"Apple, eller et praktfullt program ved navn Andromeda, bygge ulike "
"spillelister for musikken vår: Bach, Barokk, Kjærlighetssanger, "
-"Kjærlighetssanger til vår kjære — potensialet er uendelig. Og ved å "
+"Kjærlighetssanger til vår kjære – potensialet er uendelig. Og ved å "
"redusere kostnaden med å lage spillelister, har disse teknologiene hjulpet "
"til med å bygge en kreativitet rundt spillelister som uavhengig av dette er "
"verdifull i seg selv. Samlinger av sanger er kreative og meningsfylte på "
"example, would enable CDs that could not be ripped. Or they might enable spy "
"programs to identify ripped content on people's machines."
msgstr ""
-"Denne bruken er muliggjort av ubeskyttede media — enten CD-er eller "
+"Denne bruken er muliggjort av ubeskyttede media – enten CD-er eller "
"plater. Men ubeskyttede medier muliggjør også fildeling. Fildeling truer "
"(eller det tror i hvert fall innholdsindustrien) muligheten skaperne har til "
"en rimelig inntekt fra sin kreativitet. Og dermed begynner mange å "
"massively complex <quote>digital rights management</quote> system."
msgstr ""
"Hvis disse teknologiene tok av, så ville bygging av store arkiver med egen "
-"egen musikk bli ganske vanskelig. Du kan henge i hacker-miljøer og få tak i "
+"musikk bli ganske vanskelig. Du kan henge i hacker-miljøer og få tak i "
"teknologi som kobler ut teknologiene som beskytter innholdet. Å selge og "
"kjøpe slike teknologier er forbudt, men kanskje det ikke bryr deg så mye. "
"Uansett vil disse beskyttelsesteknologiene for de fleste folk effektivt sett "
"finnes en annen måte å sikre at kunstnere fikk betalt, uten å låse ned "
"ethvert innhold? Med andre ord, hva om et annet system kunne sikre "
"kompensasjon til kunstnere som også beholdt friheten til å enkelt flytte "
-"innholdt?"
+"innhold?"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"er det eneste poenget et relativt ukontroversielt et: Hvis et annet system "
"oppnådde samme legitime mål som det eksisterende opphavsrettssystemet "
"oppnår, men ga forbrukere og skapere mye mer frihet, så ville vi ha en svært "
-"god grunn til å forfølge dette alternativet — nemlig frihet. Valget, "
+"god grunn til å forfølge dette alternativet – nemlig frihet. Valget, "
"med andre ord, ville ikke være mellom proprietær eller piratvirksomhet. "
"Valget ville være mellom ulike proprietære systemer og frihetene hver av dem "
"tillater."
"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single "
"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> "
"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, "
-"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry "
-"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs "
-"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</"
-"citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording Industry "
-"Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September 2003, "
-"4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop Fan, "
-"Either,</quote> <citetitle>New York Times</citetitle>, 25 September 2003, "
-"C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> <citetitle>Toronto "
-"Star</citetitle>, 18 September 2003, P7."
+"<quote>Worried Parents Pull Plug on File <quote>Stealing</quote>; With the "
+"Music Industry Cracking Down on File Swapping, Parents are Yanking Software "
+"from Home PCs to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel "
+"Tribune</citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording "
+"Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 "
+"September 2003, 4D; John Schwartz, <quote>She Says She's No Music Pirate. No "
+"Snoop Fan, Either,</quote> <citetitle>New York Times</citetitle>, 25 "
+"September 2003, C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> "
+"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7."
msgstr ""
"Se Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single "
"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> "
"<citetitle>Washington Post</citetitle>, 10. september 2003, E1; Chris Cobbs, "
-"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry "
-"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs "
-"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</"
-"citetitle>, 30. august 2003, C1; Jefferson Graham, <quote>Recording Industry "
-"Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15. september 2003, "
-"4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop Fan, "
-"Either,</quote> <citetitle>New York Times</citetitle>, 25. september 2003, "
-"C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> <citetitle>Toronto "
-"Star</citetitle>, 18. september 2003, P7."
+"<quote>Worried Parents Pull Plug on File <quote>Stealing</quote>; With the "
+"Music Industry Cracking Down on File Swapping, Parents are Yanking Software "
+"from Home PCs to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel "
+"Tribune</citetitle>, 30. august 2003, C1; Jefferson Graham, <quote>Recording "
+"Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15. "
+"september 2003, 4D; John Schwartz, <quote>She Says She's No Music Pirate. No "
+"Snoop Fan, Either,</quote> <citetitle>New York Times</citetitle>, 25. "
+"september 2003, C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> "
+"<citetitle>Toronto Star</citetitle>, 18. september 2003, P7."
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"stoppet ikke RIAA fra å saksøke et antall av disse familiene, på samme måte "
"som de hadde saksøkt Jesse Jordan.<placeholder type=\"footnote\" id=\"0\"/>"
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+msgid "recording industry tracking users of"
+msgstr "innspillingsindustriens sporing av brukerne til"
+
#. f21.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
"for å spore Napster-brukere.<placeholder type=\"footnote\" id=\"0\"/> Ved å "
"bruke en sofistikert hashings-algoritme tok RIAA det som effektivt sett er "
"et fingeravtrykk av hver eneste sang i Napster-katalogen. Enhver kopi av "
-"disse MP3-ene vil ha samme <quote>fingerprint.</quote>"
+"disse MP3-ene vil ha samme <quote>fingeravtrykk.</quote>"
#. f22.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
"quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; "
"Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry Group "
"Targets File Sharing at Colleges,</quote> <citetitle>Washington Post</"
-"citetitle>, 4 April 2003, E1; Elizabeth Armstrong, <quote>Students `Rip, "
-"Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science Monitor</"
-"citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, "
-"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed "
-"Over; Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 "
-"July 2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on Universities,"
-"</quote> <citetitle>Internet News</citetitle>, 30 January 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny "
-"Evangelista, <quote>Download Warning 101: Freshman Orientation This Fall to "
-"Include Record Industry Warnings Against File Sharing,</quote> "
-"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; "
-"<quote>Raid, Letters Are Weapons at Universities,</quote> <citetitle>USA "
-"Today</citetitle>, 26 September 2000, 3D."
+"citetitle>, 4 April 2003, E1; Elizabeth Armstrong, <quote>Students "
+"<quote>Rip, Mix, Burn</quote> at Their Own Risk,</quote> "
+"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; "
+"Robert Becker and Angela Rozas, <quote>Music Pirate Hunt Turns to Loyola; "
+"Two Students Names Are Handed Over; Lawsuit Possible,</quote> "
+"<citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, "
+"<quote>RIAA Trains Antipiracy Guns on Universities,</quote> "
+"<citetitle>Internet News</citetitle>, 30 January 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny Evangelista, "
+"<quote>Download Warning 101: Freshman Orientation This Fall to Include "
+"Record Industry Warnings Against File Sharing,</quote> <citetitle>San "
+"Francisco Chronicle</citetitle>, 11 August 2003, E11; <quote>Raid, Letters "
+"Are Weapons at Universities,</quote> <citetitle>USA Today</citetitle>, 26 "
+"September 2000, 3D."
msgstr ""
"Se Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</"
"quote> <citetitle>Boston Globe</citetitle>, 18. mai 2003, City Weekly, 1; "
"Frank Ahrens, <quote>Four Students Sued over Music Sites; Industry Group "
"Targets File Sharing at Colleges,</quote> <citetitle>Washington Post</"
-"citetitle>, 4. april 2003, E1; Elizabeth Armstrong, <quote>Students `Rip, "
-"Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science Monitor</"
-"citetitle>, 2. september 2003, 20; Robert Becker and Angela Rozas, "
-"<quote>Music Pirate Hunt Turns to Loyola; Two Students Names Are Handed "
-"Over; Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16. "
-"juli 2003, 1C; Beth Cox, <quote>RIAA Trains Antipiracy Guns on Universities,"
-"</quote> <citetitle>Internet News</citetitle>, 30. januar 2003, tilgjengelig "
-"fra <ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny "
+"citetitle>, 4. april 2003, E1; Elizabeth Armstrong, <quote>Students "
+"<quote>Rip, Mix, Burn</quote> at Their Own Risk,</quote> "
+"<citetitle>Christian Science Monitor</citetitle>, 2. september 2003, 20; "
+"Robert Becker and Angela Rozas, <quote>Music Pirate Hunt Turns to Loyola; "
+"Two Students Names Are Handed Over; Lawsuit Possible,</quote> "
+"<citetitle>Chicago Tribune</citetitle>, 16. juli 2003, 1C; Beth Cox, "
+"<quote>RIAA Trains Antipiracy Guns on Universities,</quote> "
+"<citetitle>Internet News</citetitle>, 30. januar 2003, tilgjengelig fra "
+"<ulink url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny "
"Evangelista, <quote>Download Warning 101: Freshman Orientation This Fall to "
"Include Record Industry Warnings Against File Sharing,</quote> "
"<citetitle>San Francisco Chronicle</citetitle>, 11. august 2003, E11; "
"network. She can, in some cases, be expelled."
msgstr ""
"Så se for deg det følgende ikke usannsynlige scenariet: Tenk at en venn gir "
-"en CD til din datter — en samling med sanger lik de kassettene du "
+"en CD til din datter – en samling med sanger lik de kassettene du "
"laget som barn. Hverken du eller din datter vet hvor disse sangene kom "
"fra. Men hun kopierer disse sangene inn på datamaskinen sin, og tar så "
"maskinen med seg til universitetet og kobler den på universitetsnettverket. "
"borgerrettighetene til disse folkene i praksis står i fare for å forsvinne. "
"[Jeg] tror [ikke det finnes noen] tilsvarende tilfeller hvor du kan velge en "
"tilfeldig person på gata og være trygg på at de har brutt loven på en måte "
-"som gjør at de risikerer straffedom, eller å måtte betale milloner av dollar "
-"i sivil erstatning. Vi kjører alle for fort, men å kjøre for fort er ikke "
-"den type handlinger hvor vi på rutine fratar folk borgerrettigheter. Noen "
-"folk bruker narkotika, og jeg tror det er den nærmeste analogien, [men] "
+"som gjør at de risikerer straffedom, eller å måtte betale millioner av "
+"dollar i sivil erstatning. Vi kjører alle for fort, men å kjøre for fort er "
+"ikke den type handlinger hvor vi på rutine fratar folk borgerrettigheter. "
+"Noen folk bruker narkotika, og jeg tror det er den nærmeste analogien, [men] "
"mange har kommentert at krigen mot narkotika har radert bort alle våre "
"borgerrettigheter på grunn av at det behandler så mange amerikanere som "
"kriminelle. Jeg tror det er rimelig å si at fildeling gjelder en "
"effort through our democracy to change our law?"
msgstr ""
"Når førti til seksti millioner amerikanere ifølge rettsvesenet anses som "
-"<quote>kriminelle,</quote> og når loven kunne oppnå det samme målet—"
-"sikre rettigheter til forfattere — uten at disse millionene anses å "
+"<quote>kriminelle,</quote> og når loven kunne oppnå det samme målet – "
+"sikre rettigheter til forfattere – uten at disse millionene anses å "
"være <quote>kriminelle,</quote> hvem er det da som er skurken? Amerikanerne "
"eller loven? Hva er amerikansk, en konstant krig mot vårt eget folk, eller "
"en felles innsats i demokratiet vårt for å endre loven vår?"
"the fire out."
msgstr ""
"<emphasis role='strong'>Så her</emphasis> er bildet: Du står på siden av "
-"veien. Bilen din er på brann. Du er sint og opprørt fordi du delvis bidro "
+"veien. Bilen din står i brann. Du er sint og opprørt fordi du delvis bidro "
"til å starte brannen. Nå vet du ikke hvordan du slukker den. Ved siden av "
"deg er en bøtte, fylt med bensin. Bensin vil åpenbart ikke slukke brannen."
"ignite is about to ignite everything around."
msgstr ""
"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper "
-"hun bøtta, og før du har hatt sjansen til å be henne stoppe — eller "
-"før hun forstår hvorfor hun bør stoppe — er bøtten i svevet. Bensinen "
+"hun bøtta, og før du har hatt sjansen til å be henne stoppe – eller "
+"før hun forstår hvorfor hun bør stoppe – er bøtten i svevet. Bensinen "
"er på tur mot den brennende bilen, og brannen, som bensinen kommer til å "
"fyre opp, vil straks sette fyr på alt i omgivelsene."
"threats of the Internet. This is a fire that if let alone would burn itself "
"out."
msgstr ""
-"<emphasis role='strong'>En krig</emphasis> om opphavsrett pågår over "
-"alt— og vi fokuserer alle på feil ting. Det er ingen tvil om at "
-"dagens teknologier truer eksisterende virksomheter. Uten tvil kan de true "
+"<emphasis role='strong'>En krig</emphasis> om opphavsrett pågår over alt "
+"– og vi fokuserer alle på feil ting. Det er ingen tvil om at dagens "
+"teknologier truer eksisterende virksomheter. Uten tvil kan de true "
"artister. Men teknologier endrer seg. Industrien og teknologer har en "
"rekke måter å bruke teknologi til å beskytte dem selv mot dagens trusler på "
"Internett. Dette er en brann som overlatt til seg selv vil brenne ut."
"understand these failures if we're to understand what success will require."
msgstr ""
"Denne utfordringen har vært livet mitt de siste årene. Det har også vært "
-"min fallitt. I de to neste kapitlene, beskriver jeg en liten innsats, så "
+"min fiasko. I de to neste kapitlene, beskriver jeg en liten innsats, så "
"langt uten suksess, på å finne en måte å endre fokus på denne debatten. Vi "
-"må forstå disse mislyktede forsøkene hvis vi skal forstå hva som kreves for "
+"må forstå disse mislykkede forsøkene hvis vi skal forstå hva som kreves for "
"å lykkes."
#. type: Content of: <book><part><chapter><title>
"hobby, and his hobby begat a cause: Eldred would build a library of public "
"domain works by scanning these works and making them available for free."
msgstr ""
-"Det virket ikke — i hvert fall ikke på hans døtre. De fant ikke "
+"Det virket ikke – i hvert fall ikke på hans døtre. De fant ikke "
"Hawthorne noe mer interessant enn tidligere. Men Eldreds eksperiment ga "
"opphavet til en hobby, og hobbyen hans ga opphav til et kall: Eldred ville "
"lage et bibliotek over verk i det fri ved å skanne disse og gjøre dem gratis "
"avledede verk fra disse allemannseide verkene. På samme måte som Disney "
"gjorde Grimm om til historier som var mer tilgjengelige i det tjuende "
"århundret, gjorde Eldred om på Hawthorne og mange andre, til noe mer "
-"tilgjengelig — teknisk tilgjengelig — i dag."
+"tilgjengelig – teknisk tilgjengelig – i dag."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Scarlet Letter, The (Hawthorne)"
"<placeholder type=\"indexterm\" id=\"0\"/> Det er en parallell her til "
"pornografi som er litt vanskelig å beskrive, men som er veldig sterk. Et "
"fenomen som Internett skapte var en verden av ikke-kommersiell pornografi "
-"— folk som distribuerte porno men som ikke tjente penger direkte eller "
+"– folk som distribuerte porno men som ikke tjente penger direkte eller "
"indirekte fra denne distribusjonen. Noe slikt eksisterte ikke før Internett "
"dukket opp, på grunn av at kostnaden med å distribuere porno var så høy. "
"Likevel fikk denne nye klassen av distributører spesiell oppmerksomhet fra "
"Internett skapte muligheten for ikke-kommersiell publisering av verk i det "
"fri. Eldreds publisering er bare ett eksempel. Det finnes bokstavelig talt "
"tusenvis andre. Hundretusenvis rundt om i verden har oppdaget denne "
-"platformen for å uttrykke seg, og bruker den til å dele verk som, i henhold "
+"plattformen for å uttrykke seg, og bruker den til å dele verk som, i henhold "
"til loven, kan tas fritt. Dette har skapt det vi kan kalle den <quote>ikke-"
"kommersielle forlagsindustrien,</quote> hvilket før Internett var begrenset "
"til folk med store ego, eller med politiske eller sosiale kall. Men med "
"bibliotek. Men Kongressen kom i veien. Som jeg beskrev i kapittel <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, utvidet "
"Kongressen for ellevte gang på førti år, vernetiden for eksisterende "
-"opphavsretter — denne gang med tjue år. Eldred ville ikke stå fritt "
+"opphavsretter – denne gang med tjue år. Eldred ville ikke stå fritt "
"til å legge inn verk nyere enn 1923 til sin samling før 2019. Faktisk vil "
"ikke et eneste opphavsrettsbeskyttet verk falle i det fri før det året (og "
-"ikke en gang da, hvis Kongressen utvidet vernetiden igjen). Som kontrast "
+"ikke en gang da, hvis Kongressen utvider vernetiden igjen). Som kontrast "
"ville mer enn en million patenter falle i det fri i samme periode."
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
msgid "Bono, Sonny"
msgstr "Bono, Sonny"
+#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
+msgid "perpetual copyright term proposed by"
+msgstr "uendelig opphavsrettsvernetid foreslått av"
+
#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of "
-"copyright protection to last forever. I am informed by staff that such a "
-"change would violate the Constitution. I invite all of you to work with me "
-"to strengthen our copyright laws in all of the ways available to us. As you "
-"know, there is also Jack Valenti's proposal for a term to last forever less "
-"one day. Perhaps the Committee may look at that next Congress,</quote> 144 "
-"Cong. Rec. H9946, 9951-2 (October 7, 1998)."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> The full text is: "
+"<quote>Sonny [Bono] wanted the term of copyright protection to last forever. "
+"I am informed by staff that such a change would violate the Constitution. I "
+"invite all of you to work with me to strengthen our copyright laws in all of "
+"the ways available to us. As you know, there is also Jack Valenti's proposal "
+"for a term to last forever less one day. Perhaps the Committee may look at "
+"that next Congress,</quote> 144 Cong. Rec. H9946, 9951-2 (October 7, 1998)."
msgstr ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> Hele teksten er: <quote>Sonny [Bono] ønsket at vernetiden i "
-"opphavsretten skulle vare evig. Jeg er informert av ansatte at en slik "
-"endring ville være i strid med Grunnloven. Jeg inviterer dere alle til å "
-"jobbe sammen med meg for å styrke våre opphavsrettslover på alle måter som "
-"er tilgjengelig for oss. Som dere vet, er det også et forslag fra Jack "
-"Valenti om en vernetid som varer evig minus en dag. Kanskje komiteen kan se "
-"på i neste periode.</quote> 144 Kongr. Ref. H9946, 9951-2 (7. oktober 1998)."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Hele teksten er: "
+"<quote>Sonny [Bono] ønsket at vernetiden i opphavsretten skulle vare evig. "
+"Jeg er informert av ansatte at en slik endring ville være i strid med "
+"Grunnloven. Jeg inviterer dere alle til å jobbe sammen med meg for å styrke "
+"våre opphavsrettslover på alle måter som er tilgjengelig for oss. Som dere "
+"vet, er det også et forslag fra Jack Valenti om en vernetid som varer evig "
+"minus en dag. Kanskje komiteen kan se på i neste periode.</quote> 144 "
+"Kongr. Ref. H9946, 9951-2 (7. oktober 1998)."
#. type: Content of: <book><part><chapter><para>
msgid ""
"bekjempe den gjennom sivil ulydighet. I en serie intervjuer annonserte "
"Eldred at han kom til å publisere som planlagt, på tross av CTEA. Men på "
"grunn av en annen lov som ble vedtatt i 1998, NET-loven (Nei til Elektronisk "
-"Tyveri), så ville det å publisere gjøre Eldred til en kriminell — "
+"Tyveri), så ville det å publisere gjøre Eldred til en kriminell – "
"uansett om noen protesterer eller ikke. Dette var en farlig strategi å "
"gjennomføre for en handikappet programmerer."
"Som jeg har beskrevet, er denne bestemmelsen unik innenfor bestemmelsene som "
"deler ut myndighet i artikkel I, seksjon 8, av Grunnloven vår. Alle de "
"andre bestemmelsene deler ut myndighet til Kongressen ved å ganske enkelt si "
-"at Kongressen har myndighet til å gjøre noe — for eksempel til å "
+"at Kongressen har myndighet til å gjøre noe – for eksempel til å "
"regulere <quote>handel mellom flere stater</quote> eller <quote>erklære krig."
-"</quote> Men her er dette <quote>noe</quote> ganske spesifikt — å "
-"<quote>fremme utviklingen</quote> — gjennom virkemidler som også er "
-"ganske spesifikke — ved å <quote>sikre</quote> <quote>eksklusive "
+"</quote> Men her er dette <quote>noe</quote> ganske spesifikt – å "
+"<quote>fremme utviklingen</quote> – gjennom virkemidler som også er "
+"ganske spesifikke – ved å <quote>sikre</quote> <quote>eksklusive "
"rettigheter</quote> (det vil si opphavsretten) <quote>i et begrenset tidsrom."
"</quote>"
"Grunnlovens krav om at vernetiden skulle være <quote>begrenset</quote>, ikke "
"ha noen praktisk effekt. Hvis Kongressen hadde myndighet til å utvide "
"vernetiden, hver gang vernetiden holder på å gå ut, så kunne Kongressen "
-"oppnå det Grunnloven tydelig forbyr — evigvarende vernetid <quote>på "
+"oppnå det Grunnloven tydelig forbyr – evigvarende vernetid <quote>på "
"avbetaling,</quote> som professor Peter Jaszi så pent formulerte det."
#. type: Content of: <book><part><chapter><para>
"legger opp til at de som har fordeler av det som gjøres i Kongressen, skal "
"skaffe og gi penger til Kongressen for å legge opp til at bestemte ting blir "
"gjort. Det er begrenset med tid, og det er så mye Kongressen kan gjøre. "
-"Hvorfor ikke begrense det den gjør til de tingene den må gjøre — og de "
+"Hvorfor ikke begrense det den gjør til de tingene den må gjøre – og de "
"tingene som betaler seg? Å utvide vernetiden i opphavsretten betaler seg."
#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Well,</quote> the adviser says, <quote>if you're confident that you "
"will continue to get at least $100,000 a year from these copyrights, and you "
-"use the `discount rate' that we use to evaluate estate investments (6 "
-"percent), then this law would be worth $1,146,000 to the estate.</quote>"
+"use the <quote>discount rate</quote> that we use to evaluate estate "
+"investments (6 percent), then this law would be worth $1,146,000 to the "
+"estate.</quote>"
msgstr ""
"<quote>Vel,</quote> sier rådgiveren og fortsetter, <quote>hvis du er sikker "
"på at du vil fortsette å få minst 100 000 dollar i året for disse "
#. type: Content of: <book><part><chapter><para>
msgid ""
"<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to "
-"you to contribute up to the `present value' of the income you expect from "
-"these copyrights. Which for us means over $1,000,000.</quote>"
+"you to contribute up to the <quote>present value</quote> of the income you "
+"expect from these copyrights. Which for us means over $1,000,000.</quote>"
msgstr ""
"<quote>Absolutt,</quote> svarer rådgiveren. <quote>Det er verdt det hvis du "
"bidrar med opp til dagens verdi av inntektene du forventer fra disse "
"expire, there is a massive amount of lobbying to get the copyright term "
"extended."
msgstr ""
-"Du tar raskt poenget — du som styremedlem samt, regner jeg med, du som "
+"Du tar raskt poenget – du som styremedlem samt, regner jeg med, du som "
"leser. Hver gang opphavsretten holder på å løpe ut, har hver eneste "
"mottaker i samme posisjon som arvingene etter Robert Frost det samme valget: "
"Hvis de bidrar til å få en lov vedtatt som utvider opphavsretten, så vil de "
"ha stor nytte av den utvidelsen. Så hver eneste gang opphavsretten er i "
-"ferd med å løpe ut, så er det en massiv lobbying for å få "
+"ferd med å løpe ut, så er det en massiv lobbyvirksomhet for å få "
"opphavsrettsvernetiden utvidet."
#. type: Content of: <book><part><chapter><para>
"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to "
"reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
-"I lobbyingen som førte til at Sonny Bono utvidelse av Loven om vernetiden "
-"for opphavsrett ble vedtatt, ble denne <quote>teorien</quote> om incentiver "
-"bevist å være riktig. Ti av de tretten originale sponsorene til loven i "
-"Overhuset mottok maksimale bidrag fra Disneys politiske handlingskomite. I "
-"Senatet mottok åtte av de tolv sponsorene bidrag.<placeholder type=\"footnote"
-"\" id=\"0\"/> RIAA og MPAA er estimert å ha brukt mer enn 1,5 lobby-"
-"dollarmillioner i 1998-valgperioden. De betalte ut mer enn 200 000 "
-"dollar i kampanjebidrag.<placeholder type=\"footnote\" id=\"1\"/> Disney er "
-"estimert å ha bidratt med mer enn 800 000 dollar i "
-"gjenvelgelseskampanjer den perioden.<placeholder type=\"footnote\" id=\"2\"/>"
+"I lobbyvirksomheten som førte til at Sonny Bono utvidelse av Loven om "
+"vernetiden for opphavsrett ble vedtatt, ble denne <quote>teorien</quote> om "
+"incentiver bevist å være riktig. Ti av de tretten originale sponsorene til "
+"loven i Overhuset mottok maksimale bidrag fra Disneys politiske "
+"handlingskomite. I Senatet mottok åtte av de tolv sponsorene bidrag."
+"<placeholder type=\"footnote\" id=\"0\"/> RIAA og MPAA er estimert å ha "
+"brukt mer enn 1,5 millioner dollar til lobbyvirksomhet i 1998-valgperioden. "
+"De betalte ut mer enn 200 000 dollar i kampanjebidrag.<placeholder type="
+"\"footnote\" id=\"1\"/> Disney er estimert å ha bidratt med mer enn "
+"800 000 dollar i gjenvelgelseskampanjer den perioden.<placeholder type="
+"\"footnote\" id=\"2\"/>"
#. type: Content of: <book><part><chapter><para>
msgid ""
"var det mest berømte eksemplet på denne trenden avgjørelsen fra Høyesterett "
"i 1995 om å slå ned på en lov som forbød besittelse av våpen nær skoler."
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "commerce, interstate"
+msgstr "handel, mellomstatlig"
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "interstate commerce"
+msgstr "mellomstatlig handel"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"Since 1937, the Supreme Court had interpreted Congress's granted powers very "
msgstr ""
"Siden 1937 hadde Høyesterett tolket Kongressens tildelte myndighet svært "
"bredt. Så mens Grunnloven gir Kongressen myndighet til å kun regulere "
-"<quote>handel mellom stater</quote> (aka <quote>mellomstatlig handel</"
-"quote>), så hadde Høyesterett tolket den myndigheten til å inneholde "
+"<quote>handel mellom stater</quote> (også kjent som <quote>mellomstatlig "
+"handel</quote>), så hadde Høyesterett tolket den myndigheten til å inneholde "
"myndigheten til å regulere enhver aktivitet som kun berører mellomstatlig "
"handel."
msgstr ""
"Etter hvert som økonomien vokste, betød denne standarden i stadig større "
"grad at det ikke var noen grenser for Kongressens myndighet til å regulere, "
-"siden omtrent hver eneste aktivitet, når en vurderte det på nasjonal skala, "
-"påvirker mellomstatlig handel. En grunnlov utformet for å begrense "
+"siden stort sett hver eneste aktivitet, når en vurderte det på nasjonal "
+"skala, påvirker mellomstatlig handel. En grunnlov utformet for å begrense "
"Kongressens myndighet ble i stedet tolket til å ikke ha noen grense."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Rehnquist, William H."
msgstr "Rehnquist, William H."
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "United States v. Lopez"
+msgstr "USA vs. Lopez"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
"<citetitle>United States</citetitle> mot <citetitle>Lopez</citetitle>, 514 U."
"S. 549, 564 (1995)."
-#. f7.
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "United States v. Morrison"
+msgstr "USA vs. Morrison"
+
#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
-"U.S. 598 (2000)."
+"U.S. 598 (2000). <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"<citetitle>United States</citetitle> mot <citetitle>Morrison</citetitle>, "
-"529 U.S. 598 (2000)."
+"529 U.S. 598 (2000). <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
msgid ""
"kunne overføres fra en opplistet kompetanse til den neste. Det "
"utslagsgivende poenget når det gjaldt handelsbestemmelsen, var at tolkningen "
"staten kom med, ville gi staten ubegrenset kompetanse til å regulere handel "
-"— på tross av begrensningen om mellomstatlig handel. Også i denne "
+"– på tross av begrensningen om mellomstatlig handel. Også i denne "
"sammenehengen ville statens tolkning gi staten ubegrenset kompetanse til å "
-"regulere opphavsrett — på tross av begrensningen om <quote>et "
+"regulere opphavsrett – på tross av begrensningen om <quote>et "
"begrenset tidsrom.</quote>"
#. PAGE BREAK 227
"Fremskrittsbestemmelsen som for Handelsbestemmelsen.<placeholder type="
"\"footnote\" id=\"0\"/> Og hvis det anvendes på Fremskrittsbestemmelsen, bør "
"prinsippet føre til konklusjonen at Kongressen ikke kan utvide en "
-"eksisternede vernetid. Hvis Kongressen kan utvide en eksisterende vernetid, "
-"så finnes det intet <quote>stopp-punkt</quote> for Kongressens myndighet "
-"over vernetiden, selv om grunnloven klart sier at det er en slik grense. "
+"eksisterende vernetid. Hvis Kongressen kan utvide en eksisterende vernetid, "
+"så finnes det intet <quote>endepunkt</quote> for Kongressens myndighet over "
+"vernetiden, selv om grunnloven klart sier at det finnes en slik grense. "
"Dermed, hvis det samme prinsippet anvendes på myndigheten til å dele ut "
"opphavsretter, burde det gjøre at Kongressen ikke får lov til å utvide "
"vernetiden til eksisterende opphavsretter."
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+msgid "Supreme Court restraint on"
+msgstr "Høyesterettsbegrensninger på"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis>If</emphasis>, that is, the principle announced in "
"boring. I was not going to devote my life to teaching constitutional law if "
"these nine Justices were going to be petty politicians."
msgstr ""
-"Det vil si <emphasis>hvis</emphasis> prinsippet annonsert i "
-"<citetitle>Lopez</citetitle> sto for et prinsipp. Mange mente avgjørelsen i "
-"<citetitle>Lopez</citetitle> sto for politikk — en konservativ "
+"Dette stemmer <emphasis>hvis</emphasis> prinsippet lagt frem i "
+"<citetitle>Lopez</citetitle> var et prinsipp. Mange mente avgjørelsen i "
+"<citetitle>Lopez</citetitle> var politisk – en konservativ "
"Høyesterett, som trodde på statenes rettigheter, brukte sin myndighet over "
"Kongressen til å fremme sine egne personlige politiske preferanser. Men jeg "
"avviste det synet på avgjørelsen fra Høyesterett. Jeg hadde til og med "
"være sikker på at vi forstår hva argumentet i <citetitle>Eldred</citetitle> "
"ikke handlet om. Ved å insistere på Grunnlovens begrensning på "
"opphavsretten, så gikk selvsagt ikke Eldred god for piratvirksomhet. "
-"Faktisk sloss han, på en åpenbar måte, mot en slags piratvirksomhet — "
+"Faktisk sloss han, på en åpenbar måte, mot en slags piratvirksomhet – "
"røving av allemannseiet. Da Robert Frost skrev sine verk, og når Walt "
"Disney skapte Mikke Mus, så var den maksimale vernetiden bare femtiseks år. "
"På grunn av endringer i mellomtiden har Forst og Disney allerede nytt godt "
"av syttifem års monopol på sine verk. De har fått fordelen i avtalen som "
"Grunnloven ser for seg: I bytte for et monopol beskyttet i femtiseks år, så "
-"skapte de nye verk. Men nå brukte disse aktørene sin makt — uttrykt "
-"gjennom strømmen av lobbyeringspenger — til å få tjue års forlengelse "
-"av monopolet. Denne forlengelsen vil bli tatt fra allemannseiet. Eric "
-"Eldred sloss mot piratvirksomhet som påvirker oss alle."
+"skapte de nye verk. Men nå brukte disse aktørene sin makt – uttrykt "
+"gjennom strømmen av lobbyvirksomhetens penger – til å få tjue års "
+"forlengelse av monopolet. Denne forlengelsen vil bli tatt fra "
+"allemannseiet. Eric Eldred sloss mot piratvirksomhet som påvirker oss alle."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Nashville Songwriters Association"
"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/"
"\">link #51</ulink>."
msgstr ""
-"Innlegg fra Nashvillesangforfatterforening, <citetitle>Eldred</citetitle> "
+"Innlegg fra Nashville sangforfatterforening, <citetitle>Eldred</citetitle> "
"mot <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618), "
"n.10, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
"#51</ulink>."
"commercially exploited, and no longer available as a result."
msgstr ""
"<emphasis role='strong'>Det er verdifull</emphasis> opphavsrett som er "
-"ansvarlig for at verneperioden blir utvidet. Mikke Mus og <quote>Rhapsody "
+"ansvarlig for at verneperiodene blir utvidet. Mikke Mus og <quote>Rhapsody "
"in Blue.</quote> Disse verkene er for verdifulle til at opphavsrettseierene "
"kan ignorere dem. Men den reelle skaden fra opphavsrettsutvidelser for "
"samfunnet vårt er ikke at Mikke Mus forblir Disneys. Glem Mikke Mus. Glem "
"Robert Frost. Glem alle verk fra 1920-tallet og 1930-tallet som fortsatt "
"har kommersiell verdi. Den reelle skaden fra utvidelse av vernetiden kommer "
"ikke fra disse berømte verkene. Den reelle skaden er fra de verkene som "
-"ikke er berømte, ikke kommersielt utnytttet, og dermed heller ikke lenger "
+"ikke er berømte, ikke kommersielt utnyttet, og dermed heller ikke lenger "
"tilgjengelig."
#. f10.
"to the world in your iArchive project the remaining 9,873. What would you "
"have to do?"
msgstr ""
-"Tenk praktisk over konsekvensen av denne utvidelsen — praktisk som en "
+"Tenk praktisk over konsekvensen av denne utvidelsen – praktisk som en "
"forretningsmann, ikke som en advokat ivrig etter mer juridisk arbeide. I "
"1930 ble 10047 bøker publisert. I 2000 var 174 av disse bøkene fortsatt "
"tilgjengelig fra forlaget. La oss anta at du var Brewster Kahle, og du "
"Men det er ingen liste. Det kan være et navn fra 1930, og deretter i 1959, "
"for personen som registrerte opphavsretten. Men bare tenkt rundt hvor "
"utrolig vanskelig det vil være å praktisk spore opp tusenvis av slike "
-"arkivoppføringer — spesielt siden personen som er registrert ikke "
+"arkivoppføringer – spesielt siden personen som er registrert ikke "
"nødvendigvis er den nåværende eier. Og vi snakker kun om 1930!"
#. type: Content of: <book><part><chapter><para>
"så er det normalt et bilskilt som vil knytte eieren til bilen. Hvis du ser "
"en haug med barneleker som ligger på plenen forran et hus, så er det rimelig "
"enkelt å finne ut hvem som eier lekene. Og hvis du tilfeldigvis ser en "
-"baseball som ligger i grøfta ved siden av veien, så se deg rundt et øyeblikk "
-"etter unger som spiller ball. Hvis du ikke ser noen barn, så ok: her er det "
-"en bit eiendom hvis eier vi ikke enkelt kan spore opp. Dette er unntaket "
-"som bekrefter regelen: at vi normalt vet veldig godt hvem som eier hvilken "
-"eiendom."
+"baseball som ligger i grøfta ved siden av veien, så ser du deg rundt et "
+"øyeblikk etter unger som spiller ball. Hvis du ikke ser noen barn, så ok: "
+"her er det en bit eiendom hvis eier vi ikke enkelt kan spore opp. Dette er "
+"unntaket som bekrefter regelen: at vi normalt vet veldig godt hvem som eier "
+"hvilken eiendom."
#. type: Content of: <book><part><chapter><para>
msgid ""
"vite hvem som eier hva så må du hyre en privatdetektiv. Det en sitter igjen "
"med er at eieren ikke enkelt kan finnes. Og med et regime som vårt, der det "
"er en forbrytelse å bruke slik eiendom uten tillatelse fra eieren av "
-"eiendomen, så vil eiendommen ikke bli brukt."
+"eiendommen, så vil eiendommen ikke bli brukt."
#. type: Content of: <book><part><chapter><para>
msgid ""
"must exceed the costs of making the work available for distribution."
msgstr ""
"Argumentet hans er enkelt. En liten brøkdel av disse verkene har vedvarende "
-"kommersiell verdi. Resten — i den grad de overlever i det hele tatt "
-"— ligger i et hvelv og samler støv. Det kan være være at noen av "
+"kommersiell verdi. Resten – i den grad de overlever i det hele tatt "
+"– ligger i et hvelv og samler støv. Det kan være være at noen av "
"disse verkene som nå ikke er kommersielt verdifulle, vil bli vurdert å være "
"verdifulle av eierne av hvelvene. For at det skal skje, må den kommersielle "
"gevinsten fra verkene overstige kostnaden med å gjøre verket tilgjengelig "
"number. Thus the costs of clearing the rights to these films is "
"exceptionally high."
msgstr ""
-"Eller for å være mer nøyaktig, <emphasis>eiere</emphasis>. Som vi har sett "
-"er det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. "
-"Det er ikke en enkelt person som du kan kontakte om disse opphavsrettene. "
-"Det er like mange som det er opphavsretter knyttet til den, hvilket viser "
-"seg kan være et ekstremt høyt tall. Dermed blir kostnaden med å klarere "
+"Eller for å være mer presis, <emphasis>eiere</emphasis>. Som vi har sett er "
+"det ikke bare en enkelt opphavsrett tilknyttet en film. Det er mange. Det "
+"er ikke en enkelt person som du kan kontakte om disse opphavsrettene. Det "
+"er like mange som det er opphavsretter knyttet til den, hvilket viser seg å "
+"være et ekstremt høyt antall. Dermed blir kostnaden med å klarere "
"rettighetene for disse filmene eksepsjonelt høy."
#. type: Content of: <book><part><chapter><para>
msgstr ""
"<emphasis role='strong'>Av alle de</emphasis> kreative verk produsert av "
"mennesker i verden, så er det kun en liten brøkdel som fortsetter å ha "
-"kommersiell verdi. For en liten brøkdel er opphavsretten en viktig og "
-"kritisk juridisk mekanisme. For den lille brøkdelen skaper opphavsretten "
-"incentiver til å produsere og distribuere kreative verk. For den lille "
-"brøkdelen fungerer opphavsrett som en <quote>drivkraft for uttrykksfrihet.</"
-"quote>"
+"kommersiell verdi. For denne lille brøkdel er opphavsretten et viktig og "
+"kritisk juridisk virkemiddel. For denne lille brøkdelen skaper "
+"opphavsretten incentiver til å produsere og distribuere kreativt arbeid. "
+"For denne lille brøkdelen fungerer opphavsrett som en <quote>drivkraft for "
+"uttrykksfrihet.</quote>"
#. type: Content of: <book><part><chapter><para>
msgid ""
"life ends."
msgstr ""
"Men selv for denne lille brøkdelen, så er den reelle tiden som det kreative "
-"arbeidet har, et kommersielt liv ekstremt kort. Som jeg antydet tidligere "
-"blir de fleste bøker utsolgt fra forlaget innen et år. Det samme er "
-"tilfellet for musikk og film. Kommersiell kultur er som et rovdyr. Den må "
-"fortsette å bevege seg. Og når et kreativt arbeid ikke lenger får godviljen "
-"fra en kommersiell distributør, så tar den kommersielle epoken slutt."
+"verket har et kommersielt liv ekstremt kort. Som jeg antydet tidligere blir "
+"de fleste bøker utsolgt fra forlaget innen et år. Det samme er tilfellet "
+"for musikk og film. Kommersiell kultur er som et rovdyr. Den må fortsette "
+"å bevege seg. Og når et kreativt verk ikke lenger får godviljen fra en "
+"kommersiell distributør, så tar dens kommersielle epoke slutt."
#. type: Content of: <book><part><chapter><para>
msgid ""
"knowledge. To understand who we are, and where we came from, and how we have "
"made the mistakes that we have, we need to have access to this history."
msgstr ""
-"Likevel betyr ikke dette at livet til det kreative arbeidet er over. Vi har "
+"Likevel betyr ikke dette at livet til det kreative verket er over. Vi har "
"ikke biblioteker for å konkurrere med Barnes & Noble, og vi har ikke "
"filmarkiver fordi vi forventer at folk skal velge mellom å tilbringe "
"fredagskvelden med å se nye filmer, eller tilbringe fredagskvelden med å se "
"en nyhetsdokumentar fra 1930. Det ikke-kommersielle epoken til kulturen er "
-"viktig og verdifullt — som underholdning men også, og viktigere, for "
+"viktig og verdifullt – som underholdning men også, og viktigere, for "
"kunnskap. For å forstå hvem vi er, hvor vi kom fra og hvordan vi gjorde de "
"feil vi har gjort, så må vi ha tilgang til denne historien."
"of its life so long as the market didn't have more to offer."
msgstr ""
"Det samme var praktisk sett tilfelle også for film. På grunn av at "
-"kostnadene med å restaurere en film — de egentlige økonomiske "
-"kostnadene, ikke advokatkostnadene — var så høye, så var det aldri "
+"kostnadene med å restaurere en film – de egentlige økonomiske "
+"kostnadene, ikke advokatkostnadene – var så høye, så var det aldri "
"praktisk mulig å ta vare på, eller restaurere film. Omtrent som med restene "
"etter en flott middag, når den er over, så er den over. Når den kommersielle "
"epoken til en film var over, så kan den ha blitt arkivert en stund, men det "
"kommer loven i veien. Og den kommer ikke i veien på grunn av et nyttig "
"<emphasis>opphavsretts</emphasis>formål, som jo er å gjøre det mulig for det "
"kommersielle markedet å spre kultur. Nei, vi snakker om kultur etter at den "
-"har levd sin kommersielle epoke. I denne sammenhengen tjener opphavsretten "
-"ikke noe formål <emphasis>i det hele tatt</emphasis>, relatert til spredning "
-"av kunnskap. I denne sammenhengen er ikke opphavsrett en drivkraft for "
-"uttrykksfrihet. Opphavsrett er en bremsekloss."
+"har levd sin kommersielle epoke. I denne sammenhengen har ikke "
+"opphavsretten noe formål <emphasis>i det hele tatt</emphasis>, relatert til "
+"spredning av kunnskap. I denne sammenhengen er ikke opphavsrett en "
+"drivkraft for uttrykksfrihet. Opphavsrett er en bremsekloss."
#. type: Content of: <book><part><chapter><para>
msgid ""
"</quote>"
msgstr ""
"Du kan godt spørre, <quote>Men hvis digitale teknologier reduserer kostnaden "
-"for Brewster Kahle, så reduserer de også kostnadene for Random House. Vil "
-"ikke Random House da spre kultur like vidt som Brewster Kahle?</quote>"
+"for Brewster Kahle, så reduserer de også kostnadene for Random House (USAs "
+"største bokforlag). Vil ikke Random House da spre kultur like vidt som "
+"Brewster Kahle?</quote>"
#. type: Content of: <book><part><chapter><para>
msgid ""
"not—then we can't count on the commercial market to do our library "
"work for us."
msgstr ""
-"Mulig det. En eller annen dag. Men det finnes ingen indisier som tyder på "
-"at utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble "
+"Mulig det. En eller annen dag. Men det finnes intet som tyder på at "
+"utgivere vil bli like komplette som biblioteker. Hvis Barnes & Noble "
"tilbød utlån av bøker fra sine lager til en lavere pris, ville det eliminere "
"behovet for biblioteker? Kun hvis du mener at den eneste rollen et "
"bibliotek skal tjene, er den <quote>markedet</quote> etterspør. Men hvis du "
-"mener bibliotekrollen er større en dette — hvis du mener dets rolle "
+"mener bibliotekrollen er større en dette – hvis du mener dets rolle "
"er å arkivere kultur, uavhengig av om det er en etterspørsel etter en "
-"bestemt bit av den kulturen eller ikke — da kan vi ikke basere oss på "
-"at det kommersielle markedet vil gjøre biblioteksjobben for oss."
+"bestemt bit av den kulturen eller ikke – da kan vi ikke basere oss på "
+"at det kommersielle markedet vil gjøre bibliotekjobben for oss."
#. f13.
#. type: Content of: <book><part><chapter><para><footnote><para>
msgid ""
-"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> "
-"20 December 2002, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #54</ulink>."
+"Jason Schultz, <quote>The Myth of the 1976 Copyright <quote>Chaos</quote> "
+"Theory,</quote> 20 December 2002, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #54</ulink>."
msgstr ""
-"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> "
-"20. desember 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/"
-"notes/\">link #54</ulink>."
+"Jason Schultz, <quote>The Myth of the 1976 Copyright <quote>Chaos</quote> "
+"Theory,</quote> 20. desember 2002, tilgjengelig fra <ulink url=\"http://free-"
+"culture.cc/notes/\">link #54</ulink>."
#. type: Content of: <book><part><chapter><para>
msgid ""
"Jeg er blant de første til å være enig i at markedet skal gjøre så mye som "
"det kan: Vi bør basere oss på markedet så mye som mulig for å spre og gjøre "
"kultur mulig. Mitt budskap er absolutt ikke imot markedet. Men der vi ser "
-"at markedet ikke gjør jobben, da bør vi tillate krefter utenfor markedet "
+"at markedet ikke gjør jobben bør vi tillate krefter utenfor markedet "
"friheten til å fylle hullene. En forsker beregnet for amerikansk kultur at "
"94 prosent av filmer, bøker og musikk produsert mellom 1923 og 1946, ikke er "
"kommersielt tilgjengelig. Uansett hvor mye du elsker markedet, så er 6 "
"skriver disse ordene. Det er fortsatt utrolig vanskelig. Hvis du vet noe "
"om denne historien, så vet du at vi tapte anken. Og hvis du vet noe mer enn "
"bare litt, så tror du antagelig at det var ingen måte å vinne denne saken "
-"på. Etter vårt nederlag fikk jeg jeg bokstavelig talt tusenvis av hilsninger "
-"fra støttespillere og folk som ville ønske meg lykke til, som takket meg for "
-"min innsats på vegne av denne noble, men fortapte sak. Og ingen fra denne "
+"på. Etter vårt nederlag fikk jeg bokstavelig talt tusenvis av hilsninger fra "
+"støttespillere og folk som ville ønske meg lykke til, som takket meg for min "
+"innsats på vegne av denne noble, men fortapte sak. Og ingen fra denne "
"bunken var viktigere for meg enn e-posten fra min klient, Eric Eldred."
#. type: Content of: <book><part><chapter><para>
msgid "Steward, Geoffrey"
msgstr "Steward, Geoffrey"
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Jones, Day, Reavis and Pogue (Jones Day)"
+msgstr "Jones, Day, Reavis og Pogue (Jones Day)"
+
#. PAGE BREAK 237
#. type: Content of: <book><part><chapter><para>
msgid ""
"was unconstitutional regardless of one's politics."
msgstr ""
"Det var derimot én måte der jeg følte at politikk ville bety noe, og hvor "
-"jeg tenkte et svar var riktig. Jeg var overbevist om at domstolen ikke "
-"ville høre på våre argumenter hvis den mente at de bare var argumenter fra "
-"en gruppe med venstrevridde gærninger. Denne Høysteretten kom ikke til å "
-"stupe inn i et nytt juridisk vurderingsfelt hvis det virket som om dette "
+"jeg tenkte en appell var hensiktsmessig. Jeg var overbevist om at domstolen "
+"ikke ville høre på våre argumenter hvis den mente at de bare var argumenter "
+"fra en gruppe med venstrevridde gærninger. Denne Høyesteretten kom ikke til "
+"å stupe inn i et nytt juridisk vurderingsfelt hvis det virket som om dette "
"feltet kun var interessant for en liten politisk minoritet. Selv om mitt "
"fokus i saken ikke var å demonstrere hvor ille Sonny Bono-loven var, men å "
"demonstrere at den var i strid med Grunnloven, så var det mitt håp å "
"argumentere for dette mot en bakgrunn av innlegg som dekket hele spekteret "
"av politiske ståsteder. For å vise at denne påstanden mot CTEA var fundert "
"i <emphasis>lovverket</emphasis> og ikke i politikken, forsøkte vi derfor å "
-"samle den videste rekken av troverdige kritikere — ikke troverdige "
+"samle den videste rekken av troverdige kritikere – ikke troverdige "
"fordi de var rike og berømte, men fordi de, samlet sett, demonstrerte at "
"denne loven var i strid med Grunnloven uavhengig av ens politiske syn."
"Det første steget skjedde helt av seg selv. Organisasjonen til Phyllis "
"Schlafly, Ørneforumet, hadde vært motstander av CTEA helt fra begynnelsen. "
"Fru Schlafly så på CTEA som at Kongressen hadde solgt seg. Hun skrev en "
-"skarp kronikk i november 1998 som angrep den republikanske Kongressen for å "
+"skarp leder i november 1998 som angrep den republikanske Kongressen for å "
"tillate at loven ble vedtatt. Der skrev hun <quote>Du lurer noen ganger på "
"hvorfor lovforslag som skaper finansiell medvind til smale særinteresser, "
"glir så enkelt gjennom den intrikate lovgivende prosessen, mens lovforslag "
"som gir fordeler til allmennheten generelt ser ut til å stoppe opp?</quote> "
-"Svaret, slik kommentarartikkelen dokumenterte, er pengenes makt. Schlafly "
+"Svaret, slik lederartikkelen dokumenterte, er pengenes makt. Schlafly "
"listet opp bidrag fra Disney til sentrale aktører i komiteene. Det var "
"penger, ikke rettferdighet, som ga Disney kontroll over Mikke Mus i tjue år "
"ekstra, hevdet Schlafly."
"støttet vår posisjon. Deres innlegg kom med argumentet som ble kjernekravet "
"i Høyesterett: Hvis Kongressen kunne utvide vernetiden i opphavsretten, så "
"fantes det ingen begrensninger i Kongressens myndighet til å fastsette "
-"vernetiden. Dette sterkt konservative argumentet overbeviste en sterk og "
+"vernetider. Dette sterkt konservative argumentet overbeviste en sterk og "
"konservativ dommer, Dommer Sentelle."
#. PAGE BREAK 239
"was struck, a whole generation of American film would disappear. The other "
"made the economic argument absolutely clear."
msgstr ""
-"Men i to av innleggene ble det argumentet best. Ett støttet argumentet jeg "
-"allerede har beskrevet: Et innlegg fra Hal Roach Studios argumenterte med at "
-"med mindre loven ble droppet, ville en hel generasjon amerikansk film "
-"forsvinne. Det andre gjorde det økonomiske argumentet helt klart."
+"Men to innlegg formidlet argumentet om klok politikk best. Ett støttet "
+"argumentet jeg allerede har beskrevet: Et innlegg fra Hal Roach Studios "
+"argumenterte med at med mindre loven ble droppet, ville en hel generasjon "
+"amerikansk film forsvinne. Det andre gjorde det økonomiske argumentet helt "
+"klart."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Akerlof, George"
"nobelprisvinnere demonstrerer, spredte seg over hele det politiske "
"spektrum. Deres konklusjon var sterk: Det fantes ingen troverdig påstand om "
"at å utvide vernetiden for eksisterende opphavsrett, ville øke incentivene "
-"for å skape. Slik utvidelse var intet mer enn å <quote>ta inn renter</"
-"quote> — det fancy begrepet økonomer bruker for å beskrive "
+"for å skape. Slik utvidelse var intet mer enn å "
+"<quote>tilkarringsvirksomhet</quote> (på engelsk <quote>rent-seeking</"
+"quote>) – det fancy begrepet økonomer bruker for å beskrive "
"særinteresselovgivning på villspor."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgstr ""
"Den samme balanserte fremstilling ble reflektert i den juridiske gruppen vi "
"samlet for å forfatte våre innlegg i saken. Advokatene fra Jones Day hadde "
-"vært med oss fra starten. Men da saken kom til Høyesterett, ble tre "
-"advokater til med for å hjelpe oss å forme dette argumentet til domstolen. "
-"Den ene var Alan Morrison, en advokat fra Washington-grupperingen Public "
-"Citizen som hadde laget konstitusjonell historie med en rekke banebrytende "
-"seire i Høysterett i sitt forsvar for individuelle rettigheter. Den andre "
-"var min kollega og fakultetsleder, Kathleen Sullivan, som hadde lagt fram "
-"mange saker for domstolen, og som tidlig hadde gitt oss råd om en Første "
-"grunnlovstilleggsstrategi. Til sist, tidligere regjeringssadvokat Charles "
+"vært med oss fra starten. Men da saken kom til Høyesterett, la vi til tre "
+"advokater for å hjelpe oss å forme dette argumentet til domstolen. Den ene "
+"var Alan Morrison, en advokat fra Washington-grupperingen Public Citizen, en "
+"gruppe som hadde laget konstitusjonell historie med en rekke banebrytende "
+"seire i Høyesterett som forsvarte individuelle rettigheter. Den andre var "
+"min kollega og fakultetsleder, Kathleen Sullivan, som hadde lagt fram mange "
+"saker for domstolen, og som tidlig hadde gitt oss råd om en Første "
+"grunnlovstilleggsstrategi. Til sist, tidligere regjeringsadvokat Charles "
"Fried."
#. type: Content of: <book><part><chapter><indexterm><secondary>
"Regjeringen hadde, i sitt forsvar av lovendringen, også sin egen samling "
"venner. Det er verdt å merke seg at ingen av disse <quote>vennene</quote> "
"inkluderte historikere eller økonomer. Innleggene på den andre siden av "
-"saken var skrevet ekslusivt av store medieselskaper, kongressmedlemmer og "
+"saken var skrevet eksklusivt av store medieselskaper, kongressmedlemmer og "
"opphavsrettsinnehavere."
#. type: Content of: <book><part><chapter><para>
"who did what with content they wanted to control."
msgstr ""
"Medieselskapene overrasket ikke. De hadde mest å tjene på loven. "
-"Kongressmedlemmene var heller ikke overraskende — de forsvarte sin "
+"Kongressmedlemmene var heller ikke overraskende – de forsvarte sin "
"makt og, indirekte, de lettjente pengene som denne makten førte til. Og det "
"var naturligvis ikke overraskende at opphavsrettsinnehaverne ville forsvare "
"idéen om at de skulle fortsette å ha retten til å kontrollere hvem som "
msgstr ""
"Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre "
"at rettighetshaverne etter Dr. Seuss kontrollerte hva som skjedde med "
-"verkene til Dr. Seuss — bedre enn å la det falle i det fri — på "
-"grunn av at hvis denne kreativiteten var allemannseie, så ville folk bruke "
-"dem til å <quote>forherlige narkotika og skape pornografi.</"
+"verkene til Dr. Seuss – bedre enn å la de falle i det fri – på "
+"grunn av at hvis dette kreative arbeidet var allemannseie, så ville folk "
+"bruke det til å <quote>forherlige narkotika og skape pornografi.</"
"quote><placeholder type=\"footnote\" id=\"0\"/> Dette var også motivet til "
"rettighetshaverne etter Gershwin, som forsvarte sin <quote>beskyttelse</"
"quote> av verkene til George Gershwin. De avviste for eksempel å lisensiere "
"ut <citetitle>Porgy and Bess</citetitle> til enhver som nektet å bruke "
"afrikansk-amerikanere i rollelista.<placeholder type=\"footnote\" id=\"1\"/> "
-"Det var deres syn på hvordan denne delen av amerikansk kultur bør "
-"kontrolleres, og de ønsket hjelp fra denne loven til å effektuere denne "
+"Det var deres syn på hvordan denne delen av amerikansk kultur burde bli "
+"kontrollert, og de ønsket hjelp fra denne loven til å effektuere denne "
"kontrollen."
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Vi hevdet det samme i et avsluttende innlegg. Ikke bare ville det å "
"opprettholde CTEA bety at det ikke fantes noen grense for Kongressens "
-"myndighet til å utvide vernetiden — utvidelser som ytterligere ville "
+"myndighet til å utvide vernetiden – utvidelser som ytterligere ville "
"snevre inn markedet. Det ville også bety at det ikke var noen begrensninger "
"i Kongressens mulighet til å favorisere enkeltaktører, ved hjelp av "
"opphavsretten, og styre hvem som hadde lov til å ytre seg."
"strategy."
msgstr ""
"<emphasis role='strong'>Mellom februar</emphasis> og oktober gjorde jeg lite "
-"annet enn å forberede meg for denne saken. Som jeg nevnte tidligere, satte "
-"jeg strategien tidlig."
+"annet enn å forberede meg for denne saken. Som jeg nevnte tidligere, "
+"bestemte jeg strategien tidlig."
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Kennedy, Anthony"
+msgstr "Kennedy, Anthony"
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "O'Connor, Sandra Day"
msgstr "O'Connor, Sandra Day"
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Thomas, Clarence"
+msgstr "Thomas, Clarence"
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Scalia, Antonin"
+msgstr "Scalia, Antonin"
+
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+msgid "congressional actions restrained by"
+msgstr "Kongressens handlinger begrenset av"
+
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+msgid "factions of"
+msgstr "fraksjoner i"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"The Supreme Court was divided into two important camps. One camp we called "
"were the votes that I personally had most consistently agreed with, they "
"were also the votes that we were least likely to get."
msgstr ""
-"Resten var de fire dommerne som sterkt hadde vært imot å begrense "
-"Kongressens myndighet. Disse fire — dommer Stevens, dommer Souter, "
-"dommer Ginsburg og dommer Breyer — hadde gjentatte ganger argumentert "
-"med at Grunnloven gir Kongressen svært bredt skjønn til å bestemme hvordan "
-"den skal best bruke sin myndighet. I sak etter sak hadde disse dommerne "
-"argumentert domstolens rolle skulle være å overlate den vurderingen til "
-"andre. Selv om voteringen til disse fire dommerne var voteringene jeg "
-"personlig hadde vært mest konsekvent enig i, så var de også stemmene det var "
-"minst sannsynlig at vi ville få."
+"Resten var de fire dommerne som sterkt motsatte seg å begrense Kongressens "
+"myndighet. Disse fire – dommer Stevens, dommer Souter, dommer "
+"Ginsburg og dommer Breyer – hadde gjentatte ganger argumentert med at "
+"Grunnloven gir Kongressen svært bredt skjønn til å bestemme hvordan den skal "
+"best bruke sin myndighet. I sak etter sak hadde disse dommerne argumentert "
+"at domstolens rolle skulle være å overlate denne vurderingen til andre. "
+"Selv om voteringen til disse fire dommerne var voteringene jeg personlig "
+"hadde vært mest konsekvent enig med, så var de også stemmene det var minst "
+"sannsynlig at vi ville få."
#. type: Content of: <book><part><chapter><para>
msgid ""
"sensitive to free speech concerns. And as we strongly believed, there was a "
"very important free speech argument against these retrospective extensions."
msgstr ""
-"Tett bak dommer Gunsburg var to dommere som vi også så på som usannsynlige "
+"Tett bak dommer Ginsburg var to dommere som vi også så på som usannsynlige "
"allierte, men vi kunne bli overrasket. Dommer Souter favoriserte sterkt å "
"la Kongressen bestemme, og det samme gjorde dommer Breyer. Men begge var "
"også svært følsomme for ytringsfrihetsbekymringer. Og vi trodde sterkt at "
msgstr ""
"Den eneste stemmen vi kunne være trygg på var den til dommer Stevens. "
"Historien viser at dommer Stevens er en av de største dommerne i denne "
-"domstolen. Hans stemmer har vært konsistent selektiv, hvilket bare betyr at "
-"ikke noen enkel ideologi forklarer hvordan han vil stille seg. Men han "
+"domstolen. Hans stemmer har vært konsistent eklektisk, hvilket bare betyr "
+"at ikke noen enkel ideologi forklarer hvordan han vil stille seg. Men han "
"hadde konsistent argumentert for begrensninger i sammenheng med immateriell "
"eiendom generelt. Vi var rimelig sikre på at han ville kjenne igjen "
"begrensningene her."
"være: på de konservative. For å vinne denne saken måtte vi lage en sprekk "
"mellom disse fem, og få i hvert fall et flertall over på vår side. Dermed "
"ble det ene overstyrende argument som ga liv til vår påstand hvilende på de "
-"konservatives viktigste rettsvitenskapelige nyskapning — argumentet "
+"konservatives viktigste rettsvitenskapelige nyskapning – argumentet "
"som dommer Sentelle hadde basert seg på i ankedomstolen, at Kongressens "
-"kompetanse måte tolkes slik at kompetansene som var listet opp hadde "
+"kompetanse måtte tolkes slik at kompetansene som var listet opp hadde "
"begrensninger."
#. PAGE BREAK 243
"limited, then so, too, must Congress's power to regulate copyright be "
"limited."
msgstr ""
-"Dette var dermed kjernen i vår strategi — en strategi som jeg er "
+"Dette var dermed kjernen i vår strategi – en strategi som jeg er "
"ansvarlig for. Vi ville få retten til å se at akkurat som i "
"<citetitle>Lopez</citetitle>-saken, så ville Kongressen ifølge regjeringens "
-"argumentasjon alltid ha ubegrenset makt til å utvide eksisterende vernetid. "
-"Hvis noe var klart om Kongressens makt i henhold til "
+"argumentasjon alltid ha ubegrenset makt til å utvide eksisterende "
+"vernetider. Hvis noe var klart om Kongressens makt i henhold til "
"Fremskrittsbestemmelsen, så var det at makten var ment å være "
-"<quote>begrenset.</quote> Vår mål ville være å få retten til å avstemme "
+"<quote>begrenset.</quote> Vår målsetting ville være å få retten til å forene "
"<citetitle>Eldred</citetitle> med <citetitle>Lopez</citetitle>: Hvis "
-"Kongressens makt til å regulere handel var begrenset, så måtte også "
-"Kongressens makt til å regulere opphavsretten være begrenset."
+"Kongressens myndighet til å regulere handel var begrenset, så måtte også "
+"Kongressens myndighet til å regulere opphavsretten være begrenset."
#. type: Content of: <book><part><chapter><para>
msgid ""
"til dette: Kongressen har gjort det før, og bør få lov til å gjøre det "
"igjen. Regjeringen hevdet at helt fra starten har Kongressen utvidet "
"vernetiden til eksisterende opphavsrett. Derfor, argumenterte regjeringen, "
-"burde ikke retten nå si at praksisen var forfatningsstridig."
+"burde ikke domstolen nå si at praksisen var forfatningsstridig."
#. type: Content of: <book><part><chapter><para>
msgid ""
"eleven times in forty years."
msgstr ""
"Det var noe sant i regjeringens påstand, men ikke mye. Vi var helt klart "
-"enig i at Kongressen hadde utvidet verntiden i 1831 og i 1909. Og i 1962, "
-"selvfølgelig, begynte Kongressen regelmessig å utvide eksisterende vernetid "
-"— elleve ganger på førti år."
+"enig i at Kongressen hadde utvidet verntiden i 1831 og i 1909. Og "
+"selvfølgelig i 1962, da Kongressen begynte å regelmessig utvide eksisterende "
+"vernetid – elleve ganger på førti år."
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Men denne <quote>konsistensen</quote> bør en se på i perspektiv. Kongressen "
"utvidet gjeldende vernetid en gang de første hundre årene av republikken. "
-"Deretter utvidet de den gjeldende vernetid en gang til de neste femti. "
-"Disse sjeldne utvidelsene står i kontrast til den nå vanlige prasis for å "
-"utvide gjeldende vernetid. Uansett hva slags selvbeherskelse Kongressen "
-"hadde tidligere, så er denne selvbeherskelsen nå borte. Kongressen var nå i "
-"en syklus med utvidelser, og det var ingen grunn til å forvente at syklusen "
-"skulle ta slutt. Denne domstolen hadde ikke nølt med å gripe inn når "
-"Kongressen var i lignende utvidelses-sykluser. Det var ingen grunn til at "
-"de ikke kunne gripe inn her."
+"Deretter utvidet de den gjeldende vernetid enda en gang i løpet av de neste "
+"femti. Disse sjeldne utvidelsene står i kontrast til dagens praksis om å "
+"regelmessig utvide gjeldende vernetid. Uansett hva slags selvbeherskelse "
+"Kongressen hadde tidligere, så er denne selvbeherskelsen nå borte. "
+"Kongressen var nå i en syklus med utvidelser, og det var ingen grunn til å "
+"forvente at denne syklusen kom til å ta slutt. Denne domstolen hadde ikke "
+"nølt med å gripe inn når Kongressen var i lignende utvidelses-sykluser. Det "
+"var ingen grunn til at de ikke kunne gripe inn her."
#. PAGE BREAK 244
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Jeg var overbevist om at for å vinne, måtte jeg holde domstolen fokusert på "
"et enkelt poeng: hvis denne utvidelsen ble akseptert, så ville det ikke være "
-"noen grenser for myndigheten til å vedta vernetid. Å være enig med "
-"regjeringen ville bety at vernetiden effektivt sett ville være uten "
-"begrensing. Å være enig med oss ville gi Kongressen en klar linje å følge: "
-"Ikke utvid den eksisterende vernetiden. Opponeringsrundene var effektiv "
-"trening. Jeg fant måter å bringe hvert eneste spørsmål tilbake til den "
-"sentrale idéen."
+"noen grenser for myndigheten til å vedta vernetider. Å være enig med "
+"regjeringen ville bety at vernetider effektivt sett ville være ubegrenset. Å "
+"være enig med oss ville gi Kongressen en klar linje å følge: Ikke utvid "
+"eksisterende vernetider. Opponeringsøktene var effektiv trening. Jeg fant "
+"måter å bringe hvert eneste spørsmål tilbake til den sentrale idéen."
#. type: Content of: <book><part><chapter><para>
msgid ""
"Fried. He had argued many cases before the Supreme Court. And in his review "
"of the moot, he let his concern speak:"
msgstr ""
-"En opponeringsrunde var foran advokatene hos Jones Day. Don Ayer var "
+"Én opponeringsøkt var foran advokatene hos Jones Day. Don Ayer var "
"skeptikeren. Han hadde tjenestegjort i Justisdepartementet under Reagen med "
"regjeringsadvokat Charles Fried. Han hadde presentert mange saker foran "
-"Høyesterett. Og i sin oppsummering av opponeringsrunden kom han med sin "
+"Høyesterett. Og i sin oppsummering av opponeringsøkten kom han med sin "
"bekymring:"
#. type: Content of: <book><part><chapter><para>
msgstr ""
"<quote>Jeg er bare redd for at med mindre de virkelig ser skaden, så vil de "
"ikke være villige til å bryte denne praksisen som regjeringen sier har vært "
-"konsistent praksis for to hundre år. Du må få dem til å se skaden — "
-"med ettertrykk få dem til å se skaden. Hvis de ikke ser den, så har vi "
+"konsistent praksis i to hundre år. Du må få dem til å se skaden – "
+"ettertrykkelig få dem til å se skaden. Hvis de ikke ser den, så har vi "
"ingen sjanse til å vinne.</quote>"
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Han hadde kanskje lagt frem mange saker foran denne domstolen, tenkte jeg, "
"men han hadde ikke forstått dens sjel. Som en funksjonær hadde jeg sett "
-"dommerne gjøre det riktige — ikke på grunn av politikk, men fordi det "
+"dommerne gjøre det riktige – ikke på grunn av politikk, men fordi det "
"var riktig. Som en jussprofessor hadde jeg brukt livet på å lære mine "
-"studenter at denne domstolen gjør det som er riktig — ikke på grunn av "
+"studenter at denne domstolen gjør det som er riktig – ikke på grunn av "
"politikk, men fordi det var riktig. Mens jeg hørte på Ayers lidenskapelige "
-"bønn om politisk press, forsto jeg poenget, og forkastet det. Vårt argument "
-"var riktig. Det var nok. La politikerne lære at det også var godt."
+"bønn om politisk press, forsto jeg hans poeng, og jeg forkastet det. Vårt "
+"argument var riktig. Det var nok. La politikerne lære at det også var godt."
#. PAGE BREAK 245
#. type: Content of: <book><part><chapter><para>
"in the special section ordinarily reserved for family of the Justices."
msgstr ""
"Alle måtte ikke vente i kø. Folk som kjenner dommerne kan be om plasser de "
-"kontrollerer. (Jeg ba dommer Scalias kontor om plass for mine foreldre, for "
+"kontrollerer. (Jeg ba dommer Scalias kontor om plass til mine foreldre, for "
"eksempel.) Medlemmer med møterett i Høyesterett kan be om en plass i en "
-"spesiell del reservert for dem. Og senatorer og kongressmedlemmer har en "
+"spesiell del forbeholdt dem. Og senatorer og kongressmedlemmer har en "
"spesiell plass der de også kan sitte. Og til slutt har naturligvis pressen "
"et galleri på samme måte som kontorpersonell som jobber for dommerne i "
"domstolen. Da vi ankom den morgenen, var det ingen plasser som var ledig. "
"Dette var en diskusjon om immaterialrett, og likevel var hallene helt "
"fulle. Da jeg gikk inn for å ta min plass foran domstolen, så jeg mine "
"foreldre sittende på venstre side. Da jeg satte meg ned ved bordet, så jeg "
-"Jack Valenti sittende i den spesielle delen normalt reservert for familien "
-"til dommerne."
+"Jack Valenti sittende i den spesielle delen normalt forbeholdt familien til "
+"dommerne."
#. type: Content of: <book><part><chapter><para>
msgid ""
"of time? I mean, this seems to be a practice that began with the very first "
"act."
msgstr ""
-"Dommer O'Connor: Kongressen har utvidet vernetiden så mange ganger etter "
-"hvert. Hvis du har rett, risikerer vi ikke å forstyrre tidligere utvidelser "
-"av vernetiden? Jeg mener, dette virker å være en praksis som startet med "
-"den aller første lovendringen?"
+"Dommer O'Connor: Kongressen har gjennom tiden utvidet vernetiden så mange "
+"ganger. Hvis du har rett, risikerer vi ikke å forstyrre tidligere "
+"utvidelser av vernetiden? Jeg mener, dette virker å være en praksis som "
+"startet med den aller første lovendringen?"
#. type: Content of: <book><part><chapter><para>
msgid ""
"then the question is, is there a way of interpreting their words that gives "
"effect to what they had in mind, and the answer is yes."
msgstr ""
-"Mr. Lessig: Vel, hvis det går rett i synet på det grunnlovsforfatterne hadde "
-"i tankene så er spørsmålet, er det en måte å tolke deres ord som gir "
+"Herr Lessig: Vel, hvis det går rett i synet på det grunnlovsforfatterne "
+"hadde i tankene så er spørsmålet, er det en måte å tolke deres ord som gir "
"effekten de hadde i tankene, og svaret er ja."
#. type: Content of: <book><part><chapter><para>
"progress in science and the useful arts. I just don't see any empirical "
"evidence for that."
msgstr ""
-"Dommer Kennedy: Vel, jeg antar at det er implisitt i argumentet at 76-loven "
-"også bør bli kjent ugyldig, og at vi kan la den være for å unngå "
+"Dommer Kennedy: Vel, jeg antar at det er implisitt i argumentet at endringen "
+"fra 1976 også bør bli kjent ugyldig, og at vi kan la den være for å unngå "
"forstyrrelsen, er at i alle disse årene som loven har hemmet fremgang i "
"vitenskap og nyttige kunstarter, så ser jeg intet empirisk bevis for dette."
"to assure that what would be an effectively perpetual term not be permitted "
"under the copyright laws."
msgstr ""
-"Mr. Lessig: Dommer, det er ikke en empirisk påstand i det hele tatt. "
+"Herr Lessig: Dommer, det er ikke en empirisk påstand i det hele tatt. "
"Ingenting i påstanden om vår opphavsrettsbestemmelse baserer seg på den "
"empiriske antagelsen om å hindre fremgang. Vårt eneste argument er at dette "
-"er en strukturell begrensning som er nødvendig for å sikre at det som ellers "
-"ville være en evigvarende vernetid ikke blir tillatt i opphavsrettsloven."
+"er en strukturell begrensning som er nødvendig for å sikre at det som i "
+"praksis ville være en evigvarende vernetid ikke blir tillatt i "
+"opphavsrettsloven."
#. type: Content of: <book><part><chapter><para>
msgid ""
"was a swing and a miss."
msgstr ""
"Det var et riktig svar, men det var ikke det riktige svaret. Det riktige "
-"svaret var i stedet at skaden var åpenbar og dyptgripende. En rekke "
-"orienteringer var blitt skrevet om den. Han ønsket å høre det. Og det var "
-"her rådet fra Don Ayer burde ha hatt betydning. Dette var en lett pasning, "
-"og mitt svar bommet fullstendig."
+"svaret var i stedet at skaden var åpenbar og dyptgripende. En rekke innlegg "
+"var blitt skrevet om den. Han ønsket å høre det. Og det var her rådet fra "
+"Don Ayer burde ha hatt betydning. Dette var en lett pasning, og mitt svar "
+"bommet fullstendig."
#. type: Content of: <book><part><chapter><para>
msgid ""
"cannot be justified under ordinary First Amendment analysis or under a "
"proper reading of the limits built into the Copyright Clause."
msgstr ""
-"Hr. Lessig: Vi ønsker retten til å ordrett kopiere verk som bør være "
+"Herr Lessig: Vi ønsker retten til å ordrett kopiere verk som bør være "
"allemannseie, og ville vært allemannseie hadde det ikke vært for en "
"lovpraksis som ikke kan rettferdiggjøres med vanlig analyse av det første "
"grunnlovstillegg, eller med korrekt lesning av begrensningene som er bygd "
"Kongressens myndighet over opphavsrett og patenter. Som alltid som en "
"professor og ikke en talsmann, avsluttet jeg med å peke på domstolens lange "
"historie med å innføre begrensninger i Kongressens myndighet over "
-"opphavsretts- og patentbestemmelsen i Grunnloven — faktisk var det "
+"opphavsretts- og patentbestemmelsen i Grunnloven – faktisk var det "
"første tilfellet der en lov fra Kongressen ble funnet å gå ut over en "
"spesifikk opplistet kompetanse basert på opphavsretts- og "
"patentbestemmelsen. Alt sant, men det kom ikke til å vinne domstolen over på "
"<emphasis role='strong'>Da jeg dro</emphasis> fra retten den dagen, visste "
"jeg det var hundrevis av ting jeg skulle ønske jeg hadde gjort på nytt. Det "
"var hundrevis av spørsmål jeg skulle ønske jeg hadde svart annerledes. Men "
-"en måte å tenke på denne saken gjorde jeg optimistisk."
+"én måte å tenke på denne saken gjorde meg optimistisk."
#. type: Content of: <book><part><chapter><para>
msgid ""
"kunne komme til at Kongressens myndighet ifølge handelsbestemmelsen var "
"begrenset mens den under opphavsrettsbestemmelsen var ubegrenset. I de "
"sjeldne øyeblikk der jeg lot meg selv tro at vi hadde nådd frem, var det på "
-"grunn av at jeg opplevde at denne domstolen — spesielt de konservative "
-"— ville se at de selv ble rammet av begrensningene av den rettspraksis "
+"grunn av at jeg opplevde at denne domstolen – spesielt de konservative "
+"– ville se at de selv ble rammet av begrensningene av den rettspraksis "
"den allerede hadde etablert."
#. type: Content of: <book><part><chapter><para>
msgstr ""
"<emphasis role='strong'>På morgenen</emphasis> 15. januar 2003 var jeg fem "
"minutter for sent til kontoret, og gikk glipp av 07:00-oppringingen fra "
-"kontoristen til Høyesterett. Jeg forsto øyeblikkelig, bare ved å høre på "
+"rettsskriveren i Høyesterett. Jeg forsto øyeblikkelig, bare ved å høre på "
"meldingen på telefonsvareren, at hun kom med dårlige nyheter. Høyesteretten "
"hadde bekreftet avgjørelsen fra ankedomstolen. Syv dommere hadde utgjort "
"flertallet, og det var to dissenser."
"in the world against <emphasis>reasoning</emphasis>. And here was the last "
"naïve law professor, scouring the pages, looking for reasoning."
msgstr ""
-"Min <emphasis>argumentasjon</emphasis>. Her var et tilfelle der alle "
-"pengene i verden var satt opp mot<emphasis>argumentasjon</emphasis>. Og her "
-"satt den siste naive juss-professor og trålet gjennom sidene på jakt etter "
+"Min <emphasis>argumentasjon</emphasis>. Her var en sak som satset all "
+"verdens penger på at <emphasis>argumentasjon</emphasis> ville tape. Og her "
+"satt den siste naive jussprofessoren og trålet gjennom sidene på jakt etter "
"argumentasjon."
#. type: Content of: <book><part><chapter><para>
"with her view that Congress's power was not limited generally, she had found "
"Congress's power not limited here."
msgstr ""
-"Dommer Gunsburg ignorerte ganske enkelt argumentet om opplistede "
-"kompetanser. Konsistent med hennes syn om at Kongressens makt generelt ikke "
-"var begrenset, hadde hun konkludert med at Kongressens makt ikke var "
-"begrenset her."
+"Dommer Ginsburg ignorerte ganske enkelt argumentet om opplistede "
+"kompetanser. Konsistent med hennes syn om at Kongressens makt ikke var "
+"begrenset generelt, hadde hun konkludert med at Kongressens myndighet ikke "
+"var begrenset her."
#. type: Content of: <book><part><chapter><para>
msgid ""
"expect them to write an opinion that recognized, much less explained, the "
"doctrine they had worked so hard to defeat."
msgstr ""
-"Hennes betenkning var helt rimelig — for henne og for dommer Souter. "
+"Hennes betenkning var helt rimelig – for henne og for dommer Souter. "
"Ingen av dem tror på <citetitle>Lopez</citetitle>. Det ville være for mye å "
"forvente at de skulle skrive en rettsbetenkning som anerkjente, langt mindre "
"forklarte, den doktrinen som de hadde jobbet så hardt for å bekjempe."
msgstr ""
"Men etter hvert som jeg innså hva som hadde skjedd, så kunne jeg ikke helt "
"tro det jeg leste. Jeg hadde sagt at det ikke var mulig for domstolen å "
-"avstemme begrenset myndighet for Handelsbestemmelsen og ubegrenset myndighet "
-"for Fremskrittsbestemmelsen. Det hadde aldri slått meg at de kunne avstemme "
-"de to ved å ganske enkelt å <emphasis>ikke bry seg om argumentet</"
-"emphasis>. Det var ingen manglende konsistens ganske enkelt fordi de lot "
-"være å omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte fra "
+"forene begrenset myndighet for Handelsbestemmelsen og ubegrenset myndighet "
+"for Fremskrittsbestemmelsen. Det hadde aldri slått meg at de kunne forene "
+"disse to ved å ganske enkelt å <emphasis>ikke ta hensyn til argumentet</"
+"emphasis>. Det skapte ikke inkonsistens ganske enkelt fordi de lot være å "
+"omtale de to sammen. Det var dermed ikke noe prinsipp som fulgte fra "
"<citetitle>Lopez</citetitle>-saken: I den sammenhengen var Kongressens "
"myndighet begrenset, men i denne sammenhengen var den ikke begrenset."
"will respect, that is the system we have."
msgstr ""
"Likevel, med hvilken rett får de velge hvilke av grunnlovsforfatternes "
-"verdier de skulle respektere? Med hvilken rett fikk de — de tause fem "
-"— velge hvilken del av Konstitusjonen de ville håndheve basert på "
-"verdiene de mente var viktige? Vi var helt tilbake til argumentet som jeg "
-"sa jeg hatet i starten: Jeg hadde feilet i å overbevise dem om at temaet her "
-"var viktig, og jeg hadde feilet i å innse at uansett hvor mye jeg hater et "
+"verdier de skulle respektere? Med hvilken rett fikk de – de tause fem "
+"– velge hvilken del av Grunnloven de ville håndheve basert på verdiene "
+"de mente var viktige? Vi var helt tilbake til det argumentet som jeg sa jeg "
+"hatet i starten: Jeg hadde feilet i å overbevise dem om at problemet her var "
+"viktig, og jeg hadde feilet i å innse at uansett hvor mye jeg hater et "
"system der domstolen kan velge hvilke konstitusjonelle verdier den vil "
"respektere, så er det systemet vi har."
"the words were about patents or copyrights. The Court let Justice Stevens's "
"charge go unanswered."
msgstr ""
-"Dommerne Breyer og Stevens skrev en svært sterk dissens. Stevens betenkning "
+"Dommerne Breyer og Stevens skrev svært sterke dissenser. Stevens betenkning "
"var utformet basert på lovverket: Han argumenterte med at tradisjonen til "
"immateriallretten ikke burde støtte denne uberettigede utvidelsen av "
"vernetiden. Han baserte sitt argument på en parallell analyse som hadde "
"styrt i patentsammenheng (slik vi gjorde). Men resten av domstolen avviste "
-"denne parallellen — uten å forklare hvordan nøyaktig de samme ordene i "
+"denne parallellen – uten å forklare hvordan nøyaktig de samme ordene i "
"Fremskrittsbestemmelsen kunne bety noe helt annet avhengig av hvorvidt de "
-"handlet om patenter eller opphavsrett. Domstolen lot dommer Stevens påstand "
+"handlet om patenter eller opphavsrett. Domstolen lot dommer Stevens anklage "
"stå ubesvart."
#. PAGE BREAK 250
"unconstitutional."
msgstr ""
"Dommer Breyers betenkning, kanskje den beste betenkningen han noensinne har "
-"skrevet, var uavhengig av Konstitusjonen. Han argumenterte med at "
-"vernetiden i opphavsretten hadde blitt så lang at den effektivt sett var "
-"uten begrensning. Vi hadde sagt at under de nåværende vilkårene ga "
-"opphavsretten en forfatter 99,8 prosent av verdien for en uendelig "
-"vernetid. Breyer sa vi tok feil, at det faktiske tallet var 99,9997 prosent "
-"av en uendelig vernetid. Uansett var poenget klart: Hvis Konstitusjonen sa "
-"at vernetiden måtte være <quote>begrenset,</quote> og den eksisterende "
-"vernetiden var så lang at den effektivt sett var ubegrenset, så var den i "
-"strid med Grunnloven."
+"skrevet, var uavhengig av Grunnloven. Han argumenterte med at vernetiden i "
+"opphavsretten hadde blitt så lang at den effektivt sett var ubegrenset. Vi "
+"hadde sagt at under de nåværende vilkårene ga opphavsretten en forfatter "
+"99,8 prosent av verdien til en uendelig vernetid. Breyer sa vi tok feil, at "
+"det faktiske tallet var 99,9997 prosent av en uendelig vernetid. Uansett "
+"var poenget klart: Hvis Grunnloven sa at vernetiden måtte være "
+"<quote>begrenset,</quote> og den eksisterende vernetiden var så lang at den "
+"i praksis var ubegrenset, så var den grunnlovstridig."
#. type: Content of: <book><part><chapter><para>
msgid ""
"citetitle> ikke skulle anvendes i dette tilfellet. Jeg tror ikke det ville "
"ikke vært et veldig overbevisende argument, etter å ha lest det fremmet av "
"andre, og forsøkt å fremføre det selv. Men det ville i hvert fall vært en "
-"handling med integritet. Disse dommerne i særdeleshet hadde gjentatte "
-"ganger sagt at den riktige måten å tolke Grunnloven på var "
-"<quote>orginalisme</quote> — å først forstå grunnlovsforfatternes "
-"tekst, tolket i deres sammenheng, i lys av strukturen i Grunnloven. Den "
-"metoden hadde ført til <citetitle>Lopez</citetitle> og mange andre "
-"<quote>orginalisme</quote>-avgjørelser. Hvor var deres <quote>orginalisme</"
-"quote> nå?"
+"handling med integritet. Spesielt disse dommerne hadde gjentatte ganger sagt "
+"at den riktige måten å tolke Grunnloven på var <quote>originalisme</quote> "
+"– å først forstå grunnlovsforfatternes tekst, tolket i deres "
+"sammenheng, i lys av strukturen i Grunnloven. Den metoden hadde ført til "
+"<citetitle>Lopez</citetitle> og mange andre <quote>originalistiske</quote> "
+"avgjørelser. Hvor var deres <quote>originalisme</quote> nå?"
#. PAGE BREAK 251
#. type: Content of: <book><part><chapter><para>
msgstr ""
"De fleste advokater, og de fleste jussprofessesorer, har liten tålmodighet "
"for idealisme om domstolene generelt, og denne Høyesteretten spesielt. De "
-"fleste har et mer pragmatisk syn. Da Don Ayer sa at denne saken kunne "
-"vinnes basert på om vi kunne overbevise dommerne om at grunnlovsforfatternes "
-"verdier var viktige, kjempet jeg mot idéen, fordi jeg ikke ønsket å tro at "
-"dette var hvordan domstolen tok avgjørelser. Jeg insisterte på å "
-"argumentere for denne saken som om det var en enkel anvendelse av et sett "
-"med prinsipper. Jeg hadde et argument som fulgte den logikken. Jeg trengte "
-"ikke å kaste bort tiden min ved å vise at det også fulgte folkemeningen."
+"fleste har et mer pragmatisk syn. Da Don Ayer sa at denne saken ville "
+"vinnes basert på om jeg kunne overbevise dommerne om at "
+"grunnlovsforfatternes verdier var viktige, kjempet jeg mot idéen, fordi jeg "
+"ikke ønsket å tro at dette var hvordan denne domstolen tok avgjørelser. Jeg "
+"insisterte på å argumentere for denne saken som om det var en enkel "
+"anvendelse av et sett med prinsipper. Jeg hadde et argument som fulgte av "
+"logikken. Jeg trengte ikke å kaste bort tiden min ved å vise at det også "
+"burde følge av folkemeningen."
#. PAGE BREAK 252
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Når jeg igjen leser igjennom avskriften fra argumentasjonen i oktober, ser "
"jeg hundrevis av plasser hvor svarene kunne ha tatt samtalen i andre "
-"retninger, hvor sannheten om skaden som denne ukontrollerte myndigheten "
-"ville forårsake kunne vært klargjort for domstolen. Dommer Kennedy ønsket i "
-"god tro å bli vist dette. Jeg, idiotisk nok, korrigerte spørsmålet hans. "
+"retninger, hvor sannheten om skaden som denne ukontrollerte myndigheten vil "
+"forårsake kunne vært klargjort for domstolen. Dommer Kennedy ønsket i god "
+"tro å bli vist dette. Jeg, idiotisk nok, korrigerte spørsmålet hans. "
"Dommer Souter ville i god tro bli vist skadene relatert til Første "
"grunnlovstillegg. Jeg, som en mattelærer, omrammet spørsmålet for å legge "
-"frem et logisk poeng. Jeg hadde vist dem hvordan de kunne slå ned på denne "
-"loven hvis de ønsket det. Det var hundrevis av steder hvor jeg kunne ha "
-"hjulpet dem til å ønske det, men min vrangvilje, det at jeg aldri ga meg, "
+"frem det logisk poenget. Jeg hadde vist dem hvordan de kunne slå ned på "
+"denne loven hvis de ønsket det. Det var hundrevis av steder hvor jeg kunne "
+"ha hjulpet dem til å ønske det, men min vrangvilje, det at jeg aldri ga meg, "
"hindret meg. Jeg hadde stått foran hundrevis av publikum og forsøkt å "
"overtale dem. Jeg hadde brukt lidenskap i mitt forsøk på å overtale, men jeg "
"nektet å stå foran dette publikumet og forsøke å overtale dem med den "
"lidenskapen jeg hadde brukt andre steder. Det var ikke på et slikt grunnlag "
-"en domstol skulle avgjøre saken."
+"en domstol burde avgjøre denne saken."
#. type: Content of: <book><part><chapter><para>
msgid ""
"Mine venner samlet seg rundt meg for å insistere på at det ville det ikke. "
"Domstolen var ikke klar, insisterte vennene mine. Det var et tap bestemt av "
"skjebnen. Det ville kreve mye mer for å vise samfunnet vårt hvorfor "
-"grunnlovsforsamlingen hadde rett. Og når vi gjør det, så vil vi være i "
-"stand til å vise det til domstolen."
+"grunnlovsforsamlingen hadde rett. Og når vi gjør dette, så vil vi være i "
+"stand til å vise det til denne domstolen."
#. type: Content of: <book><part><chapter><para>
msgid ""
"persuaded."
msgstr ""
"Mulig det, men jeg tviler. Disse dommerne hadde ingen økonomiske interesser "
-"i å gjøre noe annet en det som var riktig. De blir ikke lobbyert. De har "
-"liten interesse i å ikke gjøre det som er riktig. Jeg klarer ikke la være å "
-"tenke at om jeg hadde gitt slipp på mitt pene bilde av jussen uten følelser, "
-"så hadde jeg overbevist dem."
+"i å gjøre noe annet enn det som var riktig. De blir ikke utsatt for "
+"lobbyvirksomhet. De har liten interesse i og unngå å gjøre det som er "
+"riktig. Jeg klarer ikke la være å tenke at om jeg hadde gitt slipp på mitt "
+"pene bilde av jussen uten følelser, så hadde jeg overbevist dem."
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Men selv om jeg ikke kunne det, så unnskylder dette ikke det som skjedde i "
"januar. For i starten av denne saken hadde en av USAs ledende professorer "
-"innen immaterialretten uttalt offentlig at det var jeg gjorde en feil ved å "
-"fremme denne saken. <quote>Domstolen er ikke klar</quote>, hadde Peter "
-"Jaszi sagt, og fulgte opp med <quote>dette temaet bør ikke tas opp før den "
-"er det.</quote>"
+"innen immaterialretten uttalt offentlig at jeg gjorde en feil ved å fremme "
+"denne saken. <quote>Domstolen er ikke klar</quote>, hadde Peter Jaszi sagt, "
+"og fulgte opp med <quote>dette temaet bør ikke tas opp før den er det.</"
+"quote>"
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Etter argumentasjonen og etter avgjørelsen sa Peter til meg, og offentlig, "
"at han tok feil. Men hvis domstolen faktisk ikke kunne bli overbevist, så "
-"er det igjen alt bevis som trengs for å vite at her hadde Peter nok en gang "
-"rett. Enten var ikke jeg klar til å argumentere for denne saken på en måte "
-"som ville bidra positivt, eller så var de ikke klare for å ta opp denne "
-"saken på en måte som ville bidra positivt. Uansett var avgjørelsen om å "
-"fremme denne saken feil — en avgjørelse jeg hadde tatt fire år "
-"tidligere."
+"er det alt bevis som trengs for å vite at her hadde Peter nok en gang rett. "
+"Enten var ikke jeg klar til å argumentere for denne saken på en måte som "
+"ville bidra positivt, eller så var de ikke klare for å ta opp denne saken på "
+"en måte som ville bidra positivt. Uansett var avgjørelsen om å fremme denne "
+"saken – en avgjørelse jeg hadde tatt fire år tidligere – feil."
#. PAGE BREAK 253
#. type: Content of: <book><part><chapter><para>
"New York Times</citetitle> wrote in its editorial,"
msgstr ""
"<emphasis role='strong'>Mens reaksjonen</emphasis> på Sonny Bono-loven selv "
-"var nesten enstemming negativ, så var reaksjonen på domstolens avgjørelse "
+"var nesten enstemmig negativ, så var reaksjonen på domstolens avgjørelse "
"blandet. Ikke en eneste, i hvert fall i pressen, forsøkte å si at det var "
"en god idé å utvide vernetiden i opphavsretten. Vi hadde vunnet kampen om "
"idéen. Avgjørelsen fikk støtte fra aviser som hadde vært skeptisk til "
"Effekten er at beslutningen i Høyesterett gjør det sannsynlig at vi ser "
"starten på slutten for allemannseie, og fødselen til evig opphavsrett. "
"Allemannseie har vært et storslått eksperiment, som ikke bør få lov til å "
-"dø. Evnen til å trekke uten begrensning på hele den kreative produksjonen "
-"til menneskeheten er en av grunnene til at vi lever i en tid med så "
-"fruktbart kreativt vekstmiljø."
+"dø. Evnen til å fritt utnytte hele den kreative produksjonen til "
+"menneskeheten er en av grunnene til at vi lever i en tid med så fruktbart "
+"kreativt vekstmiljø."
#. type: Content of: <book><part><chapter><figure><indexterm><primary>
msgid "Bolling, Ruben"
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
"De beste responsene dukket opp i tegneseriene. Det var en haug veldig "
-"morsomme tegninger — av Mikke i fengsel og dets like. Det beste fra "
+"morsomme tegninger – av Mikke i fengsel og dets like. Det beste fra "
"mitt ståsted i saken, var fra Ruben Bolling, gjengitt i figur <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-18\"/>. Tekstlinjen om "
"<quote>mektig og rik</quote> er litt urettferdig. Men slaget i ansiktet "
"quote> Men jeg klarer sjelden å ta lett på det. Vi hadde i Grunnloven vår "
"en forpliktelse til å frigjøre kultur. I den saken som jeg hadde ansvar "
"for, ga Høyesterett effektivt avkall på den forpliktelsen. En bedre advokat "
-"ville fått dem til å annerledes på det."
+"ville fått dem til å se annerledes på det."
#. type: Content of: <book><part><chapter><title>
msgid "Chapter Fourteen: Eldred II"
"ed piece."
msgstr ""
"<emphasis role='strong'>Dagen</emphasis> <citetitle>Eldred</citetitle> ble "
-"avgjort, ville skjebnen det at jeg skulle reise til Washington, D.C. (Dagen "
-"da en forespørsel om ny høring for <citetitle>Eldred</citetitle> ble avslått "
-"— som betød at saken endelig var avsluttet — skjebnen gjorde at "
-"jeg holdt en tale til teknologer ved Disney World.) Dette var en spesielt "
-"lang flytur til byen jeg setter minst pris på. Kjøreturen inn til byen fra "
-"Dulles flyplass var forsinket på grunn av trafikken, sa jeg åpnet opp "
-"datamaskinen og skrev en kronikk."
+"avgjort, ville skjebnen at jeg skulle reise til Washington, D.C. (Dagen da "
+"en forespørsel om ny høring for <citetitle>Eldred</citetitle> ble avslått "
+"– som betød at saken endelig var ferdig – skjebnen gjorde at jeg "
+"holdt en tale til teknologer ved Disney World.) Dette var en spesielt lang "
+"flytur til den byen jeg setter minst pris på. Trafikk forsinket kjøreturen "
+"fra Dulles flyplass til byen, så jeg åpnet min datamaskinen og skrev en "
+"kronikk."
#. type: Content of: <book><part><chapter><para>
msgid ""
"so, having failed in the argument of constitutional principle, finally, I "
"turned to an argument of politics."
msgstr ""
-"Det var en botsøvelse. Gjennom hele flyturen fra San Francisco til "
+"Jeg hadde dårlig samvittighet. Gjennom hele flyturen fra San Francisco til "
"Washington hadde jeg i mitt indre øre hørt om og om igjen det samme rådet "
-"fra Don Ayer: Du må få dem til å forstå hvorfor det er viktig. Og innimellom "
-"dette rådet var spørsmålet fra dommer Kennedy: <quote>I alle disse årene som "
-"loven har hemmet fremgang i vitenskap og nyttige kunstarter, så ser jeg "
-"intet empirisk bevis for dette.</quote> Og dermed, etter å ha feilet i å "
-"argumentere med konstituelle prinsipper, forsøkte jeg til slutt meg med å "
+"fra Don Ayer: Du må få dem til å forstå hvorfor dette er viktig. Og "
+"innimellom dette rådet var spørsmålet fra dommer Kennedy: <quote>I alle "
+"disse årene som loven har hemmet fremgang i vitenskap og nyttige kunstarter, "
+"så ser jeg intet empirisk bevis for dette.</quote> Og dermed, etter å ha "
+"feilet i å argumentere med konstitusjonelle prinsipper, forsøkte jeg å "
"argumentere politisk."
#. PAGE BREAK 256
"If he paid the fee, he got the benefit of the full term of copyright. If he "
"did not, the work passed into the public domain."
msgstr ""
-"<citetitle>New York Times</citetitle> publiserte stykket. I det foreslo jeg "
-"en enkel fiks: Femti år etter at et verk har blitt publisert, bør "
+"<citetitle>New York Times</citetitle> publiserte kronikken. I den foreslo "
+"jeg en enkel fiks: Femti år etter at et verk har blitt publisert, bør "
"opphavsrettseieren være nødt til å registrere verket og betale en liten "
-"avgift. Hvis han betalte avgiften, fikk han fordelene av hele vernetiden "
-"for opphavstiden. Hvis han ikke gjorde det, falt verket i det fri."
+"avgift. Hvis han betalte avgiften, fikk han fordelene av hele "
+"opphavsrettsvernetiden. Hvis han ikke gjorde det, ble verket allemannseie."
#. type: Content of: <book><part><chapter><para>
msgid ""
msgid "Forbes, Steve"
msgstr "Forbes, Steve"
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Democratic Party"
+msgstr "Demokratiske parti, det"
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+msgid "Republican Party"
+msgstr "Repulikanske parti, det"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"The reaction to this idea was amazingly strong. Steve Forbes endorsed it in "
"Anyone can recognize the stupid harm of the present system."
msgstr ""
"Reaksjonen på denne idéen var utrolig sterk. Steve Forbes gikk god for den "
-"i en leder, og jeg mottok et skred av e-post og brev med støtte. Når du "
+"i en leder, og jeg mottok et skred av støttende e-post og brev. Når man "
"fokuserer temaet på tapt kreativitet, så ser folk at opphavsrettssystemet "
"ikke gir mening. En god republikaner kunne si at her kommer ganske enkelt "
"myndighetsregulering i veien for nyskapning og kreativitet. Og en god "
-"demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang og "
-"spredning av kunnskap. Det er faktisk ingen reell forskjell mellom "
+"demokrat kunne si at her blokkerer myndighetene uten god grunn tilgang til "
+"og spredning av kunnskap. Det er faktisk ingen reell forskjell mellom "
"demokrater og republikanere rundt dette temaet. Enhver kan gjenkjenne de "
"idiotiske skadene som dagens ordning gir."
"Faktisk ser mange de åpenbare fordelene med registreringskravet. For en av "
"de vanskeligste tingene med dagens system for folk som ønsker å lisensiere "
"innhold er at det ikke er noen åpenbar plass å slå opp gjeldende "
-"opphavsrettseiere. Siden registrering ikke er påkrevd, så er det ofte "
-"blokkerende vanskelig å spore opp opphavsrettseiere for å spørre om "
-"tillatelse til å bruke eller lisensiere deres verk. Dette systemet ville "
-"redusere disse kostnadene ved å etablere i hvert fall et register hvor "
-"opphavsrettseierene kan identifiseres."
+"opphavsrettseiere. Siden registrering ikke er påkrevd, så blokkeres ofte "
+"fremgangen på å spore opp opphavsrettseiere for å be om tillatelse til å "
+"bruke eller lisensiere deres verk. Dette systemet ville redusert slike "
+"kostnader ved å etablere et register hvor opphavsrettseierene i hvertfall "
+"kan identifiseres."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Berlin Act (1908)"
"Goldstein, <citetitle>International Intellectual Property Law, Cases and "
"Materials</citetitle> (New York: Foundation Press, 2001), 153–54."
msgstr ""
-"<placeholder type=\"indexterm\" id=\"0\"/>Før Berlin revideringen av "
+"<placeholder type=\"indexterm\" id=\"0\"/>Før Berlin-revideringen av "
"Bernkonvensjonen i 1908, så hendte det at nasjonal opphavsrettslov gjorde "
-"beskyttelsen avhenging av formaliteter som registrering, deponering og "
+"beskyttelsen avhengig av formaliteter som registrering, deponering og "
"merking av at forfatteren gjorde krav på kopibeskyttelse. Derimot har alle "
"revisjoner etter 1908 forutsatt at <quote>Nytelsen og utøvelsen</quote> av "
"rettigheter garantert av konvensjonen <quote>er ikke betinget av at noen "
"formalitet iakttas.</quote> Forbudet mot formaliteter finnes i dag som "
-"paragraf 5(2) av Bernkonvensjonen — Paristeksten. Mange land "
+"paragraf 5(2) av Bernkonvensjonen – Paristeksten. Mange land "
"fortsetter å kreve en eller annen form for deponering eller registrering, "
"men ikke som et krav til opphavsrett. Fransk lov, for eksempel, krever et "
-"depositum av kopier av verket til nasjonale oppbevaringsteder, hovedsakelig "
-"nasjonalmuseet. Kopier av bøker publisert i Storbritannia må deponeres til "
+"eksemplardepositum til nasjonale oppbevaringsteder, hovedsakelig "
+"Nasjonalmuseet. Kopier av bøker publisert i Storbritannia må deponeres til "
"det Britiske Biblioteket. Den tyske opphavsrettsloven sørger for et "
"forfatterregister der forfatterens offisielle navn kan bli fylt inn for "
"anonyme og pseudonyme verk. Paul Goldstein, <citetitle>International "
"kongressen fulgte etter europeerne i å avskaffe alle formelle krav før "
"opphavsretten ble innvilget.<placeholder type=\"footnote\" id=\"0\"/> "
"Europeerne sies å anse opphavsrett som en <quote>naturlig rettighet.</"
-"quote> Naturlige rettigheter trenger ingen formaliterer for å eksistere. "
-"Tradisjoner lik den angloamerikanske, som har krevd at opphavsrettseiere må "
-"følge visse formaliteter hvis deres rettigheter skal bli beskyttet, mente "
-"europeerne ikke respekterte forfatterens verdighet skikkelig. Mine "
-"rettigheter som skaper stammer fra min kreativitet, ikke noe som deles ut av "
-"myndighetene."
+"quote> Naturlige rettigheter trenger ingen formaliteter for å eksistere. "
+"Angloamerikanske, og liggende, tradisjoner har krevd at opphavsrettseiere må "
+"følge visse formaliteter for at deres rettigheter skal bli beskyttet, mens "
+"europeerne mente at slikt ikke tilstrekkelig respekterte forfatterens "
+"verdighet. Mine rettigheter som skaper stammer fra min kreativitet, og er "
+"ikke noe som deles ut av myndighetene."
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Det er flott retorikk, og det høres vidunderlig romantisk ut. Men det er "
"absurd opphavsrettspolitikk. Det er absurd spesielt for forfattere, fordi "
-"en verden uten formaliterer skader den som skaper. Muligheten til å spre "
-"<quote>Walt Disney-kreativitet</quote> er fjernet når det ikke er noen enkel "
+"en verden uten formaliteter skader den som skaper. Muligheten til å spre "
+"<quote>Walt Disney-kreativitet</quote> forsvinner når det ikke er noen enkel "
"måte å vite hva som er beskyttet, og hva som ikke er det."
#. type: Content of: <book><part><chapter><para>
"loss of widows' only income."
msgstr ""
"Kampen mot formaliteter oppnådde sin første virkelige seier i Berlin i "
-"1908. Internasjonale opphavsrettsadvokater fikk på plass et tillegg i Bern-"
-"konvensjonen i 1909 som krevde opphavsrettslig verneperiode som rakk hele "
-"livet pluss femti år, i tillegg til å avskaffe opphavsrettsformaliteter. "
+"1908. Internasjonale opphavsrettsadvokater fikk på plass et tillegg i "
+"Bernkonvensjonen i 1908 som krevde opphavsrettsvernetid ut forfatterens liv "
+"pluss femti år, i tillegg til å avskaffe opphavsrettsformaliteter. "
"Formalitetene var hatet på grunn av historiene om utilsiktet tap som ble mer "
"og mer vanlige. Det var som om en karakter fra Charles Dickens drev alle "
-"opphavsrettskontorene, og å glemme å sette prikken over en <citetitle>i</"
+"opphavsrettskontorene, og det å glemme å sette prikken over en <citetitle>i</"
"citetitle> eller glemme å streke gjennom en <citetitle>t</citetitle> førte "
"til at en enke mistet sin eneste inntekt."
"the response in Berlin should have been to embrace a more equitable system "
"of registration."
msgstr ""
-"Disse klagene var reelle og fornuftige. Og hvor strengt formalitetene ble "
-"håndhevd, spesielt i USA, var absurd. Loven bør alltid ha måter å tilgi "
-"uskyldige feil. Det er ingen grunn til at ikke også åndsverksloven skulle "
-"kunne det. I stedet for å droppe formaliteter helt, så burde responsen i "
-"Berlin vært å omfavne et mer rettverdig registreringssystem."
+"Disse klagene var reelle og fornuftige. Og det var absurd hvor strengt "
+"formalitetene ble håndhevd, spesielt i USA. Loven bør alltid ha måter å "
+"tilgi uskyldige feil. Det er ingen grunn til at ikke også åndsverksloven "
+"skulle kunne det. I stedet for å droppe formaliteter helt, så burde "
+"responsen i Berlin vært å omfavne et mer rettverdig registreringssystem."
#. type: Content of: <book><part><chapter><para>
msgid ""
"starving widows, but also to lighten an unnecessary regulatory burden "
"imposed upon creators."
msgstr ""
-"Selv det ville dog fått motstand, på grunn av at registrering fortsatt var "
-"kostbart i det nittende og tjuende århundret. Det var også en plage. "
-"Avviklingen av formaliteter ga ikke bare lovnad om å redde sultende enker, "
-"men også å redusere en unødvendig regulatorisk belastning som var påtvunget "
-"skapere."
+"Selv det ville fått motstand, på grunn av at registrering fortsatt var "
+"kostbart og plagsomt i det nittende og tjuende århundret. Avviklingen av "
+"formaliteter lovde ikke bare å redde sultende enker, men også det å redusere "
+"en unødvendig regulatorirsk belastning som var påtvunget skapere."
#. PAGE BREAK 258
#. type: Content of: <book><part><chapter><para>
"that right against anyone who would steal the table, whether or not he has "
"informed the government of his ownership of the table."
msgstr ""
-"I tillegg til de praktiske klagene fra forfatterne i 1908, så var det også "
-"moralske innsigelser. Det var ingen grunn til at kreative "
+"I tillegg til de praktiske klagene fra forfatterne i 1908, så fantes det "
+"også moralske innsigelser. Det var ingen grunn til at kreative "
"eiendomsrettigheter skulle være en annenrangs type eiendom. Hvis en snekker "
"lager et bord, så er ikke hans rettigheter over dette bordet avhengig av at "
"han sender inn et skjema til myndighetene. Han har en <quote>naturgitt</"
msgstr ""
"Dette argumentet er riktig, men dets implikasjoner er misvisende. For "
"argumenter i favør av formaliteter er ikke avhengig av at kreativ eiendom er "
-"annerangs eiendom. Argumentet i favør av formaliteter kretser rundt de "
+"annenrangs eiendom. Argumentet i favør av formaliteter kretser rundt de "
"spesielle problemene som kreativ eiendom gir oss. Loven om formaliteter er "
-"et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for a "
+"et resultat av de spesielle fysiske egenskapene til kreativ eiendom, for å "
"sikre at den kan spres effektivt og rettferdig."
#. type: Content of: <book><part><chapter><para>
"slight burden is placed on the property owner, but those burdens produce a "
"much better system of protection for property generally."
msgstr ""
-"For eksempel er det ingen som mener at landområder er annenklasses eiendom "
-"kun fordi du må tinglyse et skjøte hvis ditt salg av land skal få effekt. "
-"Og få mener at en bil er annenklasses eiendom bare på grunn av at du må "
-"registrere bilen hos Biltilsynet, og merke den med et bilskilt. I begge "
-"disse tilfellene ser alle at det er viktige grunner til å kreve registrering "
-"— både på grunn av at det gjør markedet mer effektivt, og på grunn av "
+"For eksempel er det ingen som mener at landområder er annenrangs eiendom kun "
+"fordi du må tinglyse et skjøte hvis ditt salg av land skal få effekt. Og få "
+"mener at en bil er annenklasses eiendom bare på grunn av at du må registrere "
+"bilen hos Biltilsynet, og merke den med et bilskilt. I begge disse "
+"tilfellene ser alle at det er viktige grunner til å kreve registrering "
+"– både på grunn av at det gjør markedet mer effektivt, og på grunn av "
"at det bedre sikrer rettighetene til eieren. Uten et registreringssystem "
"for landområder måtte landeiere hele tiden vokte sin eiendom. Med "
"registrering kan de ganske enkelt vise politiet et skjøte. Uten et "
"opphavsrettslovgiving. I motsetning til en snekkers bord, er det ingenting "
"i naturen som gjør det relativt åpenbart hvem som kan eie en bestemt bit av "
"kreativ eiendom. Et opptak av Lyle Lovetts siste album kan eksistere en "
-"milliard steder uten at noe nødvendigvis peker tilbake til en bestemt eier. "
-"Og på samme måte som en bil, er det ingen måte å være trygg ved kjøp og salg "
-"av kreativ eiendom med mindre det finnes en enkel måte å bekrefte hvem som "
-"er forfatteren, og hvilke rettigheter han har. Enkle transaksjoner blir "
-"umulige i en verden uten formaliteter. Kompliserte, dyre, "
+"milliard steder uten at noe nødvendigvis peker det tilbake til en bestemt "
+"eier. Og på samme måte som en bil, er det ingen måte å være trygg ved kjøp "
+"og salg av kreativ eiendom med mindre det finnes en enkel måte å bekrefte "
+"hvem som er skaperen, og hvilke rettigheter han har. Enkle transaksjoner "
+"blir umulige i en verden uten formaliteter. Kompliserte, dyre, "
"<emphasis>advokat</emphasis>-transaksjoner trer inn i stedet. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
"presumptively uncontrolled."
msgstr ""
"Dette var forståelsen av problemet med Sonny Bono-loven som vi forsøkte å "
-"demonstrere for retten. Dette var den delen som den ikke <quote>tok.</"
+"demonstrere for retten. Dette var den delen som den ikke <quote>skjønte.</"
"quote> Fordi vi lever i et system uten formaliteter, så er det ikke noen "
"enkel måte å bygge på, eller bruke kulturen fra vår fortid. Hvis vernetiden "
"i opphavsretten var, slik dommer Story sa den ville være, <quote>kort,</"
"in a way that has never been seen before <emphasis>because there are no "
"formalities</emphasis>."
msgstr ""
-"Men nå når opphavsretten kan vare omtrent et århundre, så er den manglende "
+"Men nå når opphavsretten kan vare nesten et århundre, så er den manglende "
"evnen til å vite hva som er beskyttet og hva som ikke er beskyttet blitt en "
"stor og åpenbar byrde på den kreative prosessen. Hvis den eneste måten et "
"bibliotek kan legge frem en Internett-utstilling om New Deal, er ved å hyre "
"inn en advokat til å klarere rettighetene til hvert eneste bilde og hver "
"eneste lydinnspilling, så belaster opphavsrettssystemet kreativiteten på en "
-"måte som aldri før er observert, <emphasis>fordi det ikke er noen "
+"måte som aldri før er observert, <emphasis>fordi det ikke finnes noen "
"formaliteter</emphasis>."
#. type: Content of: <book><part><chapter><para>
msgstr ""
"Hvis det ikke er verdt det for deg å registrere verket for å få fordelene av "
"en utvidet vernetid, så bør det heller ikke være verdt det for myndighetene "
-"å forsvare ditt monopol over det samme verket. Verket bør falle i det fri "
-"der enhver kan kopiere det, eller lage arkiver med det, eller lage en film "
-"basert på det. Det bør frigjøres hvis det ikke er verdt en dollar for deg."
+"å forsvare ditt monopol over det samme verket. Verket bør bli allemannseie "
+"slik at enhver kan kopiere det, eller lage arkiver med det, eller lage en "
+"film basert på det. Det bør frigjøres hvis det ikke er verdt en dollar for "
+"deg."
#. type: Content of: <book><part><chapter><para>
msgid ""
"What do you think?"
msgstr ""
"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nå er "
-"grufult. Jeg er helt enig i at opphavsrettskontoret har gjort en "
+"grufullt. Jeg er helt enig i at opphavsrettskontoret har gjort en "
"forferdelig jobb (uten tvil på grunn av at de har forferdelig dårlig "
"finansiering) i å gjøre registrering enkelt og billig. En skikkelig løsning "
"på problemet med formaliteter må adressere det egentlige problemet med "
"registrering kun krever ett klikk. Eldred-loven foreslo en enkel, ettklikks-"
"registrering, femti år etter at et verk var publisert. Basert på historiske "
"data ville dette systemet få opp mot 98 prosent av kommersielle verk, "
-"kommersielle verk som ikke lenger har et kommersielt liv, til å falle i det "
-"fri etter femti år. Hva tror du?"
+"kommersielle verk som ikke lenger har et kommersielt liv, til å bli "
+"allemannseie etter femti år. Hva tror du?"
#. type: Content of: <book><part><chapter><para>
msgid ""
"En representant, Zoe Lofgren fra California, gikk så langt som å få "
"lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal "
"lov. Det påla de enklest mulige forutsetninger på innehaverne av "
-"opphavsretter. I mai 2003 så det ut som om loven skulle være introdusert. "
+"opphavsretter. I mai 2003 så det ut som om loven kom til å bli introdusert. "
"16. mai postet jeg på Eldred Act-bloggen, <quote>vi er nære.</quote> Det "
"oppstod en generell reaksjon i blogg-samfunnet om at noe godt kunne skje her."
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+msgid "Eldred Act opposed by"
+msgstr "Eldred-loven motarbeidet av"
+
#. type: Content of: <book><part><chapter><para>
msgid ""
"But at this stage, the lobbyists began to intervene. Jack Valenti and the "
msgstr ""
"Men på dette stadiet begynte lobbyister å bryte inn. Jack Valenti og MPAAs "
"sjefsjurist kom til kongressrepresentantens kontor for å gi MPAAs syn på "
-"saken. Veiledet av sin advokat, fortalte Valenti meg, informerte Valenti "
-"kongressrepresentanten om at MPAA ville motsette seg Eldred-loven. "
-"Begrunnelsen var pinlig tynn. Enda viktigere er det at deres spinkelhet "
+"saken. Veiledet av sin advokat, slik Valenti har fortalte meg, informerte "
+"Valenti kongressrepresentanten om at MPAA ville motsette seg Eldred-loven. "
+"Begrunnelsen var pinlig knapp. Enda viktigere er det at deres knapphet "
"viser noe klart om hva denne debatten egentlig handler om."
#. PAGE BREAK 261
"then the film is a valid derivative use."
msgstr ""
"MPAAs første argument var at Kongressen <quote>bestemt hadde avvist det "
-"sentrale konseptet i lovforslaget</quote> — at opphavsretter skal "
+"sentrale konseptet i lovforslaget</quote> – om at opphavsretter skal "
"fornyes. Det er riktig, men irrelevant, etter som Kongressen <quote>bestemt "
"hadde avvist</quote> dette lenge før Internett gjorde påfølgende bruk mye "
"mer sannsynlig. Det andre argumentet var at forslaget ville skade fattige "
-"opphavsrettseiere — tilsynelatende de som ikke har råd til en avgift "
+"opphavsrettseiere – tilsynelatende de som ikke har råd til en avgift "
"på en dollar. Det tredje argumentet var at Kongressen hadde konkludert med "
"at å utvide vernetiden i opphavsretten, ville oppmuntre til å restaurere "
"verk. Det kan stemme for den lille prosentandelen verk vernet av "
"helt klart lavere enn kostnadene med å klarere rettigheter for en "
"opphavsrett der eieren er ukjent. Det femte argumentet var at de var "
"bekymret over risikoen hvis opphavsretten til en historie som lå til grunn "
-"for en film skulle falle i det fri. Men hva slags risiko er dette? Hvis "
-"den er falt i det fri, så er filmen gyldig avledet bruk."
+"for en film skulle bli allemannseie. Men hva slags risiko er dette? Hvis "
+"den er allemannseie, så er filmen gyldig avledet bruk."
#. type: Content of: <book><part><chapter><para>
msgid ""
"claim in any case—unless they know about a copyright, they're not "
"likely to."
msgstr ""
-"Til slutt hevdet MPAA at eksisterende lovgiving gjorde det mulig for "
+"Til slutt hevdet MPAA at eksisterende lovverk gjorde det mulig for "
"opphavsrettseiere å gjøre dette hvis de ønsket det. Men hele poenget er at "
"det er tusenvis av opphavsrettseiere som ikke engang vet at de har en "
"opphavsrett å gi bort. Hvorvidt de står fritt til å gi bort opphavsretten "
-"eller ikke — uansett en kontroversiell påstand — så med mindre "
-"de vet om en opphavsrett, så er det lite sannsynlig at de vil gjøre det."
+"eller ikke – som i og for seg er en kontroversiell påstand – så "
+"med mindre de vet om en opphavsrett, så er det lite sannsynlig at de vil "
+"gjøre det."
#. type: Content of: <book><part><chapter><para>
msgid ""
"<emphasis role='strong'>I begynnelsen</emphasis> av denne boken fortalte jeg "
"to historier om hvordan loven reagerte på endringer i teknologien. I den "
"ene vant sunn fornuft frem. I den andre ble sunn fornuft forsinket. "
-"Forskjellen mellom de to historiene var hvor mektig opposisjonen var — "
-"hvor mektig siden som sloss for å forsvare status quo var. I begge "
+"Forskjellen mellom de to historiene er styrken til opposisjonen – "
+"styrken til den siden som sloss for å forsvare status quo. I begge "
"tilfellene truet ny teknologi gamle interesser. Men i kun ett av tilfellene "
"hadde disse interessene nok makt til å beskytte seg mot denne nye "
"konkurransemessige trusselen."
msgstr ""
"Når problemet er piratvirksomhet, så er det riktig at loven støtter "
"opphavsrettseierne. Den kommersielle piratvirksomheten som jeg har "
-"beskrevet er galt og skadelig, og loven bør jobbe for å eliminere den. Når "
-"problemet er p2p-deling, så er det enkelt å forstå hvorfor loven fortsatt "
-"støtter eierne. Mye av denne delingen er galt, selv om mye er harmløst. Når "
-"problemet er opphavsrettsvernetiden for Mikke Mus-ene i verden, så er det "
-"forsatt mulig å forstå hvorfor loven favoriserer Hollywood: De fleste "
-"kjenner ikke igjen grunner til å begrense vernetiden for opphavsretten. Det "
-"er dermed forsatt mulig å se god tro i motstanden."
+"beskrevet er uriktig og skadelig, og loven bør jobbe for å eliminere den. "
+"Når problemet er p2p-deling, så er det enkelt å forstå hvorfor loven "
+"fortsatt støtter eierne. Mye av denne delingen er uriktig, selv om mye er "
+"harmløst. Når problemet er opphavsrettsvernetiden for Mikke Mus-ene i "
+"verden, så er det forsatt mulig å forstå hvorfor loven favoriserer "
+"Hollywood: De fleste kjenner ikke igjen grunner til å begrense vernetiden "
+"for opphavsretten. Det er dermed forsatt mulig å se god tro i motstanden."
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Kelly, Kevin"
"<emphasis>their</emphasis> permission first."
msgstr ""
"Med svært liten innsats kunne krigerne beskytte sitt innhold. Så innsatsen "
-"for å blokkere noe à la Eldred-loven er ikke egentlig om å beskytte "
+"for å blokkere noe tilsvarende Eldred-loven er ikke egentlig om å beskytte "
"<emphasis>deres</emphasis> innhold. Innsatsen for å blokkere Eldred-loven "
-"er en innsats for å sikre at ingenting faller i det fri mer. Det er et nytt "
-"steg for å sikre at allemannseiet aldri vil konkurrere, at det ikke vil være "
-"noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke vil "
-"være noe kommersiell bruk av innhold som ikke først krever <emphasis>deres</"
-"emphasis> tillatelse."
+"er en innsats for å sikre at ingenting nytt blir allemannseie. Det er et "
+"nytt steg for å sikre at allemannseiet aldri vil konkurrere, at det ikke vil "
+"være noe bruk av innhold som ikke er kommersielt kontrollert, og at det ikke "
+"vil være noe kommersiell bruk av innhold som ikke først krever "
+"<emphasis>deres</emphasis> tillatelse."
#. type: Content of: <book><part><chapter><para>
msgid ""
"assure that all there is is what is theirs</emphasis>."
msgstr ""
"Motstanden mot Eldred-loven avslører hvor ekstrem den andre siden er. Den "
-"mektigste, sexy og høyt elskede av lobbyorganisasjoner har som mål ikke å "
+"mektigste, sexy og høyt elskede av lobbyvirksomhetene har som mål ikke å "
"beskytte <quote>eiendom</quote>, men å bli kvitt en tradisjon. Deres mål er "
"ikke bare å beskytte det som er deres. <emphasis>Deres mål er å sikre at "
"alt som finnes er det som er deres.</emphasis>"
"allemannseiet knyttet til Internett på en eller mannen måte kunne knuses. "
"På samme måte som RCA fryktet konkurransen fra FM, frykter de konkurransen "
"fra allemannseiet knyttet til en befolkning som nå har mulighet til å skape "
-"med den, og dele sine egne kreasjoner."
+"med den, og dele sine egne verk."
#. type: Content of: <book><part><chapter><para>
msgid ""
msgstr ""
"Alt dette ser ut til å lett følge fra å ukritisk akseptere <quote>eiendoms</"
"quote>biten av immateriell eiendom. Sunn fornuft støtter det, og så lenge "
-"den gjør det vil overfallene regne ned over teknologiene på Internett. "
-"Konsekvensene vil være mer og mer et <quote>tillatelsessamfunn.</quote> "
-"Fortiden kan kun kultiveres hvis du kan finne eieren og be om tillatelse til "
-"å bygge på hans verk. Fremtiden vil bli kontrollert av denne døde (og ofte "
-"forsvunnede) hånd fra fortiden."
+"den gjør det vil teknologiene på Internett være under angrep. Konsekvensene "
+"vil være mer og mer et <quote>tillatelsessamfunn.</quote> Fortiden kan kun "
+"kultiveres hvis du kan finne eieren og be om tillatelse til å bygge på hans "
+"verk. Fremtiden vil bli kontrollert av denne døde (og ofte bortfalne) hånd "
+"fra fortiden."
#. type: Content of: <book><chapter><title>
msgid "Conclusion"
"Det finnes ingen kur for AIDS, men det finnes legemidler som kan hemme "
"sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt "
"eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA øker "
-"AIDS-pasienter, som regelmessig tar en cocktail av disse legemidlene, sin "
-"levealder med ti til tjue år. For noen gjør legemidlene sykdommen nesten "
+"levealderen til AIDS-pasienter, som regelmessig tar en cocktail av disse "
+"legemidlene, med ti til tjue år. For noen gjør legemidlene sykdommen nesten "
"usynlig."
#. f1.
"Intellectual Property Rights and Development Policy</quote> (London, 2002), "
"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</"
"ulink>. Ifølge en pressemelding fra verdens helseorganisasjon sendt ut 9. "
-"juli 2002, mottar kun 320 000 av de 6 millioner som trenger legemidler i "
-"utviklingsland dem de trenger — og halvparten av dem er i Brasil."
+"juli 2002, mottar kun 230 000 av de 6 millioner som trenger legemidler i "
+"utviklingsland pengene de trenger – og halvparten av dem er i Brasil."
#. type: Content of: <book><chapter><para>
msgid ""
"\"0\"/>"
msgstr ""
"Disse legemidlene er dyre. Da de først ble introdusert i USA, kostet de "
-"mellom 10 000 og 15 000 dollar pr. person hvert år. I dag koster "
-"noen av dem 25 000 dollar pr. år. Med disse prisene har, selvfølgelig, "
+"mellom 10 000 og 15 000 dollar per person hvert år. I dag koster "
+"noen av dem 25 000 dollar per år. Med slike priser har, selvfølgelig, "
"ingen afrikansk stat råd til legemidlene for det store flertall av sine "
-"innbyggere: 15 000 dollar er tredve ganger brutto nasjonalprodukt pr. "
+"innbyggere: 15 000 dollar er tredve ganger brutto nasjonalprodukt per "
"innbygger i Zimbabwe. Med slike priser er disse legemidlene fullstendig "
"utilgjengelig.<placeholder type=\"footnote\" id=\"0\"/>"
"patenter, er forskning på legemidler, etter min mening, det klareste "
"tilfelle der patenter er nødvendig. Patenter gir et farmasøytisk firma en "
"viss forsikring om at hvis det lykkes i å finne opp et nytt medikament som "
-"kan behandle en sykdom, vil det kunne tjene tilbake investeringen, og mer "
-"til. Dette er et ekstremt verdifullt sosialt incentiv. Jeg er den siste "
+"kan behandle en sykdom, vil det kunne tjene tilbake investeringen, og vel så "
+"det. Dette er sosialt sett et ekstremt verdifullt incentiv. Jeg er den siste "
"personen som vil argumentere for at loven skal avskaffe dette, i det minste "
"uten andre endringer."
"Men det er én ting å støtte patenter, selv patenter på legemidler. Det er en "
"annen ting å avgjøre hvordan en best skal håndtere en krise. Og idet "
"afrikanske ledere begynte å erkjenne ødeleggelsen AIDS brakte, begynte de å "
-"se etter måter å importere HIV-medisiner til kostnader betydelig under "
+"se etter måter å importere HIV-medisiner til kostnader betydelig lavere enn "
"markedspris."
#. type: Content of: <book><chapter><indexterm><primary>
"tillot import av patenterte legemidler som hadde blitt produsert og solgt i "
"en annen nasjons marked med godkjenning fra patenteieren. For eksempel, "
"hvis legemidler var solgt i India, så kunne de bli importert inn til Afrika "
-"fra India. Dette kalles <quote>parallellimport</quote> og er generelt "
-"tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den "
-"europeiske union.<placeholder type=\"footnote\" id=\"0\"/>"
+"fra India. Dette kalles <quote>parallellimport</quote> og er stort sett "
+"tillatt i internasjonal handelsbestemmelser, og spesifikt tillatt innad den "
+"europeiske union
en.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><chapter><indexterm><primary>
msgid "United States Trade Representative (USTR)"
"Love)."
msgstr ""
"International Intellectual Property Institute (IIPI), <citetitle>Patent "
-"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en "
-"rapport forberedt for Verdens opphavsrettsorganisasjon</citetitle> "
+"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
+"Report Prepared for the World Intellectual Property Organization</citetitle> "
"(Washington, D.C., 2000), 14, tilgjengelig fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #56</ulink>. For en førstehånds beskrivelse av "
-"kampen om Sør-Afrika, se Høring foran underkomite for kriminalomsorg, "
+"kampen om Sør-Afrika, se Høring foran underkomiteen for kriminalomsorg, "
"medikamentregelverk og menneskelige ressurser, House Committee on Government "
"Reform, H. Rep., 1. økt., Ser. No. 106-126 (22. juli 1999), 150–57 "
"(uttalelse fra James Love)."
"(Washington, D.C., 2000), 15."
msgstr ""
"International Intellectual Property Institute (IIPI), <citetitle>Patent "
-"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en "
-"rapport forberedt for Verdens opphavsrettsorganisasjon</citetitle> "
+"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
+"Report Prepared for the World Intellectual Property Organization</citetitle> "
"(Washington, D.C., 2000), 15."
#. type: Content of: <book><chapter><para>
"<quote>Myndighetene i USA presset Sør-Afrika … til å ikke tillate "
"tvungen lisensiering eller parallellimport.</quote><placeholder type="
"\"footnote\" id=\"0\"/> Gjennom kontoret til USAs handelsrepresentant "
-"(USTR), ba myndighetene Sør-Afrika om å endre loven — og for å legge "
+"(USTR), ba myndighetene Sør-Afrika om å endre loven – og for å legge "
"press bak den forespørselen, listet USTR i 1998 opp Sør-Afrika som et land "
"som burde vurderes for handelsrestriksjoner. Samme år gikk mer enn førti "
"farmasiselskaper til retten for å utfordre myndighetenes handlinger. USA "
"fikk selskap av andre myndigheter fra EU. Deres påstand, og påstanden til "
"farmasiselskapene, var at Sør-Afrika brøt sine internasjonale forpliktelser "
-"ved å diskriminere mot en bestemt type patenter — farmasøytiske "
+"ved å diskriminere mot en bestemt type patenter – farmasøytiske "
"patenter. Kravet fra disse myndighetene, med USA i spissen, var at Sør-"
"Afrika skulle respektere disse patentene på samme måte som alle andre "
"patenter, uavhengig av eventuell effekt på behandlingen av AIDS i Sør-Afrika."
"affect price. And so, whether massive or marginal, there was an effect from "
"our government's intervention to stop the flow of medications into Africa."
msgstr ""
-"Vi bør sette intervensjonen til USA i sammenheng. Det er ingen tvil om at "
+"Vi bør sette USAs innblanding i sammenheng. Det er ingen tvil om at "
"patenter ikke er den viktigste årsaken til at afrikanere ikke har tilgang "
"til legemidler. Fattigdom og den totale mangel på effektivt helsevesen "
"betyr mer. Men uansett om patenter er den viktigste grunnen eller ikke, så "
"import of these drugs would not substantially increase the sales by U.S. "
"companies."
msgstr ""
-"Intervensjonen fra USA ville heller ikke beskytte fortjenesten til "
-"legemiddelselskapene i USA — i hvert fall ikke betydelig. Det var jo "
+"Innblandingen fra USA ville heller ikke beskytte fortjenesten til "
+"legemiddelselskapene i USA – i hvert fall ikke betydelig. Det var jo "
"ikke slik at disse landene hadde mulighet til å kjøpe legemidlene til de "
"prisene som legemiddelselskapene forlangte. Igjen var afrikanerne for "
"fattige til å ha råd til disse legemidlene til de tilbudte prisene. Å "
"grunn av at <quote>intellektuell eiendom</quote> ville bli krenket, at disse "
"legemidlene ikke skulle strømme inn til Afrika. Det var prinsippet om "
"viktigheten av <quote>intellektuell eiendom</quote> som fikk disse "
-"myndighetsaktørene til å intervenere mot Sør-Afrikas mottiltak mot AIDS."
+"myndighetsaktørene til å innblande seg mot Sør-Afrikas mottiltak mot AIDS."
#. type: Content of: <book><chapter><para>
msgid ""
"corruption the drug companies are certainly not responsible for."
msgstr ""
"Noen skylder på farmasiselskapene. Det gjør ikke jeg. De er selskaper, og "
-"deres ledere er lovpålagt å tjene penger for selskapene. De presser på for "
-"en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er dette "
-"som gjør at de tjener mest penger. Og dette gjør kun at de tjener mest "
-"penger på grunn av en slags korrupsjon i vårt politiske system — en "
-"korrupsjon som farmasiselskapene helt klart ikke er ansvarlige for."
+"deres ledere er lovpålagt å tjene penger for sitt selskapet. De presser på "
+"for en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er "
+"dette som gjør at de tjener mest penger. Og dette gjør kun at de tjener "
+"mest penger på grunn av en slags korrupsjon i vårt politiske system – "
+"en korrupsjon som farmasiselskapene helt klart ikke er ansvarlige for."
#. type: Content of: <book><chapter><para>
msgid ""
"could be overcome."
msgstr ""
"Denne korrupsjonen er våre egne politikeres manglende integritet. For "
-"legemiddelprodusentene ville elske — sier de selv, og jeg tror dem "
-"— å selge sine legemidler så billig som de kan til land i Afrika og "
-"andre steder. Det er utfordringer de må løse, å sikre at legemidlene ikke "
-"kommer tilbake til USA. Men dette er bare teknologiske utfordring. De kan "
-"bli overvunnet."
+"legemiddelprodusentene ville elske – sier de selv, og jeg tror dem "
+"– å selge sine legemidler så billig som de kan til land i Afrika og "
+"andre steder. Det er utfordringer de må løse for å sikre at legemidlene ikke "
+"kommer tilbake til USA. Men disse er bare teknologiske utfordring, og slike "
+"kan bekjempes."
#. type: Content of: <book><chapter><indexterm><secondary>
msgid "of drug patents"
"Et annet problem kan derimot ikke løses. Det er frykten for at en politiker "
"som skal vise seg, og kaller inn lederne hos legemiddelprodusentene til "
"høring i Senatet eller representantenes hus og spør, <quote>hvordan har det "
-"seg at du kan selge HIV-medisinen i Afrika for bare 1 dollar pr. pille, mens "
-"samme pille koster en amerikansker 1 500 dollar?</quote> Da det ikke "
+"seg at du kan selge HIV-medisinen i Afrika for bare 1 dollar per pille, mens "
+"samme pille koster en amerikaner 1 500 dollar?</quote> Da det ikke "
"finnes et <quote>kjapt svar</quote> på det spørsmålet, ville effekten bli "
"regulering av priser i Amerika. Legemiddelprodusentene unngår dermed denne "
"spiralen ved å sikre at det første steget ikke tas. De forsterker idéen om "
"at eierrettigheter skal være ukrenkelige. De legger seg på en rasjonell "
"strategi i en irrasjonell omgivelse, med den utilsiktede konsekvens at "
"kanskje millioner dør. Og den rasjonelle strategien rammes dermed inn ved "
-"hjelp av dette ideal — ukrenkeligheten til en idé som kalles "
+"hjelp av dette ideal – ukrenkeligheten til en idé som kalles "
"<quote>immaterielle rettigheter.</quote>"
#. type: Content of: <book><chapter><para>
"Men vi som kultur har mistet denne følelsen for balanse. Vi har mistet det "
"kritiske blikket som hjelper oss til å se forskjellen mellom sannhet og "
"ekstremisme. En slags eiendomsfundamentalisme, uten grunnlag i vår "
-"tradisjon, hersker nå i vår kultur — sært, og med konsekvenser mer "
+"tradisjon, hersker nå i vår kultur – sært, og med konsekvenser mer "
"alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk "
"enkeltavgjørelse vi som demokrati kan fatte."
"<emphasis role='strong'>En enkel idé</emphasis> blender oss, og under dekke "
"av mørket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt "
"med. Så ukritisk aksepterer vi idéen om eierskap til idéer at vi ikke "
-"engang legger merke til hvor uhyrlig det er å nekte tilgang til idéer for et "
-"folk som dør uten dem. Så ukritisk aksepterer vi idéen om eiendom til "
-"kulturen at vi ikke engang stiller spørsmål ved når kontrollen over denne "
-"eiendommen fjerner vår evne, som folk, til å utvikle vår kultur "
+"engang legger merke til hvor forferdelig det er å nekte tilgang til idéer "
+"for et folk som dør uten dem. Så ukritisk aksepterer vi idéen om eiendom "
+"til kulturen at vi ikke engang stiller spørsmål ved når kontrollen over "
+"denne eiendommen fjerner vår evne, som folk, til å utvikle vår kultur "
"demokratisk. Blindhet blir vår sunne fornuft, og utfordringen for enhver "
"som vil gjenvinne retten til å dyrke vår kultur er å finne en måte å få "
"denne sunne fornuften til å åpne øynene sine."
"Hittil sover sunn fornuft. Det er intet opprør. Sunn fornuft ser ennå ikke "
"hva det er å gjøre opprør mot. Ekstremismen som nå dominerer denne "
"debatten, resonnerer med idéer som virker naturlige, og resonansen er "
-"forsterket av våre moderne RCA-ene. De fører en frenetisk krig for å "
-"bekjempe <quote>piratvirksomhet</quote>, og knuser kreativitetskultur. De "
-"forsvarer idéen om <quote>kreativt eierskap,</quote> mens de endrer ekte "
-"skapere til moderne leilendinger. De blir fornærmet av idéen om at "
-"rettigheter skulle være balanserte, selv om hver av hovedaktørene i denne "
-"innholdskrigen selv hadde fordeler av et mer balansert ideal. Hykleriet "
-"rår. Men i en by som Washington blir ikke hykleriet en gang lagt merke "
-"til. Mektige lobbyister, kompliserte problemer, og MTV-oppmerksomhetsspenn "
-"gir en <quote>perfekt storm</quote> for fri kultur."
+"forsterket av våre moderne RCA-er. De fører en panisk krig for å bekjempe "
+"<quote>piratvirksomhet</quote>, og knuser en kultur som tilrettelegger for "
+"kreativitet i kryssilden. De forsvarer idéen om <quote>kreativt eierskap,</"
+"quote> mens de endrer ekte skapere til moderne leilendinger. De blir "
+"fornærmet av idéen om at rettigheter bør være balanserte, selv om hver av "
+"hovedaktørene i denne innholdskrigen selv hadde fordeler av et mer balansert "
+"ideal. Hykleriet rår. Men i en by som Washington blir ikke hykleriet en "
+"gang lagt merke til. Mektige lobbyvirksomheter, kompliserte problemer, og "
+"MTV-oppmerksomhetsspenn gir en <quote>perfekt storm</quote> for fri kultur."
#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "academic journals"
"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> "
"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, "
-"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> "
-"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; "
-"William New, <quote>U.S. Official Opposes `Open Source' Talks at WIPO,</"
-"quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 August "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #61</"
-"ulink>."
+"<quote>Global Group's Shift on <quote>Open Source</quote> Meeting Spurs Stir,"
+"</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 "
+"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#60</ulink>; William New, <quote>U.S. Official Opposes <quote>Open Source</"
+"quote> Talks at WIPO,</quote> <citetitle>National Journal's Technology "
+"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #61</ulink>."
msgstr ""
"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> "
"<citetitle>Washington Post</citetitle>, august 2003, E1, tilgjengelig fra "
"<ulink url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, "
-"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> "
-"<citetitle>National Journal's Technology Daily</citetitle>, 19. august 2003, "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #60</"
-"ulink>; William New, <quote>U.S. Official Opposes `Open Source' Talks at "
-"WIPO,</quote> <citetitle>National Journal's Technology Daily</citetitle>, "
-"19. august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #61</ulink>."
+"<quote>Global Group's Shift on <quote>Open Source</quote> Meeting Spurs Stir,"
+"</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19. "
+"august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
+"\">link #60</ulink>; William New, <quote>U.S. Official Opposes <quote>Open "
+"Source</quote> Talks at WIPO,</quote> <citetitle>National Journal's "
+"Technology Daily</citetitle>, 19. august 2003, tilgjengelig fra <ulink url="
+"\"http://free-culture.cc/notes/\">link #61</ulink>."
#. PAGE BREAK 270
#. type: Content of: <book><chapter><para>
"avgjørelse fra Verdens opphavsrettsorganisasjon (WIPO) om å avlyse et møte."
"<placeholder type=\"footnote\" id=\"0\"/> På forespørsel fra en lang rekke "
"interessenter hadde WIPO bestemt å avholde et møte for å diskutere "
-"<quote>åpne og samarbeidende prosjekter for å skape goder for felleskapet.</"
+"<quote>åpne og samarbeidende prosjekter for å skape goder for fellesskapet.</"
"quote> Disse prosjektene hadde lyktes i å produsere goder for fellesskapet "
"uten å basere seg eksklusivt på bruken av proprietære immaterielle "
"rettigheter. Eksempler inkluderer Internett og verdensveven, begge "
-"utviklet på grunnlag av protokoller i allemannseie. Det hadde med en "
-"begynnende trend for å støtte åpne akademiske tidsskrifter, og inkluderte "
+"utviklet på grunnlag av protokoller i allemannseie. Agendaen inkluderte den "
+"begynnende trend for å støtte åpne akademiske tidsskrifter blant annet "
"Public Library of Science-prosjektet som jeg beskriver i kapittel <xref "
-"xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Det inkluderte "
+"xrefstyle=\"select: labelnumber\" linkend=\"c-afterword\"/>.Den inkluderte "
"et prosjekt for å utvikle enkeltnukleotidforskjeller (SNPs), som er antatt å "
"få stor betydning i biomedisinsk forskning. (Dette ikke-kommersielle "
"prosjektet besto av et konsortium av Wellcome Trust og farmasøytiske og "
"teknologiske selskaper, inkludert Amersham Biosciences, AstraZeneca, "
"Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, Glaxo-SmithKline, "
-"IBM, Motorola, Novartis, Pfizer, og Searle.) Det inkluderte Globalt "
+"IBM, Motorola, Novartis, Pfizer, og Searle.) Den inkluderte Globalt "
"posisjonssystem (GPS) som Ronald Reagen frigjorde tidlig på 1980-tallet. Og "
-"det inkluderte <quote>åpen kildekode og fri programvare.</quote>"
+"den inkluderte <quote>åpen kildekode og fri programvare.</quote>"
#. type: Content of: <book><chapter><para>
msgid ""
"for their own internal uses."
msgstr ""
"Men det er ett prosjekt i listen som er svært kontroversielt, i hvert fall "
-"blant lobbyister. Dette prosjektet er <quote>åpen kildekode og fri "
+"blant lobbyistene. Dette prosjektet er <quote>åpen kildekode og fri "
"programvare.</quote> Microsoft spesielt er skeptisk til diskusjon om emnet. "
"Fra deres perspektiv, ville en konferanse for å diskutere åpen kildekode og "
"fri programvare være som en konferanse for å diskutere Apples "
"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av "
"fri programvare, der IBM er den mest fremtredende. IBM har i stadig større "
"grad skiftet sitt fokus til GNU/Linux-operativsystemet, den mest berømte "
-"biten av <quote>fri programvare</quote> — og IBM er helt klart en "
+"biten av <quote>fri programvare</quote> – og IBM er helt klart en "
"kommersiell aktør. Dermed er det å støtte <quote>fri programvare</quote> "
"ikke å motsette seg kommersielle aktører. Det er i stedet å støtte en måte "
"å drive programvareutvikling som er forskjellig fra Microsofts.<placeholder "
msgstr ""
"Jeg klandrer ikke Microsoft for å gjøre det de kan for å fremme sine egne "
"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er "
-"åpenbart i samsvar med loven. Det er ikke noe overraskende her med deres "
-"lobbyvirksomhet, og ikke veldig overraskende at den mektigste "
+"åpenbart i samsvar med loven. Deres lobbyvirksomhet er ikke overraskende i "
+"dette tilfellet, og der er ikke ikke veldig overraskende at den mektigste "
"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet."
#. type: Content of: <book><chapter><indexterm><primary>
msgid "Boland, Lois"
msgstr "Boland, Lois"
+#. type: Content of: <book><chapter><indexterm><primary>
+msgid "Patent and Trademark Office, U.S."
+msgstr "USAs patent og varemerkekontor (Patent and Trademark Office)"
+
#. type: Content of: <book><chapter><para>
msgid ""
"What was surprising was the United States government's reason for opposing "
"immaterielle retten kalt <quote>opphavsrett.</quote> Uten den vil "
"begrensningene definert av disse lisensene ikke fungere. Dermed er det å si "
"at de <quote>går imot</quote> formålet om å fremme immaterielle rettigheter "
-"å avsløre en ekstraordinær mangel på forståelse — den type feil som er "
+"å avsløre en ekstraordinær mangel på forståelse – den type feil som er "
"tilgivelig hos en førsteårs jusstudent, men pinlig fra en høyt plassert "
"statstjenestemann som håndterer utfordringer rundt immaterielle rettigheter."
"her comments made sense. But there was one comment that was particularly "
"depressing for me. An anonymous poster wrote,"
msgstr ""
-"Da denne bataljen brøt ut, blogget jeg om dette. En heftig debatt brøt ut i "
+"Da denne kampen brøt ut, blogget jeg om dette. En heftig debatt brøt ut i "
"kommentarfeltet. Fru Boland hadde en rekke støttespillere som forsøkte å "
"vise hvorfor hennes kommentarer ga mening. Men det var spesielt en "
"kommentar som gjorde meg trist. En anonym kommentator skrev:"
"sannheten. Det kan være galskap å tro at myndighetenes politikk skal gjøre "
"mer enn å tjene de mektigstes interesser. Det kan være galskap å argumentere "
"for å bevare en tradisjon som har vært en del av vår tradisjon for "
-"mesteparten av vår historie — fri kultur."
+"mesteparten av vår historie – fri kultur."
#. type: Content of: <book><chapter><para>
msgid "If this is crazy, then let there be more crazies. Soon."
"Faren med mediekonsentrering kommer ikke fra selve konsentreringen, men "
"kommer fra føydalismen som denne konsentreringen fører til når den kobles "
"til endringer i opphavsretten. Det er ikke kun det at noen mektige selskaper "
-"styrer en stadig voksende andel av mediene. Det er at denne konsentreringen "
-"kan påkalle en like oppsvulmet rekke rettigheter — eiendomsrettigheter "
-"i en historisk ekstrem form— som gjør størrelsen ille."
+"styrer en stadig voksende andel av mediene. Det er det at denne "
+"konsentreringen kan påkalle en like oppsvulmet rekke rettigheter – "
+"eiendomsrettigheter i en historisk ekstrem form – som gjør størrelsen "
+"ille."
#. type: Content of: <book><chapter><para>
msgid ""
"motivated to fight <quote>big</quote> again is not something new."
msgstr ""
"Det er derfor betydningsfullt at så mange vil kjempe for å kreve konkurranse "
-"og økt mangfold. Likevel, hvis kampanjen blir forstått til å kun gjelde "
+"og økt mangfold. Likevel, hvis kampanjen oppfattes som om den kun omhandler "
"størrelse, så er ikke det veldig overraskende. Vi amerikanere har en lang "
"historie med å slåss mot <quote>stort,</quote> klokt eller ikke. At vi kan "
-"være motivert til å slåss mot <quote>store</quote>, er igjen ikke noe nytt."
+"være motivert til å slåss mot <quote>det store</quote>, er igjen ikke noe "
+"nytt."
#. type: Content of: <book><chapter><para>
msgid ""
"<quote>intellektuell eiendom.</quote> Ikke fordi balanse er fremmed for vår "
"tradisjon. Jeg argumenterer for at balanse er vår tradisjon. Men fordi "
"evnen til å tenke kritisk på omfanget av alt som kalles <quote>eiendom</"
-"quote> ikke er lenger er godt trent i denne tradisjonen."
+"quote> ikke lenger er godt trent i denne tradisjonen."
#. type: Content of: <book><chapter><para>
msgid ""
"If we were Achilles, this would be our heel. This would be the place of our "
"tragedy."
msgstr ""
-"Hvis vi var Akilles, så ville dette være vår hæl. Dette ville være stedet "
+"Hvis vi var Akilles, så ville dette vært vår hæl. Dette ville være stedet "
"for våre tragedie."
#. type: Content of: <book><chapter><indexterm><primary>
"<placeholder type=\"footnote\" id=\"1\"/> Historien om hvordan Bob Dylan "
"har <quote>stjålet</quote> fra en japansk forfatter har nettopp gått verden "
"over.<placeholder type=\"footnote\" id=\"2\"/> En på innsiden i Hollywood "
-"— som insisterer på at han må forbli anonym — rapporterer "
+"– som insisterer på at han må forbli anonym – rapporterer "
"<quote>en utrolig samtale med disse studiofolkene. De har fantastisk "
"[gammelt] innhold som de ville elske å bruke, men det kan de ikke på grunn "
"av at de først må klarere rettighetene. De har hauger med ungdommer som "
"of our day into the Causbys."
msgstr ""
"Imens, på andre siden av Atlanteren, har BBC nettopp annonsert at de vil "
-"bygge opp et <quote>kreativt arkiv</quote> som britiske borgere kan laste "
-"ned BBC-innhold fra, og rippe, mikse og brenne det ut.<placeholder type="
-"\"footnote\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i "
-"seg selv en folkehelt i brasiliansk musikk, slått seg sammen med Creative "
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-"<placeholder type=\"footnote\" id=\"1\"/> Jeg har fortalt en mørk "
-"historie. Sannheten er mer blandet. En teknologi har gitt oss mer frihet. "
-"Sakte begynner noen å forstå at denne friheten trenger ikke å bety anarki. "
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+"bygge opp et <quote>kreativt arkiv</quote> der britiske borgere kan laste "
+"ned BBC-innhold, og rippe, mikse og brenne det.<placeholder type=\"footnote"
+"\" id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i seg selv en "
+"folkehelt i brasiliansk musikk, slått seg sammen med Creative Commons for å "
+"gi ut innhold og frie lisenser i dette latinamerikanske landet.<placeholder "
+"type=\"footnote\" id=\"1\"/> Jeg har fortalt en mørk historie. Sannheten "
+"er mer blandet. En teknologi har gitt oss mer frihet. Sakte begynner noen "
+"å forstå at denne friheten trenger ikke å bety anarki. Vi kan få med oss "
+"fri kultur inn i det tjueførste århundre, uten at artister taper, og uten at "
+"potensialet for digital teknologi blir knust. Det vil kreve omtanke, og "
+"viktigere, det vil kreve at noen omformer RCA-ene av i dag til Causbyere."
#. PAGE BREAK 279
#. type: Content of: <book><chapter><para>
msgid "Afterword"
msgstr "Etterord"
+#. type: Content of: <book><chapter><section><indexterm><secondary>
+msgid "voluntary reform efforts on"
+msgstr "frivillig reforminnsats rundt"
+
#. PAGE BREAK 280
#. type: Content of: <book><chapter><para>
msgid ""
msgstr ""
"Det betyr at denne bevegelsen må starte i gatene. Det må rekrutteres et "
"signifikant antall foreldre, lærere, bibliotekarer, skapere, forfattere, "
-"musikere, filmskapere, forskere — som alle må fortelle denne historien "
+"musikere, filmskapere, forskere – som alle må fortelle denne historien "
"med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er "
"så viktig."
msgstr ""
"<emphasis role='strong'>Sunn fornuft</emphasis> er på samme side som "
"opphavsrettskrigerne på grunn av at debatten så langt har vært rammet inn "
-"rundt ytterpunktene — som en stor enten/eller: enten eiendom eller "
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"anarki, enten total kontroll, eller så får ikke kunstnerne betalt. Hvis "
"dette virkelig var valget så burde krigerne vinne."
msgstr ""
"Tabben her er feilen med å utelukke den gyldne middelvei. Det er "
"ytterpunkter i denne debatten, men ytterpunktene er ikke det hele. Det er "
-"de som tror på maksimal opphavsrett — <quote>Alle rettigheter "
-"reservert</quote> — og de som avviser opphavsrett — <quote>Ingen "
-"rettigheter reservert.</quote> <quote>Alle rettigheter reservert</quote>-"
-"typen mener du bør søke om tillatelse før du <quote>bruker</quote> et "
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-"uavhengig av om du har tillatelse eller ikke."
+"de som tror på maksimal opphavsrett – <quote>Alle rettigheter "
+"forbeholdt</quote> – og de som avviser opphavsrett – "
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+"<quote>bruker</quote> et opphavsrettsbeskyttet verk på noe vis. "
+"<quote>Ingen rettigheter forbeholdt</quote>-typen mener du bør kunne gjøre "
+"med innhold som du selv ønsker uavhengig av om du har tillatelse eller ikke."
#. type: Content of: <book><chapter><section><indexterm><secondary>
msgid "initial free character of"
"Content was <quote>taken</quote> regardless of the rights. Any rights were "
"effectively unprotected."
msgstr ""
-"Da Internett ble skapt, ga dets arkitektur i effekt en *helling* mot "
-"<quote>ingen rettigheter reservert.</quote> Innhold kunne kopieres billig "
-"og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed "
-"var, uavhengig av hva noen ønsket, det effektive regimet for opphavsrett "
-"under den originale utformingen av Internett <quote>ingen rettigheter "
-"reservert.</quote> Innhold ble <quote>tatt</quote> uavhengig av "
-"rettighetene. Alle rettigheter var effektivt ubeskyttet."
+"Da Internett først oppsto hadde det en arkitektur som i praksis ikke la opp "
+"til håndheving av opphavsrettigheter. Innhold kunne kopieres billig og uten "
+"kvalitetstap og rettigheter kunne ikke enkelt kontrolleres. Dermed var, "
+"uavhengig av hva noen ønsket, det effektive regimet for opphavsrett under "
+"den originale utformingen av Internett <quote>ingen rettigheter forbeholdt.</"
+"quote> Innhold ble <quote>tatt</quote> uavhengig av rettighetene. Alle "
+"rettigheter var effektivt ubeskyttet."
#. type: Content of: <book><chapter><section><para>
msgid ""
"<quote>get permission to cut and paste</quote> world that is a creator's "
"nightmare."
msgstr ""
-"Denne opprinnelige egenskapen ga en reaksjon (med motsatt fortegn, men ikke "
-"helt likt) fra opphavsrettseierne. Den reaksjonen har vært tema for denne "
+"Denne opprinnelige egenskapen ga en reaksjon (i motsatt retning, men ikke "
+"helt lik) fra opphavsrettseierne. Den reaksjonen har vært tema for denne "
"boken. Gjennom lovgiving, søksmål og endringer i nettverkets utforming har "
"opphavsrettsinnehaverne vært i stand til å endre den grunnlegende egenskapen "
"til omgivelsen for det originale Internett. Hvis den opprinnelige "
"arkitekturen gir et effektivt utgangspunkt med <quote>ingen rettigheter "
-"reservert,</quote> så vil fremtidens arkitektur gjøre det effektive "
-"utgangspunktet til <quote>alle rettigheter reservert.</quote> Arkitekturen "
+"forbeholdt,</quote> så vil fremtidens arkitektur gjøre det effektive "
+"utgangspunktet til <quote>alle rettigheter forbeholdt.</quote> Arkitekturen "
"og loven som omgir Internetts utforming vil i stadig større grad gi en "
"omgivelse hvor all bruk av innhold krever tillatelse. <quote>Klipp og lim</"
"quote>-verden som definerer Internett i dag vil bli en <quote>skaff "
"words, we need a way to restore a set of freedoms that we could just take "
"for granted before."
msgstr ""
-"Det som trengs er en måte å si noe midt imellom — hverken <quote>alle "
-"rettigheter reservert</quote> eller <quote>ingen rettigheter reservert</"
-"quote>, men <quote>noen rettigheter reservert</quote> — og dermed en "
+"Det som trengs er en måte å si noe midt imellom – hverken <quote>alle "
+"rettigheter forbeholdt</quote> eller <quote>ingen rettigheter forbeholdt</"
+"quote>, men <quote>noen rettigheter forbeholdt</quote> – og dermed en "
"måte å respektere opphavsretter mens en gjør det mulig for skaperne å "
"frigjøre innhold når de ønsker det. Med andre ord, vi trenger en måte å "
"gjeninnføre settet med friheter som vi kunne ta for gitt tidligere."
"disse dataene. Hvis du var en mistenkt spion for Nord-Korea som arbeidet "
"for CIA, så ville uten tvil ditt privatliv ikke være sikret. Men det er på "
"grunn av at CIA ville (får vi håpe) finne det verdifullt nok å bruke de "
-"tusenvis av kronene som trengtes for å spore deg. Men for de fleste av oss "
-"(igjen så kan vi håpe) betalte det seg ikke å spionere på oss. Denne høyst "
+"titusenvis av kronene som trengtes for å spore deg. Men for folk flest "
+"(igjen så kan vi håpe) lønte det seg ikke å spionere på oss. Denne høyst "
"ineffektive arkitekturen til den virkelige verden betyr at de fleste av oss "
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"beskytter <quote>privatlivet</quote> i det offentlige rom), og mange plasser "
"ikke av normer (kikking og sladder er bare moro), men i stedet fra "
msgstr ""
"Så kommer Internett, hvor kostnaden med å spore, særlig det som blir bladd "
"i, har blitt svært liten. Hvis du er en kunde av Amazon, så vil Amazon "
-"samle informasjon om hva du har sett på mens du tittet på sidene der. Du "
-"vet dette på grunn av at det i en spalte på siden vises en liste med "
-"<quote>nylig sette</quote> sider. På grunn av arkitekturen til nettet, og "
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+"<quote>nylig viste</quote> sider. På grunn av arkitekturen til nettet, og "
"hvordan informasjonskapsler fungerer på nettet, så er det enklere å samle "
"inn disse dataene enn å la være. Friksjonen har forsvunnet, og dermed "
"forsvinner også ethvert <quote>privatliv</quote> som var beskyttet av denne "
msgstr ""
"Amazon er naturligvis ikke problemet. Men vi kan begynne å bekymre oss for "
"biblioteker. Hvis du er en av disse sprø venstrevridde som mener at folk "
-"bør ha <quote>retten</quote> til å bla igjennom et bibliotek, uten at "
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+"det blir enkelt å samle inn og sortere hvem som gjør hva i det elektroniske "
+"rom, så forsvinner det friksjonsinduserte privatliv fra tidligere tider."
#. f1.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
"teknologi kan fjerne det friksjon før ga oss, som får mange til å be om "
"lover som gjør det friksjonen gjorde.<placeholder type=\"footnote\" id=\"0\"/"
"> Og uansett om du er for eller imot disse lovene, så er det mønsteret som "
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+"privatliv tidligere var gitt som utgangspunkt."
#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Data General"
msgstr ""
"En lignende historie kan fortelles om stiftelsen av Fri programvare-"
"bevegelsen. Da datamaskiner med programvare først ble gjort kommersielt "
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+"tilgjengelig, var programvaren – både kildekoden og programmene "
+"– fritt tilgjengelig. Du kunne ikke kjøre et program skrevet for en "
+"Data General-maskin på en IBM-maskin, så Data General og IBM brydde seg ikke "
+"mye om å kontrollere programvaren sin."
#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Stallman, Richard"
"lærte han å elske samfunnet som utviklet seg når en var fri til å utforske "
"og fikle med programvaren som kjørte på datamaskiner. Som en av de smarte "
"typene, i tillegg til å være en flink programmerer, begynte Stallman å "
-"basere seg på friheten han hadde til bygge på, eller endre på andre "
-"personers verk."
+"basere seg på friheten han hadde til bygge på eller endre på andres verk."
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"institutt for klassisk historie, hvis du mente en kollegas oversettelse av "
"en nylig oppdaget tekst hadde feil, så hadde du friheten til å forbedre "
"den. Dermed, for Stallman, virket det åpenbart at du burde stå fritt til å "
-"fikle med, og forbedre koden som kjørte på en maskin. Dette var også "
+"fikle med, og forbedre koden som kjørte på en maskin. Også dette var "
"kunnskap. Hvorfor skulle det ikke være åpent for kritikk på samme måte som "
"alt annet?"
msgstr ""
"Ingen svarte på det spørsmålet. I stedet endret arkitekturen for inntekter "
"i dataverden seg. Etter hvert som det ble mulig å importere programmer fra "
-"et system til et annet, det ble økonomisk attraktivt (i hvert fall etter "
+"et system til et annet, så ble det økonomisk attraktivt (i hvert fall etter "
"noens syn) å skjule koden til programmet man laget. I tillegg begynte "
"selskaper å selge ekstrautstyr til stormaskiner. Hvis jeg bare kunne ta din "
"printerdriver og kopiere den, så ville det gjøre det enklere for meg enn det "
"Stallmans teknikk var å bruke åndsverksloven til å bygge en verden av "
"programvare som må forbli fri. Programvare lisensiert med GPL fra Free "
"Software Foundation kan ikke endres og distribueres uten at kildekoden for "
-"den programvaren også blir gjort tilgjengelig. Dermed må enhver som bygger "
-"på GPL-et programvare også frigjøre sitt byggverk. Dette trodde Stallman "
-"ville sikre at et miljø av kode som forble fritt for andre å bygge på, ville "
-"utvikle seg. Hans fundamentale mål var frihet. Nyskapende kreativ kode var "
-"et biprodukt."
+"den endrede programvaren også blir gjort tilgjengelig. Dermed må enhver som "
+"bygger på programvare lisensiert med GPL også frigjøre sitt byggverk. Dette "
+"trodde Stallman ville sikre at et det utviklet seg et miljø av kode som "
+"forble fritt for andre å bygge på. Hans fundamentale mål var frihet. "
+"Nyskapende kreativ kode var et biprodukt."
#. type: Content of: <book><chapter><section><section><para>
msgid ""
msgstr ""
"Etter hvert som teknologien utviklet seg, blir det åpenbart for mange at å "
"skrive ut tusenvis av kopier av tidsskrifter hver måned, og sende dem til "
-"biblioteker kanskje ikke er den mest effektive måten å spre kunnskap. I "
+"biblioteker kanskje ikke er den mest effektive måten å spre kunnskap på. I "
"stedet blir tidsskrifter mer og mer elektroniske, og biblioteker og deres "
"brukere gis tilgang til disse elektroniske tidsskriftene gjennom "
"passordbeskyttede nettsteder. Noe lignende har skjedd innen justissektoren "
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
msgid "license system for rebuilding of"
-msgstr "lisenssystemet for å gjenoppbygging av"
+msgstr "lisenssystemet for gjenoppbygging av"
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"nothing wrong, in principle, with selling access to material that is not in "
"the public domain."
msgstr ""
-"Det er generelt ingenting galt med dette, og muligheten til å ta betalt for "
-"tilgang selv for allemannseid materiale er helt klart et godt incentiv for "
-"folk til å utvikle nye og nyskapende måter å spre kunnskap. Rettspraksis "
-"har vært enig, hvilket er det som gjør at Lexis og Westlaw har fått lov til "
-"å blomstre. Og hvis det ikke er noe galt med å selge det som er "
-"allemannseie, så bør det i prinsippet ikke være noe galt i å selge tilgang "
-"til materiale som ikke er allemannseie."
+"Det er stort sett ingenting galt med dette, og muligheten til å ta betalt "
+"for tilgang selv for allemannseid materiale er helt klart et godt incentiv "
+"for folk til å utvikle nye og nyskapende måter for å spre kunnskap. "
+"Rettspraksis har vært enig, hvilket er det som gjør at Lexis og Westlaw har "
+"fått lov til å blomstre. Og hvis det ikke er noe galt med å selge det som "
+"er allemannseie, så bør det i prinsippet ikke være noe galt i å selge "
+"tilgang til materiale som ikke er allemannseie."
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"som forsøkte å forstå risikoen med en bestemt behandling, kunne forske på "
"disse risikoene ved å lese alle tilgjengelige artikler om den behandlingen. "
"Denne friheten var dermed et resultat av hvordan biblioteker fungerte "
-"(normer) og teknologien til papirtidsskrifter (arkitektur) — nemlig at "
+"(normer) og teknologien til papirtidsskrifter (arkitektur) – nemlig at "
"det var veldig vanskelig å kontrollere tilgang til et papirtidsskrift."
#. type: Content of: <book><chapter><section><section><para>
"competition in our tradition is presumptively a good—especially when "
"it helps spread knowledge and science."
msgstr ""
-"Dette er en av mange slike anstrengelser for å gjenopprette en frihet som "
+"Dette er en av mange slike innsatser for å gjenopprette en frihet som "
"tidligere ble tatt for gitt, men som nå er truet av endringer i teknologi og "
"marked. Det er ingen tvil om at dette alternativet konkurrerer med de "
"tradisjonelle forlagene og deres innsats for å tjene penger på den "
"eksklusive distribusjonen av innhold. Men konkurranse antas i vår tradisjon "
-"for å være bra — spesielt når det bidrar til å spre kunnskap og "
+"for å være bra – spesielt når det bidrar til å spre kunnskap og "
"vitenskap."
#. type: Content of: <book><chapter><section><section><title>
msgstr ""
"Her kommer Creative Commons inn. Creative Commons er et ikke-kommersielt "
"selskap etablert i Massachusetts, men med hjemmet sitt ved Stanford "
-"University. Selskapets mål er å bygge et lag av <emphasis>rimelig</"
+"University. Selskapets mål er å bygge et lag av <emphasis>fornuftig</"
"emphasis> opphavsrett på toppen av det ekstreme som nå regjerer. Det gjør "
"dette ved å gjøre det enkelt for folk å bygge på andre folks verk, ved å "
"gjøre det enkelt for skapere å uttrykke friheten for andre til å ta og bygge "
"CC mark, which does not mean that copyright is waived, but that certain "
"freedoms are given."
msgstr ""
-"<emphasis>Enkelt</emphasis> — som betyr uten en mellommann, eller uten "
+"<emphasis>Enkelt</emphasis> – som betyr uten en mellommann, eller uten "
"en advokat. Ved å utvikle et fritt sett med lisenser som folk kan knytte "
-"til sitt innhold, sikter Creative Commons å merke en rekke innhold som "
+"til sitt innhold, sikter Creative Commons å merke en mengde innhold som "
"enkelt og pålitelig kan bygges på. Disse merkene er så lenket til "
"maskinlesbare versjoner av lisensen som gjør det mulig for datamaskiner å "
"automatisk identifisere innhold som enkelt kan deles. Denne samlingen av tre "
-"uttrykk — en juridisk lisens, en menneskelesbar beskrivelse og et "
-"maskinlesbart merke — utgjør en Creative Commons-lisens. En Creative "
+"uttrykk – en juridisk lisens, en menneskelesbar beskrivelse og et "
+"maskinlesbart merke – utgjør en Creative Commons-lisens. En Creative "
"Commons-lisens utgjør en tildeling av frihet til enhver som har tilgang til "
"lisensen. Og viktigere, et uttrykk for at personen som bruker lisensen tror "
"på noe annet enn <quote>Alle</quote>- eller <quote>Ingen</quote>-"
"en lisens som tillater enhver bruk, så lenge opphavspersonen navngis. Hun "
"kan velge en lisens som kun tillater ikke-kommersiell bruk. Hun kan velge "
"en lisens som tillater enhver bruk så lenge de samme friheter gis videre til "
-"andre brukere (<quote>del på like vilkår</quote>). Eller enhver bruk så "
-"lenge ingen bearbeidelse blir gjort. Eller enhver bruk i utviklingsland. "
-"Eller enhver bruk som <quote>smakebit,</quote> så lenge det ikke lages "
-"komplette kopier. Og til slutt, enhver bruk til opplæring."
+"andre brukere (<quote>del, og del på like vilkår</quote>). Eller enhver "
+"bruk så lenge ingen bearbeidelse blir gjort. Eller enhver bruk i "
+"utviklingsland. Eller enhver bruk som <quote>smakebit,</quote> så lenge det "
+"ikke lages komplette kopier. Og til slutt, enhver bruk til opplæring."
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"will in turn enable us to rebuild a public domain."
msgstr ""
"Disse valgene etablerer dermed en rekke friheter som går ut over "
-"utgangspunktet i åndsverksloven. De muliggjør også friheter som går ut over "
+"åndsverkslovens utgangspunkt. De muliggjør også friheter som går ut over "
"tradisjonell rimelig bruk. Og det viktigste er at de uttrykker disse "
"frihetene på en måte som de påfølgende brukerne kan bruke og basere seg på "
"uten å hyre inn en advokat. Creative Commons sikter dermed mot å bygge et "
"lag av innhold, styrt av et lag av fornuftig åndsverkslov, som andre kan "
"bygge på. Frivillig valg fra individer og skapere vil gjøre dette innholdet "
-"tilgjengelig. Og dette innholdet vi så gjøre det mulig for oss å "
+"tilgjengelig. Og dette innholdet vil så gjøre det mulig for oss å "
"gjenopprette allemannseiet."
#. type: Content of: <book><chapter><section><section><indexterm><primary>
"needed. Creative Commons gives people a way effectively to begin to build "
"those rules."
msgstr ""
-"Målet er ikke å sloss mot <quote>alle rettigheter reservert</quote>-"
+"Målet er ikke å sloss mot <quote>alle rettigheter forbeholdt</quote>-"
"folkene. Målet er å utfylle dem. Problemene som loven skaper for oss som "
"kultur, er skapt av sprø og utilsiktede konsekvenser av lover skrevet for "
"flere århundrer siden, anvendt på en teknologi som kun Jefferson kunne ha "
"forestilt seg. Reglene kan godt å gitt mening da bakgrunnen var "
"teknologiene som var tilgjengelig for hundrevis av år siden, men de gir ikke "
-"mening når bakgrunnen er digitale teknologier. Nye regler — med andre "
-"friheter, uttrykt slik at mennesker uten advokater kan bruke dem — "
+"mening når bakgrunnen er digitale teknologier. Nye regler – med andre "
+"friheter, uttrykt slik at mennesker uten advokater kan bruke dem – "
"trengs. Creative Commons gir folk en effektiv måte å begynne å lage disse "
"reglene."
"bruktbokhandler. Som forutsett, etter hvert som antall nedlastinger steg, "
"steg også bruktprisen på boken."
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+msgid "Leaphart, Walter"
+msgstr "Leaphart, Walter"
+
#. type: Content of: <book><chapter><section><section><indexterm><primary>
msgid "Public Enemy"
msgstr "Public Enemy"
msgid "rap music"
msgstr "rap-musikk"
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "Leaphart, Walter"
-msgstr "Leaphart, Walter"
-
#. f2.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
"form of creativity might grow."
msgstr ""
"Dette er eksempler på bruk av Creative Commons for å bedre spre proprietært "
-"innhold. Jeg mener at dette er en nydelig og vanlig bruk av Creative "
-"Commons. Det er andre som bruker Creative Commons-lisenser av andre "
+"innhold. Jeg mener at dette er en nydelig og alminnelig bruk av "
+"allemannseie. Det er andre som bruker Creative Commons-lisenser av andre "
"grunner. Mange som bruker <quote>sampling-lisensen</quote> gjør det på "
"grunn av at alt annet ville være hyklerisk. Sampling-lisensen sier at andre "
"står fritt til, for kommersielle eller ikke-kommersielle formål, å bruke "
"Til slutt er det mange som merker sitt innhold med en Creative Commons-"
"lisens kun fordi de ønsker å uttrykke til andre hvor viktig de synes balanse "
"er i denne debatten. Hvis du bare aksepterer systemet slik det er, så sier "
-"du faktisk at du tror på <quote>alle rettigheter reservert</quote>-"
+"du faktisk at du tror på <quote>alle rettigheter forbeholdt</quote>-"
"modellen. Fint for deg, men mange gjør ikke det. Mange tror at uansett hvor "
"riktig den regelen er for Hollywood og raringer, så er den ikke en riktig "
"beskrivelse av hvordan de fleste skaperne ser på rettighetene knyttet til "
"sitt innhold. Creative Commons-lisensen uttrykker begrepet <quote>noen "
-"rettigheter reservert,</quote> og gir mange muligheten til å si det til "
+"rettigheter forbeholdt,</quote> og gir mange muligheten til å si det til "
"andre."
#. PAGE BREAK 291
"They will lead to a world in which more than voluntary steps are possible."
msgstr ""
"Dette er de første stegene for å gjenoppbygge et allemannseie. De er ikke "
-"kun argumentasjon, de er handlinger. Å bygge allemannseiet er første steg "
-"for å vise folk hvor viktig dette er for kreativitet og nyskapning. "
-"Creative Commons baserer seg på frivillige steg for å få til denne "
-"gjenoppbyggingen. De vil føre til en verden hvor mer enn frivillige steg er "
-"mulig."
+"kun argumenter, de er handlinger. Å bygge allemannseiet er første steg for "
+"å vise folk hvor viktig dette er for kreativitet og nyskapning. Creative "
+"Commons baserer seg på frivillige steg for å få til denne gjenoppbyggingen. "
+"De vil føre til en verden hvor mer enn frivillige steg er mulig."
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"that we all must bear if we want our property to be protected."
msgstr ""
"Disse er alle formaliteter knyttet til eiendom. De er krav som vi alle må "
-"forholde oss til hvis vi ønsker at eiendomen vår skal bli beskyttet."
+"forholde oss til hvis vi ønsker at eiendommen vår skal bli beskyttet."
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"som hemmer kreativiteten. I dag er det ingen enkel måte å vite hvem som "
"eier hva, og hvem en må gjøre avtale med for å kunne bruke eller bygge på "
"det kreative verket til andre. Det er intet register, og det er intet "
-"system for å spore — det er ingen enkel måte å vite hvordan en får "
+"system for å spore – det er ingen enkel måte å vite hvordan en får "
"tillatelse. Og likevel er det, gitt den massive økningen i omfanget for "
"opphavsrettens regler, et nødvendig steg å få tillatelse for ethvert verk "
"som baserer seg på vår fortid. Og dermed tvinger <emphasis>fraværet</"
"formalities."
msgstr ""
"Loven burde derfor endre dette kravet<placeholder type=\"footnote\" id=\"0\"/"
-"> — men den bør ikke endres ved å gå tilbake til det gamle ødelagte "
+"> – men den bør ikke endres ved å gå tilbake til det gamle ødelagte "
"systemet. Vi bør kreve formaliteter, men vi bør etablere et system som vil "
"skape incentivene for å minimere byrden disse formalitetene påfører."
"incentiv til å minimere avgiften. Og ettersom opphavsrettskontoret ikke var "
"et hovedmål for regjeringens politikk, har kontoret historisk vært veldig "
"underfinansiert. Dermed, når folk som kjenner til prosessen hører denne "
-"idéen om formaliteter, så er deres første reaksjon panikk — ingenting "
+"idéen om formaliteter, så er deres første reaksjon panikk – ingenting "
"kan være verre enn å tvinge folk å forholde seg til det virvaret som heter "
"opphavsrettskontoret."
"private aktører tilbyr tjenesten til offentligheten, ifølge standarder som "
"myndighetene definerer."
+#. type: Content of: <book><chapter><section><section><section><indexterm><primary>
+msgid "domain names"
+msgstr "domenenavn"
+
+#. type: Content of: <book><chapter><section><section><section><indexterm><secondary>
+msgid "domain name registration on"
+msgstr "domenenavnregistrering på"
+
+#. type: Content of: <book><chapter><section><section><section><indexterm><primary>
+msgid "Web sites, domain name registration of"
+msgstr "Nettsteder, domenenavnregistrering av"
+
#. type: Content of: <book><chapter><section><section><section><para>
msgid ""
"In the context of registration, one obvious model is the Internet. There "
"godkjenne registrarer som følger disse standardene. Disse registrarene "
"ville dermed konkurrere med hverandre om å levere det billigste og enkleste "
"systemet for å registrere og fornye opphavsretter. Denne konkurransen ville "
-"redusere betydelig belastningen som denne formaliteten gir — mens det "
+"redusere betydelig belastningen som denne formaliteten gir – mens det "
"gir en database over registreringer som kan forenkle lisensiering av innhold."
#. type: Content of: <book><chapter><section><section><section><title>
msgstr ""
"Det å ikke merke kreative verk med opphavsrettsinformasjon førte tidligere "
"til at en mistet opphavsretten. Det var en veldig streng straff for å ikke "
-"overholde en regulatorisk regel — omtrent som å dømme noen til "
-"dødsstraff for å få ha parkert ulovlig i kreative rettighetsverden. Her er "
+"overholde en regulatorisk regel – omtrent som å dømme noen til "
+"dødsstraff for å ha parkert ulovlig i den kreative rettighetsverden. Her er "
"det heller ikke noen grunn til at markeringskravene trenger å bli håndhevd "
"på denne måten. Og viktigere er at det ikke er noen grunn til at "
"merkingskravene trenger å håndheves likt på tvers av alle medier."
"to locate a copyright owner to secure permission to use the work."
msgstr ""
"Målet med merkingen er å signalisere til offentligheten at dette verket er "
-"opphavsrettsbeskyttet, og at forfatteren ønsker a håndheve sine rettigheter. "
+"opphavsrettsbeskyttet, og at forfatteren ønsker å håndheve sine rettigheter. "
"Merket gjør det også enkelt å spore opp en opphavsrettseier for å skaffe "
"tillatelse til å bruke verket."
"nytt merkingskrav kan løse disse problemene ved å anerkjenne forskjellene i "
"mediene, og ved å tillate merkingssystemet til å utvikle seg etter hvert som "
"teknologien muliggjør det. Systemet kan muliggjøre/aktivere et spesielt "
-"signal når en ikke merker — ikke å miste opphavsretten, men å miste "
+"signal når en ikke merker – ikke å miste opphavsretten, men å miste "
"retten til å straffe noen for å ikke ha skaffet seg tillatelse først."
#. f2.
"det gir ikke mening at denne rettigheten skal vare like lenge som vernetiden "
"til den underliggende opphavsretten. Den avledede rettigheten kan være "
"viktig for å bidra til kreativitet, men den er ikke viktig lenge etter at "
-"det kreative
arbeidet er ferdig. <placeholder type=\"indexterm\" id=\"0\"/>"
+"det kreative
verket er ferdig. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><section><section><para>
msgid ""
msgstr ""
"Dette var poenget som Alben kom med da han beskrev hvordan han laget Clint "
"Eastwood-CD-en. Mens det gir mening å kreve forhandlinger for overskuelige "
-"avledede rettigheter — å lage en film av en bok, eller et noteark av "
-"et dikt — så gir det ikke mening å kreve forhandlinger for det "
+"avledede rettigheter – å lage en film av en bok, eller et noteark av "
+"et dikt – så gir det ikke mening å kreve forhandlinger for det "
"uforutsigbare. Her gir en lovfestet rett mer mening."
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
#. type: Content of: <book><chapter><section><section><title>
msgid "4. Liberate the Music—Again"
-msgstr "4. Frigjør musikken — igjen"
+msgstr "4. Frigjør musikken – igjen"
#. type: Content of: <book><chapter><section><section><para>
msgid ""
msgstr ""
"Slaget som startet hele denne krigen var om musikk, så det ville ikke være "
"rimelig å avslutte denne boken uten å ta opp problemet som er mest "
-"presserende for de fleste — musikk. Det er ingen andre policy-tema "
+"presserende for de fleste – musikk. Det er ingen andre policy-tema "
"som bedre forklarer hva en kan lære i denne boken enn slagene om deling av "
"musikk."
msgstr ""
"Appellen til fildeling var det som satte fortgang i Internetts vekst. Det "
"drev behovet for tilgang til Internett kraftigere enn noe annet "
-"enkeltbruksområde. Det var Internetts <quote>killer app</quote> — "
+"enkeltbruksområde. Det var Internetts <quote>killer app</quote> – "
"kanskje i to betydninger av ordet. Det var uten tvil det bruksområdet som "
"drev etterspørselen etter båndbredde. Det kan godt ende opp med å være "
"bruksområdet som driver igjennom krav om reguleringer som til slutt dreper "
"avhengighetsskapende i dag på grunn av at det er den enkleste måten å få "
"tilgang til et bredt spekter av innhold. Det vil ikke være den enkleste "
"måten å få tilgang til et bredt spekter av innhold om ti år. I dag er "
-"tilgang til Internett knotete og tregt — vi i USA er heldige hvis vi "
+"tilgang til Internett knotete og tregt – vi i USA er heldige hvis vi "
"har en bredbåndstjeneste med 1,5 MB/s, og svært sjelden får vi tjenesten med "
"den hastigheten både opp og ned. Selv om trådløs tilgang vokser, må de "
"fleste av oss få tilgang via kabler. De fleste får kun tilgang via en "
"regulere delingen slik verden er nå. Spørsmålet bør være, hva slags lov vil "
"vi trenge når nettverket blir det nettverket helt klart er på vei mot. Det "
"nettverket er et hvor enhver maskin som bruker strøm i essensen er på "
-"nettet. Uansett hvor du er — muligens med unntak av i ørkenen og "
-"fjerntliggende fjellpartier — kan du umiddelbart bli koblet til "
+"nettet. Uansett hvor du er – muligens med unntak av i ørkenen og "
+"fjerntliggende fjellpartier – kan du umiddelbart bli koblet til "
"Internett. Forestill deg Internett så allstedsnærværende som den beste "
"mobiltelefontjenesten, hvor du er tilkoblet med et enkelt trykk på en bryter."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"I den verden vil det være ekstremt enkelt å koble seg til en tjeneste som "
-"gir deg direkte tilgang til innhold — slik som Internett-radio, "
+"gir deg direkte tilgang til innhold – slik som Internett-radio, "
"innhold som strømmes til brukeren når brukeren ønsker det. Her er dermed "
"det kritiske poenget: Når det er <emphasis>ekstremt</emphasis> enkelt å "
"koble seg til tjenester som gir tilgang til innhold, så vil det være "
"<emphasis>enklere</emphasis> å koble seg til tjenester som gir deg tilgang "
"til innhold enn det vil være å laste ned og lagre innhold <emphasis>på de "
"mange enhetene som du vil ha for å vise frem innhold</emphasis>. Det vil "
-"med andre ord være enklere å abonnere enn det vil være å være "
+"med andre ord være enklere å abonnere enn det vil være å være en "
"databaseadministrator, hvilket enhver er i en <quote>last ned og del</quote>-"
"verden som Napster-lignende teknologier i essensen er. Innholdstjenester "
"vil konkurrere med innholdsdeling, selv om tjenestene krever penger for "
"first-century technologies."
msgstr ""
"Dette poenget om fremtiden er med å foreslå et perspektiv om nåtiden: Det er "
-"ettertrykkelig midlertidig. <quote>Problemet</quote> med fildeling — "
-"i den grad det er et reelt problem — er et problem som mer og mer vil "
+"ettertrykkelig midlertidig. <quote>Problemet</quote> med fildeling – "
+"i den grad det er et reelt problem – er et problem som mer og mer vil "
"forsvinne etter hvert som det blir enklere å koble seg på Internett. Og "
"dermed er det en stor feil for beslutningstakere i dag å <quote>løse</quote> "
"dette problem basert på en teknologi som vil være borte i morgen. "
"kidnapping."
msgstr ""
"Svaret begynner med å erkjenne at det er ulike <quote>problemer</quote> å "
-"løse her. La oss starte med type-D-innhold — ikke "
+"løse her. La oss starte med type-D-innhold – ikke "
"opphavsrettsbeskyttet innhold, eller opphavsrettsbeskyttet innhold som "
"kunstneren ønsker å få delt. <quote>Problemet</quote> med dette innholdet er "
"å sikre at teknologien som muliggjør denne type deling ikke blir gjort "
"Noncommercial Use Levy to Allow Free P2P File Sharing,</quote> tilgjengelig "
"fra <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. For andre "
"forslag, se Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> "
-"<citetitle>Washington Post</citetitle>, 8. january 2002, A17; Philip S. "
+"<citetitle>Washington Post</citetitle>, 8. januar 2002, A17; Philip S. "
"Corwin på vegne av Sharman Networks, Et brev til Senator Joseph R. Biden, "
"Jr., leder i the Senate Foreign Relations Committee, 26. februar. 2002, "
"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #80</"
"lenger er nødvendig, så kan systemet foldes inn i det gamle systemet for å "
"kontrollere tilgang."
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+msgid "semiotic democracy"
+msgstr "semiotisk demokrati"
+
+#. type: Content of: <book><chapter><section><section><indexterm><secondary>
+msgid "semiotic"
+msgstr "semiotisk"
+
#. PAGE BREAK 307
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"mål er ikke bare å sikre at kunstnerne blir betalt, men også å sikre at "
"systemet støtter størst mulig omfang av <quote>semiotisk demokrati</quote>. "
"Men målet om semiotisk demokrati kan oppfylles hvis de andre endringer jeg "
-"beskriver kommer på plass — spesielt begrensninger på avledet bruk. "
+"beskriver kommer på plass – spesielt begrensninger på avledet bruk. "
"Et system som ganske enkelt tar imot betaling for tilgang vil ikke belaste "
"semiotisk demokrati veldig hvis det var få begrensninger på hva en får lov "
"til å gjøre med selve innholdet."
"MusicStore. Som eksperter forutså da Apple lanserte sin MusicStore, så kan "
"den slå <quote>gratis</quote> ved å være enklere enn det som gratis er. "
"Dette har vist seg å være riktig: Apple har solgt millioner av sanger til "
-"selv den veldig høye prisen 99 cent pr. sang (til 99 cent er kostnaden "
-"tilsvarende prisen pr. sang på CD, selv om plateselskapene ikke må betale "
+"selv den veldig høye prisen 99 cent per sang (til 99 cent er kostnaden "
+"tilsvarende prisen per sang på en CD, selv om plateselskapene ikke må betale "
"noen av kostnadene knyttet til CD-produksjon). Apples lansering ble møtt av "
-"Real Networks, som tilbød musikk til kun 79 cent pr. sang. Og uten tvil vil "
+"Real Networks, som tilbød musikk til kun 79 cent per sang. Og uten tvil vil "
"det bli mye konkurranse rundt å tilby og å selge musikk på nettet."
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
"umulig å <quote>konkurrere med gratis.</quote> Faktisk vil konkurransen om "
"ikke annet inspirere til å tilby nye og bedre produkter. Det er nøyaktig "
"det et konkurransedyktig marked skulle handle om. Dermed har en i "
-"Singapore, hvor piratkopiering er utbredt, ofte luksuriøse kinosaler — "
+"Singapore, hvor piratkopiering er utbredt, ofte luksuriøse kinosaler – "
"med <quote>førsteklasses</quote> seter, og måltider servert mens du ser på "
-"en film — mens de kjemper og lykkes i å finne en måte å konkurrere med "
+"en film – mens de kjemper og lykkes i å finne en måte å konkurrere med "
"<quote>gratis.</quote>"
#. type: Content of: <book><chapter><section><section><para>
"Dette konkurranseregimet, med en sikringsmekanisme for å sikre at kunstnere "
"ikke taper, ville bidra mye til nyskapning innen levering av innhold. "
"Konkurransen ville fortsette å redusere type-A-deling. Det ville inspirere "
-"en ekstraordinær rekke av nye innovatører — som ville ha retten til å "
+"en ekstraordinær rekke av nye innovatører – som ville ha retten til å "
"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer "
"fra loven."
"type C sharing at a low and fixed rate set by statute;"
msgstr ""
"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og "
-"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov"
+"kommersiell type-C-deling med en lav og lovfestet pris"
#. 3.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
"practitioner in the field of copyright, Melville Nimmer, thought it obvious."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
-"Indisiene for å bøye av slik er overbevisene. Jeg er angrepet som en "
-"<quote>radikal</quote> av mange innenfor yrket, og likevel er meningene jeg "
-"argumenterer for nøyaktig de meningene til mange av de mest moderate og "
-"betydningsfulle personene i historien til denne delen av loven. Mange trodde "
-"for eksempel at vår utfordring til lovforslaget om å utvide opphavsrettens "
-"vernetid var galskap. Mens for bare tredve år siden mente den dominerende "
-"foreleser og utøver i opphavsrettsfeltet, Melville Nimmer, at den var "
-"åpenbar.<placeholder type=\"footnote\" id=\"0\"/>"
+"Bevisene for denne utviklingen er overbevisende. Jeg er angrepet som en "
+"<quote>radikal</quote> av mange innenfor dette yrket, og likevel er "
+"meningene jeg argumenterer for nøyaktig de meningene til mange av de mest "
+"moderate og betydningsfulle personene i historien til denne delen av "
+"lovverket. Mange trodde for eksempel at vår utfordring til lovforslaget om å "
+"utvide opphavsrettens vernetid var galskap. Mens for bare tredve år siden "
+"mente den dominerende foreleser og utøver i opphavsrettsfeltet, Melville "
+"
Nimmer, at den var åpenbar.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><chapter><section><section><para>
msgid ""
"to actually reckon the costs of the law."
msgstr ""
"Min kritikk av rollen som advokater har spilt i denne debatten handler "
-"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere "
-"om vår manglende evne til å faktisk ta inn over oss hva loven koster."
+"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda mer om "
+"vår manglende evne til å faktisk ta inn over oss hva loven koster."
#. type: Content of: <book><chapter><section><section><para><footnote><para>
msgid ""
msgstr ""
"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør få "
"ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til "
-"å stille spørsmål med sin egen uttalte posisjon—to ganger. I starten "
-"forutsa han at nedlasting ville påføre industrien vesentlig skade. Han "
-"endret så sitt syn i lys av dataene, og han har siden endret sitt syn på "
+"å stille spørsmål med sin egen uttalte posisjon – to ganger. I "
+"starten forutsa han at nedlasting ville påføre industrien vesentlig skade. "
+"Han endret så sitt syn i lys av dataene, og han har siden endret sitt syn på "
"nytt. Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the Network "
"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New "
"York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) "
msgstr ""
"Kostbarheten, klumsetheten og tilfeldigheten til dette systemet håner vår "
"tradisjon. Og advokater, såvel som akademikere, bør se det som sin plikt å "
-"endre hvordan loven praktiseres — eller bedre, endre loven slik at den "
+"endre hvordan loven praktiseres – eller bedre, endre loven slik at den "
"fungerer. Det er galt at systemet fungerer godt bare for den øverste 1-"
"prosenten av klientene. Det kan gjøres radikalt mer effektivt, og billig, "
"og dermed radikalt mer rettferdig."
"produces. Again, this is the reality of Brezhnev's Russia."
msgstr ""
"Tenk på de fantastiske tingene ditt barn kan gjøre eller lage med digital "
-"teknologi — filmen, musikken, websiden, bloggen. Eller tenk på de "
+"teknologi – filmen, musikken, websiden, bloggen. Eller tenk på de "
"fantastiske tingene ditt fellesskap kunne få til med digital teknologi "
-"— en wiki, oppsetting av låve, kampanje til å endre noe. Tenk på alle "
+"– en wiki, oppsetting av låve, kampanje til å endre noe. Tenk på alle "
"de kreative tingene, og tenk deretter på kald sirup helt inn i maskinene. "
"Dette er hva ethvert regime som krever tillatelser fører til. Dette er "
"virkeligheten slik den var i Brezhnevs Russland."
"question: <quote>Will it do good?</quote> When challenged about the "
"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>"
msgstr ""
-"Loven bør regulere i visse områder av kulturen — men det bør regulere "
+"Loven bør regulere i visse områder av kulturen – men det bør regulere "
"kultur bare der reguleringen bidrar positivt. Likevel tester advokater "
"sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk "
"spørsmålet: <quote>vil det bidra positivt?</quote> Når de blir utfordret om "
"there."
msgstr ""
"Yuko Noguchi hjalp meg å forstå lovene i Japan, så vel som Japans kultur. "
-"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med "
+"Jeg er henne takknemlig, og til de mange andre i Japan som hjalp meg med "
"forundersøkelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto "
"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro "
"Yonezawa. Jeg er også takknemlig overfor professor Nobuhiro Nakayama og "
"in part inspired by Stallman's, he does not agree with me in important "
"places throughout this book."
msgstr ""
-"Richard Stallman og Michael Carroll har begge lest hele boken i utkast, og "
+"Richard Stallman og Michael Carroll har begge lest utkast til hele boken, og "
"hver av dem har bidratt med svært nyttige korreksjoner og råd. Michael hjalp "
"meg å se mer tydelig betydningen av regulering for avledede verk. Og "
"Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er "
msgstr ""
"Denne utgaven av <citetitle>Fri kultur</citetitle> er resultatet av tre års "
"frivillig arbeide. Idéen kom ut av en diskusjon jeg hadde med en venn for "
-"omtrent ti år siden om opphavsrettsdiskusjonen i Norge, og hvor sjelden "
+"omtrent ti år siden om opphavsrettsdebatten i Norge, og hvor sjelden "
"utfordringene med lang opphavsrett kom opp i offentlig debatt. For litt mer "
"enn tre år siden tok jeg endelig en ny titt på idéen og bestemte meg for å "
"gi ut en bokmålsversjon av <citetitle>Fri kultur</citetitle>, oversatt og "
#. type: Content of: <book><chapter><para>
msgid ""
-"Several people joined, and Anders Hagen Jarmund, Kirill Miazine and Odd "
-"Kleiva 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 and Johannes Larsen did very valuable "
-"proofreading. Håkon Wium Lie helped me track down a good replacement font "
-"without usage restrictions instead of the one in the original PDF. The PDF "
-"typesetting is done using dblatex, which we selected over the alternatives "
-"thanks to the invaluable and quick help from Benoît Guillon and Andreas "
-"Hoenen. Thomas Gramstad donated ISBN numbers needed for distribution to "
-"book stores. 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."
+"Several people joined, and Anders Hagen Jarmund, Kirill Miazine, Odd Kleiva, "
+"Kjetil Kilhavn og Kjetil T. Homme assisted with the initial translation. "
+"Ralph Amissah and his SiSu version provided index entries. Morten Sickel "
+"and Alexander Alemayhu helped with the figures, redrawing some of the "
+"bitmaps as vector images. Wivi Reinholdtsen, Ingrid Yrvin, Johannes Larsen "
+"and Gisle Hannemyr did very valuable proofreading. Håkon Wium Lie helped me "
+"track down a good replacement font without usage restrictions instead of the "
+"one in the original PDF. The PDF typesetting is done using dblatex, which "
+"we selected over the alternatives thanks to the invaluable and quick help "
+"from Benoît Guillon and Andreas Hoenen. Thomas Gramstad donated ISBN "
+"numbers needed for distribution to book stores. Marc Jeanmougin from the "
+"inkscape community helped me replicate the original front cover. The "
+"support of Lawrence Lessig helped me to complete the project—I am very "
+"thankful he had the original screen shots still available after 11 years."
msgstr ""
"Flere folk ble med, og Anders Hagen Jarmund, Kirill Miazine og Odd Kleiva "
"bidro med den første oversettelsen. Ralph Amissah og hans SiSu-utgave bidro "
"med registeroppføringer. Morten Sickel og Alexander Alemayhu hjalp til med "
"figurene, ved å tegne av noen av bitmap-ene som vektorbilder. Wivi "
-"Reinholdtsen, Ingrid Yrvin og Johannes Larsen bidro med svært verdiful "
-"korrekturlesing. Håkon Wium Lie hjalp meg med å spore ned gode "
-"erstatningsskrifttyper uten brukbegrensninger for dem som var i den "
+"Reinholdtsen, Ingrid Yrvin, Johannes Larsen og Gisle Hannemyr bidro med "
+"svært verdiful korrekturlesing. Håkon Wium Lie hjalp meg med å spore opp "
+"gode erstatningsskrifttyper uten brukbegrensninger for dem som var i den "
"originale PDF-en. PDF-typesettingen ble gjort med dblatex, som vi valgte i "
"stedet for alternativene takket være uvurderlig og kjapp hjelp fra Benoît "
"Guillon og Andreas Hoenen. Thomas Gramstad donerte ISBN-nummer som trengs "
#. type: Content of: <book><chapter><para>
msgid ""
-"I am also very grateful for my family for their patience with me in this "
-"project."
+"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."
+msgstr ""
+"På slutten av prosjektet, da oversettelsen var ferdig og det var på tide å "
+"publisere, ble NUUG Foundation spurt og sa seg villig til å sponse bøker "
+"til Stortingsrepresentantene og andre beslutningstakere i Norge."
+
+#. type: Content of: <book><chapter><para>
+msgid ""
+"In addition to these great contributors, I am very grateful to Mari and my "
+"family for their patience with me in this project."
msgstr ""
-"Jeg er svært takknemlig for at min familie har vært tålmodig med meg gjennom "
-"dette prosjektet."
+"Jeg er svært takknemlig for at Mari og min familie har vært tålmodig med meg "
+"gjennom dette prosjektet."
#. type: Content of: <book><chapter><para>
-msgid "— Petter Reinholdtsen, Oslo 2015-08-27"
-msgstr "— Petter Reinholdtsen, Oslo 2015-08-27"
+msgid "— Petter Reinholdtsen, Oslo 2015-09-07"
+msgstr "— Petter Reinholdtsen, Oslo 2015-09-07"
#. type: Content of: <book><colophon><para>
msgid ""
"quote> <citetitle>The New York Times</citetitle>, January 16, 2003. "
"Copyright © 2003 by The New York Times Co. Reprinted with permission."
msgstr ""
-"Utdrag fra redaktørartikkel <quote>The Coming of Copyright Perpetuity,</"
-"quote> <citetitle>The New York Times</citetitle>, 16. januar 2003. "
+"Utdrag fra lederartikkel <quote>The Coming of Copyright Perpetuity,</quote> "
+"<citetitle>The New York Times</citetitle>, 16. januar 2003. "
"Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med "
"tillatelse."
"pattern-modern-media-ownership\"/> kommer fra kontoret til FCC-"
"kommisjonæren, Michael J. Copps."
+#. type: Content of: <book><colophon><para>
+msgid "Cover created by Petter Reinholdtsen using inkscape."
+msgstr "Omslag ble laget av Petter Reinholdtsen ved hjelp av inkscape."
+
#. type: Content of: <book><colophon><para>
msgid ""
-"The book cover was created by Petter Reinholdtsen using inkscape. Portrait "
-"on the back cover is copyright 2013 ActuaLitté and licensed under a Creative "
-"Commons Attribution-ShareAlike 2.0 license. It was downloaded from <ulink "
-"url=\"https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)"
-"_(cropped).jpg\"/>."
+"The quotes on the cover came from <ulink url=\"http://free-culture.cc/jacket/"
+"\"/>."
msgstr ""
-"Bokomslaget ble laget av Petter Reinholdtsen ved hjelp av inkscape. "
-"Portrettet på baksiden er opphavsrettsbeskyttet 2013 ActuaLitté og "
-"lisensiert med en Creative Commons Attribution-ShareAlike 2.0-lisens. Det "
-"ble lastet ned fra <ulink url=\"https://commons.wikimedia.org/wiki/File"
-"%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/>."
+"Sitatene på omslaget kom fra <ulink url=\"http://free-culture.cc/jacket/\"/>."
#. type: Content of: <book><colophon><para>
-msgid "Includes index."
-msgstr "Inkluderer register."
+msgid ""
+"Portrait on the cover was created 2013 by ActuaLitté and licensed under a "
+"Creative Commons Attribution-ShareAlike 2.0 license. It was downloaded from "
+"<ulink url=\"https://commons.wikimedia.org/wiki/File"
+"%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/>."
+msgstr ""
+"Portrettet på omslaget ble laget i 2013 av ActuaLitté og lisensiert med en "
+"Creative Commons Attribution-ShareAlike 2.0-lisens. Det ble lastet ned fra "
+"<ulink url=\"https://commons.wikimedia.org/wiki/File"
+"%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/>."
#. type: Content of: <book><colophon><para>
msgid "Classifications:"
msgid "Thomas Gramstad Forlag donated the ISBN numbers."
msgstr "Thomas Gramstad Forlag har donert ISBN-numrene."
+#. type: Content of: <book><colophon><para>
+msgid ""
+"Printing was sponsed by NUUG Foundation, <ulink url=\"http://www."
+"nuugfoundation.no/\"/>."
+msgstr ""
+"Trykking ble sponset av NUUG Foundation, <ulink url=\"http://www."
+"nuugfoundation.no/\"/>."
+
+#. type: Content of: <book><colophon><para>
+msgid "Includes index."
+msgstr "Inkluderer register."
+
#. type: Content of: <book><colophon><para>
msgid ""
"The Docbook source is available from <ulink url=\"https://github.com/"
"petterreinholdtsen/free-culture-lessig\"/>. Rapporter ethvert problem med "
"boken dit."
+#. type: Attribute 'fileref' of: <book><colophon><para><informalfigure><graphic>
+msgid "images/cc.svg"
+msgstr "images/cc.svg"
+
#. type: Content of: <book><colophon><para>
msgid ""
"This book is a proof reading draft. Please visit the github URL above to "
"Denne boken er et korrekturlesingsutkast. Besøk github-URLen nevnt over for "
"å få tak i siste utgave."
+#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
+msgid "Format / MIME-type"
+msgstr "Format / MIME-type"
+
#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
msgid "ISBN"
msgstr "ISBN"
-#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
-msgid "Format / MIME-type"
-msgstr "Format / MIME-type"
+#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
+msgid "US Trade edition from lulu.com"
+msgstr "US Trade-utgave fra lulu.com"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-010-6"
msgstr "978-82-8067-014-4"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-msgid "US Trade size from lulu.com"
-msgstr "US Trade-utgave fra lulu.com"
+msgid "application/pdf"
+msgstr "application/pdf"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-011-3"
msgstr "978-82-8067-015-1"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-msgid "application/pdf"
-msgstr "application/pdf"
+msgid "application/epub+zip"
+msgstr "application/epub+zip"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-012-0"
msgstr "978-82-8067-016-8"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-msgid "application/epub+zip"
-msgstr "application/epub+zip"
+msgid "application/x-mobipocket-ebook"
+msgstr "application/x-mobipocket-ebook"
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
msgid "978-82-8067-013-7"
msgstr "978-82-8067-017-5"
-#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-msgid "application/x-mobipocket-ebook"
-msgstr "application/x-mobipocket-ebook"
-
#. type: Content of: <chapter><para>
msgid "Lawrence Lessig"
msgstr "Lawrence Lessig"
msgstr ""
"<quote><citetitle>Fri kultur</citetitle> er en underholdende og viktig titt "
"på fortid og fremtid for den kalde krigen mellom mediaindustrien og nye "
-"teknologier.</quote> — <emphasis>Marc Andreessen, medstifter av "
+"teknologier.</quote> – <emphasis>Marc Andreessen, medstifter av "
"Netscape</emphasis>"
+#. type: Content of: <chapter><para>
+msgid ""
+"<quote><citetitle>Free Culture</citetitle> goes beyond illuminating the "
+"catastrophe to our culture of increasing regulation to show examples of how "
+"we can make a different future. These new-style heroes and examples are "
+"rooted in the traditions of the founding fathers in ways that seem obvious "
+"after reading this book. Recommended reading to those trying to unravel the "
+"shrill hype around <quote>intellectual property.</quote></quote> — "
+"<emphasis>Brewster Kahle, founder of the Internet Archive</emphasis>"
+msgstr ""
+"<quote><citetitle>Fri kultur</citetitle> går videre fra å sette fokus på "
+"katastrofen økende regulering er for kulturen vår, og viser eksempler på "
+"hvordan vi kan skape en annerledes fremtid. Denne nye typen helter og "
+"eksempler er fundert i tradisjonen til grunnlovsforfatterne på en måte som "
+"virker opplagt etter at en har lest denne boka. Anbefales lest av dem som "
+"forsøker å se forbi de høylydte overdrivelsene som omgir "
+"<quote>intellektuell eiendom.</quote></quote> – <emphasis>Brewster "
+"Kahle, stifter av Internett-arkivet</emphasis>"
+
#. type: Content of: <chapter><para>
msgid ""
"<quote>America needs a national conversation about the way in which so-"
"<emphasis>Dan Gillmor, author of <citetitle>We the media</citetitle>, an "
"book on the collision of media and technology</emphasis>"
msgstr ""
-
-#. type: Content of: <chapter><para>
-msgid ""
-"<quote><citetitle>Free Culture</citetitle> goes beyond illuminating the "
-"catastrophe to our culture of increasing regulation to show examples of how "
-"we can make a different future. These new-style heroes and examples are "
-"rooted in the traditions of the founding fathers in ways that seem obvious "
-"after reading this book. Recommended reading to those trying to unravel the "
-"shrill hype around <quote>intellectual property.</quote></quote> — "
-"<emphasis>Brewster Kahle, founder of the Internet Archive</emphasis>"
-msgstr ""
-"<quote><citetitle>Fri kultur</citetitle> går videre fra å sette fokus på "
-"katastrofen økende regulering er for vår kultur og viser eksempler på "
-"hvordan vi kan skape en annerledes fremtid. Denne nye typen helter og "
-"eksempler er fundert i tradisjonen til grunnlovsforfatterne på en måte som "
-"virker åpenbart etter at en har lest denne boka. Anbefales lest av de som "
-"forsøker å avdekke *shrill hype* rundt <quote>intellektuell eiendom.</"
-"quote></quote> — <emphasis>Brewster Kahle, stifter av Internett-"
-"arkivet</emphasis>"
+"<quote>USA trenger en nasjonal diskusjon om hvordan det som kalles "
+"<quote>intellektuelle eiendomsretter</quote> har endt opp med å dominere "
+"rettighetene til akademikere, forskere og helt vanlige borgere. Et "
+"opphavsrettskartell, som ønsker total kontroll over de digitale verdener, "
+"musikk og filmer, har nå vetorett over teknologiske nyvinninger, og har "
+"stoppet de fleste bidragene til allemannseiet som så mange har hatt nytte "
+"av. Patentsystemet har kommet ut av kontroll, og gir enorm makt til de "
+"interesser som har befestet seg. Selv varemerker blir misbrukt. Lawrence "
+"Lessigs siste bok bør leses av alle som ønsker å delta i denne diskusjonen. "
+"Han forklarer hvordan teknologi og rettsvesenet raner allemannseiet fra "
+"oss. Men på tross av sin godt funderte pessimisme tilbyr professor Lessig "
+"også noen løsninger, da han forstår at teknologi også kan være en "
+"katalysator for frihet. Hvis du bryr deg om fremtiden til nyskapning, les "
+"denne boken.</quote> – <emphasis>Dan Gillmor, forfatter av "
+"<citetitle>We the media</citetitle>, en bok om sammenstøtet mellom media og "
+"teknologi</emphasis>"
msgid ""
msgstr ""
"Project-Id-Version: PACKAGE VERSION\n"
-"POT-Creation-Date: 2015-09-01 13:05+0300\n"
+"POT-Creation-Date: 2015-09-17 11:43+0200\n"
"PO-Revision-Date: YEAR-MO-DA HO:MI+ZONE\n"
"Last-Translator: FULL NAME <EMAIL@ADDRESS>\n"
"Language-Team: LANGUAGE <LL@li.org>\n"
#. type: Content of: <book><bookinfo>
#: freeculture.xml:24
-msgid "<pubdate>2004-03-25</pubdate> <edition>1</edition>"
+msgid "<pubdate>2015-09-04</pubdate> <edition>1</edition>"
msgstr ""
#. type: Content of: <book><bookinfo><releaseinfo>
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:95 freeculture.xml:15784
+#: freeculture.xml:95 freeculture.xml:15937
msgid ""
"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 "
msgstr ""
#. testing different ways to tag the cover page
-#
-#. <imageobject remap="s" role="front">
-#
-#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
-#. </imageobject>
-#. <imageobject remap="xs" role="front-small">
-#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
-#. </imageobject>
-#. <imageobject remap="cs" role="thumbnail">
-#. <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
-#. </imageobject>
-#
#. type: Content of: <book><bookinfo><mediaobject>
#: freeculture.xml:126
msgid ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata "
-"fileref=\"images/cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
+"fileref=\"images/cover-front-72dpi.png\" format=\"PNG\" width=\"444\" /> "
+"</imageobject> <imageobject remap=\"s\" role=\"front\"> <imagedata "
+"fileref=\"images/cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> "
+"</imageobject> <imageobject remap=\"xs\" role=\"front-small\"> <imagedata "
+"fileref=\"images/cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> "
+"</imageobject> <imageobject remap=\"cs\" role=\"thumbnail\"> <imagedata "
+"fileref=\"images/cover-front-10dpi.png\" format=\"PNG\" width=\"444\" /> "
+"</imageobject>"
msgstr ""
#. LCCN from
msgstr ""
#. type: Content of: <book><dedication><title>
-#: freeculture.xml:155
+#: freeculture.xml:153
msgid "Also by Lawrence Lessig"
msgstr ""
-#. 2014
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:162
-msgid "The USA is lesterland: The nature of congressional corruption"
+#: freeculture.xml:159
+msgid "The USA is lesterland: The nature of congressional corruption (2014)"
msgstr ""
-#. 2011, 2012
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:166
-msgid "Republic, lost: How money corrupts Congress - and a plan to stop it"
+#: freeculture.xml:162
+msgid "Republic, lost: How money corrupts Congress - and a plan to stop it (2011)"
msgstr ""
-#. 2008
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:170
-msgid "Remix: Making art and commerce thrive in the hybrid economy"
+#: freeculture.xml:165
+msgid "Remix: Making art and commerce thrive in the hybrid economy (2008)"
msgstr ""
-#. 2006
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:174
-msgid "Code: Version 2.0"
+#: freeculture.xml:168
+msgid "Code: Version 2.0 (2006)"
msgstr ""
-#. 2001, 2002
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:178
-msgid "The Future of Ideas: The Fate of the Commons in a Connected World"
+#: freeculture.xml:171
+msgid "The Future of Ideas: The Fate of the Commons in a Connected World (2001)"
msgstr ""
-#. 1999
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:182
-msgid "Code: And Other Laws of Cyberspace"
+#: freeculture.xml:174
+msgid "Code: And Other Laws of Cyberspace (1999)"
msgstr ""
#. type: Content of: <book><dedication><para>
-#: freeculture.xml:195
+#: freeculture.xml:187
msgid ""
"To Eric Eldred — whose work first drew me to this cause, and for whom "
"it continues still."
msgstr ""
#. type: Content of: <book><lot><title>
-#: freeculture.xml:205
+#: freeculture.xml:197
msgid "List of figures"
msgstr ""
#. type: Content of: <book><preface><title>
-#: freeculture.xml:267
+#: freeculture.xml:259
msgid "Preface"
msgstr ""
#. type: Content of: <book><preface><indexterm><primary>
-#: freeculture.xml:268
+#: freeculture.xml:260
msgid "Pogue, David"
msgstr ""
+#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
+#: freeculture.xml:261 freeculture.xml:6524 freeculture.xml:6655 freeculture.xml:6719
+msgid "Code (Lessig)"
+msgstr ""
+
#. type: Content of: <book><preface><para>
-#: freeculture.xml:270
+#: freeculture.xml:263
msgid ""
"<emphasis role=\"bold\">At the end</emphasis> of his review of my first "
"book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David "
msgstr ""
#. type: Content of: <book><preface><blockquote><para><footnote><para>
-#: freeculture.xml:281
+#: freeculture.xml:274
msgid ""
"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New "
"York Times</citetitle>, 30 January 2000."
msgstr ""
#. type: Content of: <book><preface><blockquote><para>
-#: freeculture.xml:277
+#: freeculture.xml:270
msgid ""
"Unlike actual law, Internet software has no capacity to punish. It doesn't "
"affect people who aren't online (and only a tiny minority of the world "
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:286
+#: freeculture.xml:279
msgid ""
"Pogue was skeptical of the core argument of the book—that software, or "
"<quote>code,</quote> functioned as a kind of law—and his review "
#. PAGE BREAK 12
#. type: Content of: <book><preface><para>
-#: freeculture.xml:295
+#: freeculture.xml:288
msgid ""
"Pogue might have been right in 1999—I'm skeptical, but maybe. But "
"even if he was right then, the point is not right now: <citetitle>Free "
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:306
+#: freeculture.xml:299
msgid ""
"But unlike <citetitle>Code</citetitle>, the argument here is not much about "
"the Internet itself. It is instead about the consequence of the Internet to "
msgstr ""
#. type: Content of: <book><preface><para><footnote><para>
-#: freeculture.xml:318
+#: freeculture.xml:311
msgid ""
"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 "
"(Joshua Gay, ed. 2002)."
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:313
+#: freeculture.xml:306
msgid ""
"That tradition is the way our culture gets made. As I explain in the pages "
"that follow, we come from a tradition of <quote>free "
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:333
+#: freeculture.xml:326
msgid ""
"If we understood this change, I believe we would resist it. Not "
"<quote>we</quote> on the Left or <quote>you</quote> on the Right, but we who "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:341 freeculture.xml:995
+#: freeculture.xml:334 freeculture.xml:989
msgid "power, concentration of"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:342 freeculture.xml:13833
+#: freeculture.xml:335 freeculture.xml:13953
msgid "CodePink Women in Peace"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:343 freeculture.xml:364 freeculture.xml:13834
+#: freeculture.xml:336 freeculture.xml:357 freeculture.xml:13954
msgid "Safire, William"
msgstr ""
#. type: Content of: <book><preface><indexterm><primary>
-#: freeculture.xml:344
+#: freeculture.xml:337
msgid "Stevens, Ted"
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:346
+#: freeculture.xml:339
msgid ""
"We saw a glimpse of this bipartisan outrage in the early summer of 2003. As "
"the FCC considered changes in media ownership rules that would relax limits "
msgstr ""
#. type: Content of: <book><preface><blockquote><para><footnote><para>
-#: freeculture.xml:362
+#: freeculture.xml:355
msgid ""
"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York "
"Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><preface><blockquote><para>
-#: freeculture.xml:358
+#: freeculture.xml:351
msgid ""
"Does that sound unconservative? Not to me. The concentration of "
"power—political, corporate, media, cultural—should be anathema "
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:369
+#: freeculture.xml:362
msgid ""
"This idea is an element of the argument of <citetitle>Free "
"Culture</citetitle>, though my focus is not just on the concentration of "
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:380
+#: freeculture.xml:373
msgid ""
"<emphasis role=\"strong\">The inspiration</emphasis> for the title and for "
"much of the argument of this book comes from the work of Richard Stallman "
#. PAGE BREAK 14
#. type: Content of: <book><preface><para>
-#: freeculture.xml:389
+#: freeculture.xml:382
msgid ""
"I accept that criticism, if indeed it is a criticism. The work of a lawyer "
"is always derivative, and I mean to do nothing more in this book than to "
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:407
+#: freeculture.xml:400
msgid ""
"Instead, the free culture that I defend in this book is a balance between "
"anarchy and control. A free culture, like a free market, is filled with "
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:422
+#: freeculture.xml:415
msgid "Introduction"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:423 freeculture.xml:526 freeculture.xml:984
+#: freeculture.xml:416 freeculture.xml:519 freeculture.xml:978
msgid "Wright brothers"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:425
+#: freeculture.xml:418
msgid ""
"<emphasis role=\"strong\">On December 17</emphasis>, 1903, on a windy North "
"Carolina beach for just shy of one hundred seconds, the Wright brothers "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:432
+#: freeculture.xml:425
msgid "air traffic, land ownership vs."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:433 freeculture.xml:14857
+#: freeculture.xml:426 freeculture.xml:14985
msgid "land ownership, air traffic and"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:434 freeculture.xml:4660 freeculture.xml:13736 freeculture.xml:14858
+#: freeculture.xml:427 freeculture.xml:4693 freeculture.xml:13855 freeculture.xml:14986
msgid "property rights"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:434 freeculture.xml:14858
+#: freeculture.xml:427 freeculture.xml:14986
msgid "air traffic vs."
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:440
+#: freeculture.xml:433
msgid ""
"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South "
"Hackensack, N.J.: Rothman Reprints, 1969), 18."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:436
+#: freeculture.xml:429
msgid ""
"At the time the Wright brothers invented the airplane, American law held "
"that a property owner presumptively owned not just the surface of his land, "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:450
+#: freeculture.xml:443
msgid ""
"Then came airplanes, and for the first time, this principle of American "
"law—deep within the foundations of our tradition, and acknowledged by "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:458 freeculture.xml:471 freeculture.xml:504 freeculture.xml:524 freeculture.xml:710 freeculture.xml:837 freeculture.xml:964 freeculture.xml:982 freeculture.xml:1030 freeculture.xml:9585 freeculture.xml:13152 freeculture.xml:13937
+#: freeculture.xml:451 freeculture.xml:464 freeculture.xml:497 freeculture.xml:517 freeculture.xml:703 freeculture.xml:831 freeculture.xml:958 freeculture.xml:976 freeculture.xml:1024 freeculture.xml:9642 freeculture.xml:13270 freeculture.xml:14057
msgid "Causby, Thomas Lee"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:459 freeculture.xml:472 freeculture.xml:505 freeculture.xml:525 freeculture.xml:711 freeculture.xml:838 freeculture.xml:965 freeculture.xml:983 freeculture.xml:1031 freeculture.xml:9586 freeculture.xml:13153 freeculture.xml:13938
+#: freeculture.xml:452 freeculture.xml:465 freeculture.xml:498 freeculture.xml:518 freeculture.xml:704 freeculture.xml:832 freeculture.xml:959 freeculture.xml:977 freeculture.xml:1025 freeculture.xml:9643 freeculture.xml:13271 freeculture.xml:14058
msgid "Causby, Tinie"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:461
+#: freeculture.xml:454
msgid ""
"In 1945, these questions became a federal case. When North Carolina farmers "
"Thomas Lee and Tinie Causby started losing chickens because of low-flying "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:473
+#: freeculture.xml:466
msgid "Douglas, William O."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:474 freeculture.xml:4549 freeculture.xml:5151 freeculture.xml:8898 freeculture.xml:14245
+#: freeculture.xml:467 freeculture.xml:4581 freeculture.xml:5184 freeculture.xml:8955 freeculture.xml:12298 freeculture.xml:12299 freeculture.xml:14369
msgid "Supreme Court, U.S."
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:474
+#: freeculture.xml:467
msgid "on airspace vs. land rights"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:476
+#: freeculture.xml:469
msgid ""
"The Supreme Court agreed to hear the Causbys' case. Congress had declared "
"the airways public, but if one's property really extended to the heavens, "
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:496
+#: freeculture.xml:489
msgid ""
"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
"there could be a <quote>taking</quote> if the government's use of its land "
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:487
+#: freeculture.xml:480
msgid ""
"[The] doctrine has no place in the modern world. The air is a public "
"highway, as Congress has declared. Were that not true, every "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:510
+#: freeculture.xml:503
msgid "<quote>Common sense revolts at the idea.</quote>"
msgstr ""
#. PAGE BREAK 18
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:514
+#: freeculture.xml:507
msgid ""
"This is how the law usually works. Not often this abruptly or impatiently, "
"but eventually, this is how it works. It was Douglas's style not to "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:528
+#: freeculture.xml:521
msgid ""
"Or at least, this is how things happen when there's no one powerful on the "
"other side of the change. The Causbys were just farmers. And though there "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:549 freeculture.xml:9593 freeculture.xml:10288
+#: freeculture.xml:542 freeculture.xml:9650 freeculture.xml:10357
msgid "Armstrong, Edwin Howard"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:550
+#: freeculture.xml:543
msgid "Bell, Alexander Graham"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:551
+#: freeculture.xml:544
msgid "Edison, Thomas"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:552
+#: freeculture.xml:545
msgid "Faraday, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:553 freeculture.xml:4290 freeculture.xml:6832 freeculture.xml:10195
+#: freeculture.xml:546 freeculture.xml:3373 freeculture.xml:4316 freeculture.xml:6874 freeculture.xml:8667 freeculture.xml:10261 freeculture.xml:10309
msgid "radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:553 freeculture.xml:6832
+#: freeculture.xml:546 freeculture.xml:6874
msgid "FM spectrum of"
msgstr ""
#. PAGE BREAK 19
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:555
+#: freeculture.xml:548
msgid ""
"<emphasis role='strong'>Edwin Howard Armstrong</emphasis> is one of "
"America's forgotten inventor geniuses. He came to the great American "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:568
+#: freeculture.xml:561
msgid ""
"On the day after Christmas, 1933, four patents were issued to Armstrong for "
"his most significant invention—FM radio. Until then, consumer radio "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:578
+#: freeculture.xml:571
msgid ""
"On November 5, 1935, he demonstrated the technology at a meeting of the "
"Institute of Radio Engineers at the Empire State Building in New York "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:589
+#: freeculture.xml:582
msgid "The audience was hearing something no one had thought possible:"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:600
+#: freeculture.xml:593
msgid ""
"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard "
"Armstrong</citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209."
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:593
+#: freeculture.xml:586
msgid ""
"A glass of water was poured before the microphone in Yonkers; it sounded "
"like a glass of water being poured. … A paper was crumpled and torn; "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
-#. type: Content of: <book><
part><chapter><section><indexterm><primary>
-#: freeculture.xml:605 freeculture.xml:6835
+#. type: Content of: <book><
chapter><indexterm><primary>
+#: freeculture.xml:598 freeculture.xml:6877 freeculture.xml:14121
msgid "RCA"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:606 freeculture.xml:2483 freeculture.xml:2501 freeculture.xml:2535 freeculture.xml:2537
+#: freeculture.xml:599 freeculture.xml:2482 freeculture.xml:2500 freeculture.xml:2534 freeculture.xml:2536
msgid "media"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:606 freeculture.xml:2537
+#: freeculture.xml:599 freeculture.xml:2536
msgid "ownership concentration in"
msgstr ""
#. PAGE BREAK 20
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:608
+#: freeculture.xml:601
msgid ""
"As our own common sense tells us, Armstrong had discovered a vastly superior "
"radio technology. But at the time of his invention, Armstrong was working "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:616 freeculture.xml:638
+#: freeculture.xml:609 freeculture.xml:631
msgid "Sarnoff, David"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:618
+#: freeculture.xml:611
msgid ""
"RCA's president, David Sarnoff, a friend of Armstrong's, was eager that "
"Armstrong discover a way to remove static from AM radio. So Sarnoff was "
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:629
+#: freeculture.xml:622
msgid ""
"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> "
"First Electronic Church of America, at www.webstationone.com/fecha, "
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:626
+#: freeculture.xml:619
msgid ""
"I thought Armstrong would invent some kind of a filter to remove static from "
"our AM radio. I didn't think he'd start a revolution— start up a whole "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:637 freeculture.xml:6831
+#: freeculture.xml:630 freeculture.xml:6873
msgid "FM radio"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:640
+#: freeculture.xml:633
msgid ""
"Armstrong's invention threatened RCA's AM empire, so the company launched a "
"campaign to smother FM radio. While FM may have been a superior technology, "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:645
+#: freeculture.xml:638
msgid "Lessing, Lawrence"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:653
+#: freeculture.xml:646
msgid "Lessing, 226."
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:648
+#: freeculture.xml:641
msgid ""
"The forces for FM, largely engineering, could not overcome the weight of "
"strategy devised by the sales, patent, and legal offices to subdue this "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:657
+#: freeculture.xml:650
msgid "FCC"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:657
+#: freeculture.xml:650
msgid "on FM radio"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:659
+#: freeculture.xml:652
msgid ""
"RCA at first kept the technology in house, insisting that further tests were "
"needed. When, after two years of testing, Armstrong grew impatient, RCA "
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:678
+#: freeculture.xml:671
msgid "Lessing, 256."
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:674
+#: freeculture.xml:667
msgid ""
"The series of body blows that FM radio received right after the war, in a "
"series of rulings manipulated through the FCC by the big radio interests, "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:683
+#: freeculture.xml:676
msgid "AT&T"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:685
+#: freeculture.xml:678
msgid ""
"To make room in the spectrum for RCA's latest gamble, television, FM radio "
"users were to be moved to a totally new spectrum band. The power of FM radio "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:697
+#: freeculture.xml:690
msgid ""
"Armstrong resisted RCA's efforts. In response, RCA resisted Armstrong's "
"patents. After incorporating FM technology into the emerging standard for "
#. PAGE BREAK 22
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:713
+#: freeculture.xml:706
msgid ""
"This is how the law sometimes works. Not often this tragically, and rarely "
"with heroic drama, but sometimes, this is how it works. From the beginning, "
"did not: the power to stifle the effect of technological change."
msgstr ""
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:730 freeculture.xml:1103 freeculture.xml:2354 freeculture.xml:2366 freeculture.xml:2450 freeculture.xml:2484 freeculture.xml:2510 freeculture.xml:2760 freeculture.xml:4166 freeculture.xml:6715 freeculture.xml:7572 freeculture.xml:7640 freeculture.xml:10194 freeculture.xml:13468 freeculture.xml:14028 freeculture.xml:14029 freeculture.xml:14103
+#. type: Content of: <book><chapter><section><section><
section><indexterm><primary>
+#: freeculture.xml:723 freeculture.xml:1097 freeculture.xml:2315 freeculture.xml:2352 freeculture.xml:2365 freeculture.xml:2449 freeculture.xml:2483 freeculture.xml:2509 freeculture.xml:2760 freeculture.xml:4186 freeculture.xml:6757 freeculture.xml:7620 freeculture.xml:7688 freeculture.xml:7976 freeculture.xml:10260 freeculture.xml:13586 freeculture.xml:14152 freeculture.xml:14153 freeculture.xml:14227 freeculture.xml:14758
msgid "Internet"
msgstr ""
#. type: Content of: <book><chapter><section><indexterm><secondary>
-#: freeculture.xml:730 freeculture.xml:4700 freeculture.xml:13468 freeculture.xml:14028
+#: freeculture.xml:723 freeculture.xml:4733 freeculture.xml:13586 freeculture.xml:14152
msgid "development of"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:738
+#: freeculture.xml:731
msgid ""
"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at "
"Internet Access and the Digital Divide,</quote> Pew Internet and American "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:732
+#: freeculture.xml:725
msgid ""
"<emphasis role=\"strong\">There's no</emphasis> single inventor of the "
"Internet. Nor is there any good date upon which to mark its birth. Yet in a "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:747
+#: freeculture.xml:740
msgid ""
"As the Internet has been integrated into ordinary life, it has changed "
"things. Some of these changes are technical—the Internet has made "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:758
+#: freeculture.xml:751
msgid ""
"Instead, this book is about an effect of the Internet beyond the Internet "
"itself: an effect upon how culture is made. My claim is that the Internet "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:767
+#: freeculture.xml:760
msgid "Barlow, Joel"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:768
+#: freeculture.xml:761 freeculture.xml:762
msgid "culture"
msgstr ""
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+#: freeculture.xml:761 freeculture.xml:810 freeculture.xml:1701 freeculture.xml:5291 freeculture.xml:6526 freeculture.xml:14192
+msgid "free culture"
+msgstr ""
+
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:768
+#: freeculture.xml:762
msgid "commercial vs. noncommercial"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:769
+#: freeculture.xml:763
msgid "Webster, Noah"
msgstr ""
#. PAGE BREAK 23
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:771
+#: freeculture.xml:765
msgid ""
"We can glimpse a sense of this change by distinguishing between commercial "
"and noncommercial culture, and by mapping the law's regulation of each. By "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:783
+#: freeculture.xml:777
msgid ""
"At the beginning of our history, and for just about the whole of our "
"tradition, noncommercial culture was essentially unregulated. Of course, if "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:793 freeculture.xml:2856 freeculture.xml:2857 freeculture.xml:2884 freeculture.xml:2885 freeculture.xml:2886 freeculture.xml:7803 freeculture.xml:9652 freeculture.xml:9653 freeculture.xml:9928 freeculture.xml:9929 freeculture.xml:9930 freeculture.xml:9973
+#: freeculture.xml:787 freeculture.xml:2856 freeculture.xml:2857 freeculture.xml:2884 freeculture.xml:2885 freeculture.xml:2886 freeculture.xml:4261 freeculture.xml:7851 freeculture.xml:9711 freeculture.xml:9712 freeculture.xml:9989 freeculture.xml:9990 freeculture.xml:9991 freeculture.xml:10034
msgid "copyright infringement lawsuits"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:793
+#: freeculture.xml:787
msgid "commercial creativity as primary purpose of"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:809 freeculture.xml:1945 freeculture.xml:1958
+#: freeculture.xml:803 freeculture.xml:1942 freeculture.xml:1955
msgid "Brandeis, Louis D."
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:801
+#: freeculture.xml:795
msgid ""
"This is not the only purpose of copyright, though it is the overwhelmingly "
"primary purpose of the copyright established in the federal constitution. "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:795
+#: freeculture.xml:789
msgid ""
"The focus of the law was on commercial creativity. At first slightly, then "
"quite extensively, the law protected the incentives of creators by granting "
"a controlled part, balanced with the free."
msgstr ""
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:816 freeculture.xml:1704 freeculture.xml:5258 freeculture.xml:6486 freeculture.xml:14068
-msgid "free culture"
-msgstr ""
-
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:816
+#: freeculture.xml:810
msgid "permission culture vs."
msgstr ""
-#. type: Content of: <book><
chapter><indexterm><primary>
-#: freeculture.xml:817
+#. type: Content of: <book><
part><chapter><section><indexterm><primary>
+#: freeculture.xml:811 freeculture.xml:10105
msgid "permission culture"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:817
+#: freeculture.xml:811
msgid "free culture vs."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:823 freeculture.xml:10178
+#: freeculture.xml:817 freeculture.xml:10244
msgid "Litman, Jessica"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:821
+#: freeculture.xml:815
msgid ""
"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: "
"Prometheus Books, 2001), ch. 13. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:819
+#: freeculture.xml:813
msgid ""
"This rough divide between the free and the controlled has now been "
"erased.<placeholder type=\"footnote\" id=\"0\"/> The Internet has set the "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:839
+#: freeculture.xml:833
msgid "protection of artists vs. business interests"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:841
+#: freeculture.xml:835
msgid ""
"This change gets justified as necessary to protect commercial creativity. "
"And indeed, protectionism is precisely its motivation. But the protectionism "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:855
+#: freeculture.xml:849
msgid ""
"For the Internet has unleashed an extraordinary possibility for many to "
"participate in the process of building and cultivating a culture that "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:874
+#: freeculture.xml:868
msgid ""
"Yet, as I argue in the pages that follow, that is precisely what is "
"happening in our culture today. These modern-day equivalents of the early "
"to remake the Internet before the Internet remakes them."
msgstr ""
-#. type: Content of: <book><part><chapter><
section><indexterm><primary>
-#: freeculture.xml:883 freeculture.xml:7527
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:877 freeculture.xml:4400 freeculture.xml:6298 freeculture.xml:7575 freeculture.xml:11227 freeculture.xml:13159
msgid "Valenti, Jack"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:883 freeculture.xml:7527
+#: freeculture.xml:877 freeculture.xml:7575
msgid "on creative property rights"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:893
+#: freeculture.xml:887
msgid ""
"Amy Harmon, <quote>Black Hawk Download: Moving Beyond Music, Pirates Use New "
"Tools to Turn the Net into an Illicit Video Club,</quote> <citetitle>New "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:885
+#: freeculture.xml:879
msgid ""
"It doesn't seem this way to many. The battles over copyright and the "
"Internet seem remote to most. To the few who follow them, they seem mainly "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:902
+#: freeculture.xml:896
msgid ""
"If those really were the choices, then I would be with Jack Valenti and the "
"content industry. I, too, am a believer in property, and especially in the "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:910
+#: freeculture.xml:904
msgid ""
"But those simple beliefs mask a much more fundamental question and a much "
"more dramatic change. My fear is that unless we come to see this change, the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:915 freeculture.xml:6867 freeculture.xml:6980 freeculture.xml:6981 freeculture.xml:6982 freeculture.xml:7027 freeculture.xml:7615 freeculture.xml:8896 freeculture.xml:11181 freeculture.xml:11472 freeculture.xml:12118
+#: freeculture.xml:909 freeculture.xml:6909 freeculture.xml:7022 freeculture.xml:7023 freeculture.xml:7024 freeculture.xml:7073 freeculture.xml:7663 freeculture.xml:8953 freeculture.xml:11253 freeculture.xml:11555 freeculture.xml:12209 freeculture.xml:12370
msgid "Constitution, U.S."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:915 freeculture.xml:6867 freeculture.xml:7615 freeculture.xml:8896
+#: freeculture.xml:909 freeculture.xml:6909 freeculture.xml:7663 freeculture.xml:8953
msgid "First Amendment to"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:916 freeculture.xml:1081 freeculture.xml:1188 freeculture.xml:1213 freeculture.xml:1557 freeculture.xml:1601 freeculture.xml:1715 freeculture.xml:3117 freeculture.xml:3208 freeculture.xml:4288 freeculture.xml:4289 freeculture.xml:4700 freeculture.xml:4701 freeculture.xml:5302 freeculture.xml:6488 freeculture.xml:6934 freeculture.xml:7014 freeculture.xml:7015 freeculture.xml:7199 freeculture.xml:7298 freeculture.xml:7330 freeculture.xml:7360 freeculture.xml:7395 freeculture.xml:7509 freeculture.xml:7510 freeculture.xml:7571 freeculture.xml:7609 freeculture.xml:7709 freeculture.xml:7723 freeculture.xml:7782 freeculture.xml:7783 freeculture.xml:7881 freeculture.xml:9814 freeculture.xml:10167 freeculture.xml:11121 freeculture.xml:11166
+#: freeculture.xml:910 freeculture.xml:1075 freeculture.xml:1183 freeculture.xml:1209 freeculture.xml:1433 freeculture.xml:1554 freeculture.xml:1598 freeculture.xml:1712 freeculture.xml:3123 freeculture.xml:3218 freeculture.xml:4314 freeculture.xml:4315 freeculture.xml:4344 freeculture.xml:4733 freeculture.xml:4734 freeculture.xml:5335 freeculture.xml:6528 freeculture.xml:6976 freeculture.xml:7060 freeculture.xml:7061 freeculture.xml:7246 freeculture.xml:7346 freeculture.xml:7378 freeculture.xml:7408 freeculture.xml:7443 freeculture.xml:7557 freeculture.xml:7558 freeculture.xml:7619 freeculture.xml:7657 freeculture.xml:7757 freeculture.xml:7771 freeculture.xml:7830 freeculture.xml:7831 freeculture.xml:7929 freeculture.xml:9875 freeculture.xml:10233 freeculture.xml:11192 freeculture.xml:11238
msgid "copyright law"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:916 freeculture.xml:7014
+#: freeculture.xml:910 freeculture.xml:7060
msgid "as protection of creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:917 freeculture.xml:6868 freeculture.xml:7616 freeculture.xml:8897
+#: freeculture.xml:911 freeculture.xml:6910 freeculture.xml:7664 freeculture.xml:8954
msgid "First Amendment"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:918 freeculture.xml:928 freeculture.xml:15256
+#: freeculture.xml:912 freeculture.xml:922 freeculture.xml:15384
msgid "Netanel, Neil Weinstock"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:926
+#: freeculture.xml:920
msgid ""
"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> "
"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:920
+#: freeculture.xml:914
msgid ""
"These values built a tradition that, for at least the first 180 years of our "
"Republic, guaranteed creators the right to build freely upon their past, and "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:936
+#: freeculture.xml:930
msgid ""
"Yet the law's response to the Internet, when tied to changes in the "
"technology of the Internet itself, has massively increased the effective "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:948
+#: freeculture.xml:942
msgid ""
"The story that follows is about this war. It is not about the "
"<quote>centrality of technology</quote> to ordinary life. I don't believe in "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:956
+#: freeculture.xml:950
msgid ""
"It is instead an effort to understand a hopelessly destructive war inspired "
"by the technologies of the Internet but reaching far beyond its code. And by "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:966 freeculture.xml:13384 freeculture.xml:13467 freeculture.xml:13637
+#: freeculture.xml:960 freeculture.xml:1147 freeculture.xml:13502 freeculture.xml:13585 freeculture.xml:13755
msgid "intellectual property rights"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:968
+#: freeculture.xml:962
msgid ""
"<emphasis role=\"strong\">Like the Causbys'</emphasis> battle, this war is, "
"in part, about <quote>property.</quote> The property of this war is not as "
#. PAGE BREAK 27
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:986
+#: freeculture.xml:980
msgid ""
"And thus, when geeks and technologists defend their Armstrong or Wright "
"brothers technology, most of us are simply unsympathetic. Common sense does "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:997
+#: freeculture.xml:991
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1007
+#: freeculture.xml:1001
msgid ""
"The puzzle is, Why? Is it because we have come to understand a truth about "
"the value and importance of absolute property over ideas and culture? Is it "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1013
+#: freeculture.xml:1007
msgid ""
"Or is it because the idea of absolute property over ideas and culture "
"benefits the RCAs of our time and fits our own unreflective intuitions?"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1017
+#: freeculture.xml:1011
msgid ""
"Is the radical shift away from our tradition of free culture an instance of "
"America correcting a mistake from its past, as we did after a bloody war "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1024
+#: freeculture.xml:1018
msgid ""
"Does common sense lead to the extremes on this question because common sense "
"actually believes in these extremes? Or does common sense stand silent in "
#. PAGE BREAK 28
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1033
+#: freeculture.xml:1027
msgid ""
"I don't mean to be mysterious. My own views are resolved. I believe it was "
"right for common sense to revolt against the extremism of the Causbys. I "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1044
+#: freeculture.xml:1038
msgid ""
"<emphasis role=\"strong\">The struggle</emphasis> that rages just now "
"centers on two ideas: <quote>piracy</quote> and <quote>property.</quote> My "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1049
+#: freeculture.xml:1043
msgid ""
"My method is not the usual method of an academic. I don't want to plunge you "
"into a complex argument, buttressed with references to obscure French "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1057
+#: freeculture.xml:1051
msgid ""
"The two sections set up the core claim of this book: that while the Internet "
"has indeed produced something fantastic and new, our government, pushed by "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:1068
+#: freeculture.xml:1062
msgid ""
"We allow this, I believe, not because it is right, and not because most of "
"us really believe in these changes. We allow it because the interests most "
msgstr ""
#. type: Content of: <book><part><title>
-#: freeculture.xml:1078
+#: freeculture.xml:1072
msgid "<quote>Piracy</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1081 freeculture.xml:4701
+#: freeculture.xml:1075 freeculture.xml:4734
msgid "English"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1082 freeculture.xml:5111
+#: freeculture.xml:1076 freeculture.xml:5144
msgid "Mansfield, William Murray, Lord"
msgstr ""
-#. type: Content of: <book><part><
partintro><indexterm><primary>
-#: freeculture.xml:1083
+#. type: Content of: <book><part><
chapter><section><indexterm><primary>
+#: freeculture.xml:1077 freeculture.xml:3161
msgid "music publishing"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1084 freeculture.xml:3205
+#: freeculture.xml:1078 freeculture.xml:3215
msgid "sheet music"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1086
+#: freeculture.xml:1080
msgid ""
"<emphasis role=\"strong\">Since the inception</emphasis> of the law "
"regulating creative property, there has been a war against "
#. f1
#. type: Content of: <book><part><partintro><blockquote><para><footnote><para>
-#: freeculture.xml:1098
+#: freeculture.xml:1092
msgid ""
"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 "
"Eng. Rep. 1274 (1777) (Mansfield)."
msgstr ""
#. type: Content of: <book><part><partintro><blockquote><para>
-#: freeculture.xml:1094
+#: freeculture.xml:1088
msgid ""
"A person may use the copy by playing it, but he has no right to rob the "
"author of the profit, by multiplying copies and disposing of them for his "
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1103
+#: freeculture.xml:1097
msgid "efficient content distribution on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1104 freeculture.xml:6716 freeculture.xml:11169
+#: freeculture.xml:1098 freeculture.xml:3905 freeculture.xml:4263 freeculture.xml:6249 freeculture.xml:6758 freeculture.xml:11241
msgid "peer-to-peer (p2p) file sharing"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1104
+#: freeculture.xml:1098
msgid "efficiency of"
msgstr ""
#. PAGE BREAK 31
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1106
+#: freeculture.xml:1100
msgid ""
"Today we are in the middle of another <quote>war</quote> against "
"<quote>piracy.</quote> The Internet has provoked this war. The Internet "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1115
+#: freeculture.xml:1109
msgid ""
"This efficiency does not respect the traditional lines of copyright. The "
"network doesn't discriminate between the sharing of copyrighted and "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1124
+#: freeculture.xml:1118
msgid ""
"The warriors have turned to the courts, to the legislatures, and "
"increasingly to technology to defend their <quote>property</quote> against "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1132
+#: freeculture.xml:1126
msgid ""
"There's no doubt that <quote>piracy</quote> is wrong, and that pirates "
"should be punished. But before we summon the executioners, we should put "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1138
+#: freeculture.xml:1132
msgid "The idea goes something like this:"
msgstr ""
#. type: Content of: <book><part><partintro><blockquote><para>
-#: freeculture.xml:1142
+#: freeculture.xml:1136
msgid ""
"Creative work has value; whenever I use, or take, or build upon the creative "
"work of others, I am taking from them something of value. Whenever I take "
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
-#: freeculture.xml:1150
+#: freeculture.xml:1144
msgid "ASCAP"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
-#: freeculture.xml:1151
+#: freeculture.xml:1145
msgid "Dreyfuss, Rochelle"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
-#: freeculture.xml:1152
+#: freeculture.xml:1146
msgid "Girl Scouts"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1153 freeculture.xml:6985 freeculture.xml:7085 freeculture.xml:7528
+#: freeculture.xml:1147 freeculture.xml:1148 freeculture.xml:7027 freeculture.xml:7131 freeculture.xml:7576
msgid "creative property"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1153
+#: freeculture.xml:1148
msgid "<quote>if value, then right</quote> theory of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1154 freeculture.xml:3013
+#: freeculture.xml:1149 freeculture.xml:3013
msgid "<quote>if value, then right</quote> theory"
msgstr ""
#. f2
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:1160
+#: freeculture.xml:1155
msgid ""
"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language "
"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1173 freeculture.xml:7464
+#: freeculture.xml:1168 freeculture.xml:7512
msgid "Zittrain, Jonathan"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:1168
+#: freeculture.xml:1163
msgid ""
"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay "
"Up,</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1156
+#: freeculture.xml:1151
msgid ""
"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> "
#. PAGE BREAK 32
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1180
+#: freeculture.xml:1175
msgid ""
"This idea is certainly a possible understanding of how creative property "
"should work. It might well be a possible design for a system of law "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:1188 freeculture.xml:7298 freeculture.xml:7395 freeculture.xml:7709
+#: freeculture.xml:1183 freeculture.xml:7346 freeculture.xml:7443 freeculture.xml:7757
msgid "on republishing vs. transformation of original work"
msgstr ""
-#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1189 freeculture.xml:1371 freeculture.xml:1528
+#. type: Content of: <book><part><chapter><section><para><indexterm><seealso>
+#: freeculture.xml:1184 freeculture.xml:1185 freeculture.xml:1367 freeculture.xml:1525 freeculture.xml:3825
msgid "creativity"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:1184 freeculture.xml:3825 freeculture.xml:3826 freeculture.xml:3833 freeculture.xml:9876
+msgid "innovation"
+msgstr ""
+
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1189
+#: freeculture.xml:1185
msgid "legal restrictions on"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1191
+#: freeculture.xml:1187
msgid ""
"Instead, in our tradition, intellectual property is an instrument. It sets "
"the groundwork for a richly creative society but remains subservient to the "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1198
+#: freeculture.xml:1194
msgid ""
"The source of this confusion is a distinction that the law no longer takes "
"care to draw—the distinction between republishing someone's work on "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1206
+#: freeculture.xml:1202
msgid ""
"Before the technologies of the Internet, this conflation didn't matter all "
"that much. The technologies of publishing were expensive; that meant the "
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1213
+#: freeculture.xml:1209
msgid "creativity impeded by"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1214 freeculture.xml:1245
+#: freeculture.xml:1210 freeculture.xml:1241
msgid "Florida, Richard"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1215 freeculture.xml:1246
+#: freeculture.xml:1211 freeculture.xml:1242
msgid "Rise of the Creative Class, The (Florida)"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:1237
+#: freeculture.xml:1233
msgid ""
"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic "
"Books, 2002), Richard Florida documents a shift in the nature of labor "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1217
+#: freeculture.xml:1213
msgid ""
"But with the birth of the Internet, this natural limit to the reach of the "
"law has disappeared. The law controls not just the creativity of commercial "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1253
+#: freeculture.xml:1249
msgid ""
"These burdens make no sense in our tradition. We should begin by "
"understanding that tradition a bit more and by placing in their proper "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:1261
+#: freeculture.xml:1257
msgid "Chapter One: Creators"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1262
+#: freeculture.xml:1258
msgid "animated cartoons"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1263
+#: freeculture.xml:1259
msgid "cartoon films"
msgstr ""
-#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1264 freeculture.xml:5306 freeculture.xml:5340 freeculture.xml:6055 freeculture.xml:6099
+#. type: Content of: <book><part><chapter><
blockquote><indexterm><primary>
+#: freeculture.xml:1260 freeculture.xml:5339 freeculture.xml:5373 freeculture.xml:6086 freeculture.xml:6130 freeculture.xml:6248
msgid "films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1264
+#: freeculture.xml:1260
msgid "animated"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1265
+#: freeculture.xml:1261
msgid "Steamboat Willie"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1266 freeculture.xml:7489
+#: freeculture.xml:1262 freeculture.xml:7537
msgid "Mickey Mouse"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1268
+#: freeculture.xml:1264
msgid ""
"<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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1274 freeculture.xml:1491 freeculture.xml:1545 freeculture.xml:1686 freeculture.xml:1932 freeculture.xml:4536 freeculture.xml:6231 freeculture.xml:7488 freeculture.xml:11062 freeculture.xml:11475
+#: freeculture.xml:1270 freeculture.xml:1488 freeculture.xml:1542 freeculture.xml:1683 freeculture.xml:1929 freeculture.xml:4568 freeculture.xml:6266 freeculture.xml:7536 freeculture.xml:11133 freeculture.xml:11558
msgid "Disney, Walt"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1276
+#: freeculture.xml:1272
msgid ""
"Synchronized sound had been introduced to film a year earlier in the movie "
"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy "
#. PAGE BREAK 35
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:1285
+#: freeculture.xml:1281
msgid ""
"A couple of my boys could read music, and one of them could play a mouth "
"organ. We put them in a room where they could not see the screen and "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:1292
+#: freeculture.xml:1288
msgid ""
"The boys worked from a music and sound-effects score. After several false "
"starts, sound and action got off with the gun. The mouth organist played the "
#. f1
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:1305
+#: freeculture.xml:1301
msgid ""
"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated "
"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35."
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:1299
+#: freeculture.xml:1295
msgid ""
"The effect on our little audience was nothing less than electric. They "
"responded almost instinctively to this union of sound and motion. I thought "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1310
+#: freeculture.xml:1306
msgid "Iwerks, Ub"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1312
+#: freeculture.xml:1308
msgid ""
"Disney's then partner, and one of animation's most extraordinary talents, Ub "
"Iwerks, put it more strongly: <quote>I have never been so thrilled in my "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1317
+#: freeculture.xml:1313
msgid ""
"Disney had created something very new, based upon something relatively "
"new. Synchronized sound brought life to a form of creativity that had "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1326 freeculture.xml:1688
+#: freeculture.xml:1322 freeculture.xml:1685
msgid "Keaton, Buster"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1327 freeculture.xml:1558 freeculture.xml:1946
+#: freeculture.xml:1323 freeculture.xml:1555 freeculture.xml:1943
msgid "Steamboat Bill, Jr."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1329
+#: freeculture.xml:1325
msgid ""
"This much is familiar. What you might not know is that 1928 also marks "
"another important transition. In that year, a comic (as opposed to cartoon) "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1335
+#: freeculture.xml:1331
msgid ""
"Keaton was born into a vaudeville family in 1895. In the era of silent film, "
"he had mastered using broad physical comedy as a way to spark uncontrollable "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1342 freeculture.xml:1499 freeculture.xml:7299 freeculture.xml:7396 freeculture.xml:7574 freeculture.xml:7678 freeculture.xml:7724
+#: freeculture.xml:1338 freeculture.xml:1496 freeculture.xml:7347 freeculture.xml:7444 freeculture.xml:7622 freeculture.xml:7726 freeculture.xml:7772
msgid "derivative works"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:1342 freeculture.xml:1499 freeculture.xml:7396 freeculture.xml:7574
+#: freeculture.xml:1338 freeculture.xml:1496 freeculture.xml:7444 freeculture.xml:7622
msgid "piracy vs."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:1343 freeculture.xml:1502 freeculture.xml:3012 freeculture.xml:3711 freeculture.xml:7397 freeculture.xml:7575 freeculture.xml:15322
+#: freeculture.xml:1339 freeculture.xml:1499 freeculture.xml:3012 freeculture.xml:3723 freeculture.xml:7445 freeculture.xml:7623 freeculture.xml:15452
msgid "piracy"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:1343 freeculture.xml:1502 freeculture.xml:7397 freeculture.xml:7575
+#: freeculture.xml:1339 freeculture.xml:1499 freeculture.xml:7445 freeculture.xml:7623
msgid "derivative work vs."
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1351
+#: freeculture.xml:1347
msgid ""
"I am grateful to David Gerstein and his careful history, described at <ulink "
"url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1345
+#: freeculture.xml:1341
msgid ""
"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon "
"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1371 freeculture.xml:1528
+#: freeculture.xml:1367 freeculture.xml:1525
msgid "by transforming previous works"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1372 freeculture.xml:6272 freeculture.xml:7781
+#: freeculture.xml:1368 freeculture.xml:6309 freeculture.xml:7829
msgid "Disney, Inc."
msgstr ""
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1378
+#: freeculture.xml:1374
msgid ""
"He was also a fan of the public domain. See Chris Sprigman, <quote>The Mouse "
"that Ate the Public Domain,</quote> Findlaw, 5 March 2002, at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1374
+#: freeculture.xml:1370
msgid ""
"This <quote>borrowing</quote> was nothing unique, either for Disney or for "
"the industry. Disney was always parroting the feature-length mainstream "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1392 freeculture.xml:1687 freeculture.xml:11063
+#: freeculture.xml:1388 freeculture.xml:1684 freeculture.xml:11134
msgid "Grimm fairy tales"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1394
+#: freeculture.xml:1390
msgid ""
"Sometimes this borrowing was slight. Sometimes it was significant. Think "
"about the fairy tales of the Brothers Grimm. If you're as oblivious as I "
#. PAGE BREAK 37
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1403
+#: freeculture.xml:1399
msgid ""
"Disney took these stories and retold them in a way that carried them into a "
"new age. He animated the stories, with both characters and light. Without "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1426
+#: freeculture.xml:1422
msgid ""
"This is a kind of creativity. It is a creativity that we should remember and "
"celebrate. There are some who would say that there is no creativity except "
"the culture around us and makes it something different."
msgstr ""
-#. type: Content of: <book><
part><chapter><indexterm><primary>
-#: freeculture.xml:1437 freeculture.xml:4753 freeculture.xml:4754 freeculture.xml:4820 freeculture.xml:4858 freeculture.xml:4914 freeculture.xml:4960 freeculture.xml:5095 freeculture.xml:5189 freeculture.xml:6683 freeculture.xml:6983 freeculture.xml:6984 freeculture.xml:6987 freeculture.xml:7056 freeculture.xml:7082 freeculture.xml:7121 freeculture.xml:7244 freeculture.xml:7291 freeculture.xml:7328 freeculture.xml:7631 freeculture.xml:7802 freeculture.xml:11120 freeculture.xml:11144 freeculture.xml:11473 freeculture.xml:11474
+#. type: Content of: <book><
chapter><section><indexterm><primary>
+#: freeculture.xml:1433 freeculture.xml:1434 freeculture.xml:4786 freeculture.xml:4787 freeculture.xml:4853 freeculture.xml:4891 freeculture.xml:4947 freeculture.xml:4993 freeculture.xml:5128 freeculture.xml:5222 freeculture.xml:6725 freeculture.xml:7025 freeculture.xml:7026 freeculture.xml:7029 freeculture.xml:7102 freeculture.xml:7128 freeculture.xml:7168 freeculture.xml:7292 freeculture.xml:7339 freeculture.xml:7376 freeculture.xml:7679 freeculture.xml:7850 freeculture.xml:11191 freeculture.xml:11215 freeculture.xml:11556 freeculture.xml:11557 freeculture.xml:14100 freeculture.xml:14134
msgid "copyright"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1437 freeculture.xml:4753 freeculture.xml:4914 freeculture.xml:6984 freeculture.xml:6987 freeculture.xml:7082 freeculture.xml:11120 freeculture.xml:11474
+#: freeculture.xml:1434 freeculture.xml:4786 freeculture.xml:4947 freeculture.xml:7026 freeculture.xml:7029 freeculture.xml:7128 freeculture.xml:11191 freeculture.xml:11557
msgid "duration of"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:1438 freeculture.xml:1439 freeculture.xml:5190 freeculture.xml:7086 freeculture.xml:7209 freeculture.xml:8094 freeculture.xml:11054 freeculture.xml:13472 freeculture.xml:14262 freeculture.xml:14263
+#: freeculture.xml:1435 freeculture.xml:1436 freeculture.xml:5223 freeculture.xml:7132 freeculture.xml:7257 freeculture.xml:8144 freeculture.xml:11125 freeculture.xml:13590 freeculture.xml:14386 freeculture.xml:14387
msgid "public domain"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1438
+#: freeculture.xml:1435
msgid "defined"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1439
+#: freeculture.xml:1436
msgid "traditional term for conversion to"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1446
+#: freeculture.xml:1443
msgid ""
"Until 1976, copyright law granted an author the possibility of two terms: an "
"initial term and a renewal term. I have calculated the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1440
+#: freeculture.xml:1437
msgid ""
"In 1928, the culture that Disney was free to draw upon was relatively "
"fresh. The public domain in 1928 was not very old and was therefore quite "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1463
+#: freeculture.xml:1460
msgid ""
"At the end of a copyright term, a work passes into the public domain. No "
"permission is then needed to draw upon or use that work. No permission and, "
#. PAGE BREAK 38
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1474
+#: freeculture.xml:1471
msgid ""
"This is the ways things always were—until quite recently. For most of "
"our history, the public domain was just over the horizon. From until 1978, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1493
+#: freeculture.xml:1490
msgid ""
"<emphasis role=\"strong\">Of course</emphasis>, Walt Disney had no monopoly "
"on <quote>Walt Disney creativity.</quote> Nor does America. The norm of free "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1498 freeculture.xml:1602 freeculture.xml:1716
+#: freeculture.xml:1495 freeculture.xml:1599 freeculture.xml:1713
msgid "comics, Japanese"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1500 freeculture.xml:1718
+#: freeculture.xml:1497 freeculture.xml:1715
msgid "Japanese comics"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1501 freeculture.xml:1719
+#: freeculture.xml:1498 freeculture.xml:1716
msgid "manga"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1504
+#: freeculture.xml:1501
msgid ""
"Consider, for example, a form of creativity that seems strange to many "
"Americans but that is inescapable within Japanese culture: "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1513
+#: freeculture.xml:1510
msgid ""
"Americans tend to look down upon this form of culture. That's an "
"unattractive characteristic of ours. We're likely to misunderstand much "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1524
+#: freeculture.xml:1521
msgid ""
"But my purpose here is not to understand manga. It is to describe a variant "
"on manga that from a lawyer's perspective is quite odd, but from a Disney "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1529 freeculture.xml:1717
+#: freeculture.xml:1526 freeculture.xml:1714
msgid "doujinshi comics"
msgstr ""
#. PAGE BREAK 39
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1531
+#: freeculture.xml:1528
msgid ""
"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are "
"also comics, but they are a kind of copycat comic. A rich ethic governs the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1547
+#: freeculture.xml:1544
msgid ""
"These copycat comics are not a tiny part of the manga market. They are "
"huge. More than 33,000 <quote>circles</quote> of creators from across Japan "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1557 freeculture.xml:1601 freeculture.xml:1715
+#: freeculture.xml:1554 freeculture.xml:1598 freeculture.xml:1712
msgid "Japanese"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1560
+#: freeculture.xml:1557
msgid ""
"The most puzzling feature of the doujinshi market, for those trained in the "
"law, at least, is that it is allowed to exist at all. Under Japanese "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1574
+#: freeculture.xml:1571
msgid "Winick, Judd"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1586
+#: freeculture.xml:1583
msgid ""
"For an excellent history, see Scott McCloud, <citetitle>Reinventing "
"Comics</citetitle> (New York: Perennial, 2000)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1576
+#: freeculture.xml:1573
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1591
+#: freeculture.xml:1588
msgid "Superman comics"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1593
+#: freeculture.xml:1590
msgid ""
"American comics now are quite different, Winick explains, in part because of "
"the legal difficulty of adapting comics the way doujinshi are "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1603
+#: freeculture.xml:1600
msgid "Mehra, Salil"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1613
+#: freeculture.xml:1610
msgid ""
"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
"Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1605
+#: freeculture.xml:1602
msgid ""
"The norm in Japan mitigates this legal difficulty. Some say it is precisely "
"the benefit accruing to the Japanese manga market that explains the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1627
+#: freeculture.xml:1624
msgid ""
"The problem with this story, however, as Mehra plainly acknowledges, is that "
"the mechanism producing this laissez faire response is not clear. It may "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1640
+#: freeculture.xml:1637
msgid ""
"I spent four wonderful months in Japan, and I asked this question as often "
"as I could. Perhaps the best account in the end was offered by a friend from "
#. PAGE BREAK 41
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1647
+#: freeculture.xml:1644
msgid ""
"This is a theme to which we will return: that regulation by law is a "
"function of both the words on the books and the costs of making those words "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1660
+#: freeculture.xml:1657
msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1663
+#: freeculture.xml:1660
msgid ""
"If you're like I was a decade ago, or like most people are when they first "
"start thinking about these issues, then just about now you should be puzzled "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1673 freeculture.xml:3030 freeculture.xml:4766 freeculture.xml:5025 freeculture.xml:7912 freeculture.xml:9041
+#: freeculture.xml:1670 freeculture.xml:3033 freeculture.xml:4799 freeculture.xml:5058 freeculture.xml:7960 freeculture.xml:9098
msgid "Vaidhyanathan, Siva"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1673
+#: freeculture.xml:1670
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> The term <citetitle>intellectual "
"property</citetitle> is of relatively recent origin. See Siva Vaidhyanathan, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1668
+#: freeculture.xml:1665
msgid ""
"We live in a world that celebrates <quote>property.</quote> I am one of "
"those celebrants. I believe in the value of property in general, and I also "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1690
+#: freeculture.xml:1687
msgid ""
"But it takes just a second's reflection to realize that there is plenty of "
"value out there that <quote>property</quote> doesn't capture. I don't mean "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1704
+#: freeculture.xml:1701
msgid "derivative works based on"
msgstr ""
#. PAGE BREAK 42
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1706
+#: freeculture.xml:1703
msgid ""
"Thus, even though the things that Disney took—or more generally, the "
"things taken by anyone exercising Walt Disney creativity—are valuable, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1721
+#: freeculture.xml:1718
msgid ""
"The same with the doujinshi culture. If a doujinshi artist broke into a "
"publisher's office and ran off with a thousand copies of his latest "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1730
+#: freeculture.xml:1727
msgid ""
"Yet there is an obvious reluctance, even among Japanese lawyers, to say that "
"the copycat comic artists are <quote>stealing.</quote> This form of Walt "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1741 freeculture.xml:4706 freeculture.xml:4838 freeculture.xml:4875 freeculture.xml:5205
+#: freeculture.xml:1738 freeculture.xml:4739 freeculture.xml:4871 freeculture.xml:4908 freeculture.xml:5238
msgid "Shakespeare, William"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1743
+#: freeculture.xml:1740
msgid ""
"It's the same with a thousand examples that appear everywhere once you begin "
"to look. Scientists build upon the work of other scientists without asking "
#. PAGE BREAK 43
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1757
+#: freeculture.xml:1754
msgid ""
"Creators here and everywhere are always and at all times building upon the "
"creativity that went before and that surrounds them now. That building is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1769
+#: freeculture.xml:1766
msgid ""
"The hard question is therefore not <emphasis>whether</emphasis> a culture is "
"free. All cultures are free to some degree. The hard question instead is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1781
+#: freeculture.xml:1778
msgid ""
"Free cultures are cultures that leave a great deal open for others to build "
"upon; unfree, or permission, cultures leave much less. Ours was a free "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:1790
+#: freeculture.xml:1787
msgid "Chapter Two: <quote>Mere Copyists</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1791
+#: freeculture.xml:1788
msgid "Daguerre, Louis"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1792 freeculture.xml:1947 freeculture.xml:2002 freeculture.xml:6794
+#: freeculture.xml:1789 freeculture.xml:1944 freeculture.xml:1999 freeculture.xml:6836
msgid "camera technology"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1793
+#: freeculture.xml:1790
msgid "photography"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1795
+#: freeculture.xml:1792
msgid ""
"<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented the "
"first practical technology for producing what we would call "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1804
+#: freeculture.xml:1801
msgid "Talbot, William"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1806
+#: freeculture.xml:1803
msgid ""
"Yet despite high prices, the demand for daguerreotypes was strong. This "
"pushed inventors to find simpler and cheaper ways to make <quote>automatic "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1816
+#: freeculture.xml:1813
msgid "Eastman, George"
msgstr ""
#. PAGE BREAK 45
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1818
+#: freeculture.xml:1815
msgid ""
"The technological change that made mass photography possible didn't happen "
"until 1888, and was the creation of a single man. George Eastman, himself an "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1829 freeculture.xml:1984 freeculture.xml:6796
+#: freeculture.xml:1826 freeculture.xml:1981 freeculture.xml:6838 freeculture.xml:9677
msgid "Kodak cameras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1830
+#: freeculture.xml:1827
msgid "Kodak Primer, The (Eastman)"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1837
+#: freeculture.xml:1834
msgid ""
"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: "
"Johns Hopkins University Press, 1975), 112."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1832
+#: freeculture.xml:1829
msgid ""
"Eastman developed flexible, emulsion-coated paper film and placed rolls of "
"it in small, simple cameras: the Kodak. The device was marketed on the basis "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1853 freeculture.xml:1879
+#: freeculture.xml:1850 freeculture.xml:1876
msgid "Coe, Brian"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:1853
+#: freeculture.xml:1850
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Brian Coe, <citetitle>The Birth "
"of Photography</citetitle> (New York: Taplinger Publishing, 1977), 53."
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:1842
+#: freeculture.xml:1839
msgid ""
"The principle of the Kodak system is the separation of the work that any "
"person whomsoever can do in making a photograph, from the work that only an "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1872
+#: freeculture.xml:1869
msgid "Jenkins, 177."
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1876
+#: freeculture.xml:1873
msgid "Based on a chart in Jenkins, p. 178."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1861
+#: freeculture.xml:1858
msgid ""
"For $25, anyone could make pictures. The camera came preloaded with film, "
"and when it had been used, the camera was returned to an Eastman factory, "
#. f5
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1894
+#: freeculture.xml:1891
msgid "Coe, 58."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1883
+#: freeculture.xml:1880
msgid ""
"The real significance of Eastman's invention, however, was not economic. It "
"was social. Professional photography gave individuals a glimpse of places "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
-#. type: Content of: <book><
part><chapter><indexterm><primary>
-#: freeculture.xml:1897 freeculture.xml:2003 freeculture.xml:2381 freeculture.xml:2399
+#. type: Content of: <book><
chapter><section><section><indexterm><primary>
+#: freeculture.xml:1894 freeculture.xml:2000 freeculture.xml:2380 freeculture.xml:2398 freeculture.xml:8841 freeculture.xml:9676 freeculture.xml:15416
msgid "democracy"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1897 freeculture.xml:2003 freeculture.xml:2381
+#: freeculture.xml:1894 freeculture.xml:2000 freeculture.xml:2380
msgid "in technologies of expression"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1898 freeculture.xml:2004 freeculture.xml:2044 freeculture.xml:2383
+#: freeculture.xml:1895 freeculture.xml:2001 freeculture.xml:2041 freeculture.xml:2382
msgid "expression, technologies of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1898 freeculture.xml:2004 freeculture.xml:2383
+#: freeculture.xml:1895 freeculture.xml:2001 freeculture.xml:2382
msgid "democratic"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1900
+#: freeculture.xml:1897
msgid ""
"In this way, the Kodak camera and film were technologies of expression. The "
"pencil or paintbrush was also a technology of expression, of course. But it "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1913
+#: freeculture.xml:1910
msgid "permissions"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1913
+#: freeculture.xml:1910
msgid "photography exempted from"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1924
+#: freeculture.xml:1921
msgid ""
"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> "
"v. <citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1915
+#: freeculture.xml:1912
msgid ""
"What was required for this technology to flourish? Obviously, Eastman's "
"genius was an important part. But also important was the legal environment "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1933 freeculture.xml:9740
+#: freeculture.xml:1930 freeculture.xml:9801
msgid "images, ownership of"
msgstr ""
#. PAGE BREAK 47
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1935
+#: freeculture.xml:1932
msgid ""
"The arguments in favor of requiring permission will sound surprisingly "
"familiar. The photographer was <quote>taking</quote> something from the "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1959
+#: freeculture.xml:1956
msgid "Warren, Samuel D."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1956
+#: freeculture.xml:1953
msgid ""
"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> "
"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1949
+#: freeculture.xml:1946
msgid ""
"On the other side was an argument that should be familiar, as well. Sure, "
"there may be something of value being used. But citizens should have the "
#. f8
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1977
+#: freeculture.xml:1974
msgid ""
"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> "
"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1967
+#: freeculture.xml:1964
msgid ""
"Fortunately for Mr. Eastman, and for photography in general, these early "
"decisions went in favor of the pirates. In general, no permission would be "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1985 freeculture.xml:3813 freeculture.xml:3835 freeculture.xml:3836 freeculture.xml:5785 freeculture.xml:9981
+#: freeculture.xml:1982 freeculture.xml:3827 freeculture.xml:3849 freeculture.xml:3850 freeculture.xml:3906 freeculture.xml:4262 freeculture.xml:5814 freeculture.xml:10042 freeculture.xml:10956
msgid "Napster"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1987
+#: freeculture.xml:1984
msgid ""
"We can only speculate about how photography would have developed had the law "
"gone the other way. If the presumption had been against the photographer, "
#. PAGE BREAK 48
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2008
+#: freeculture.xml:2005
msgid ""
"But though we could imagine this system of permission, it would be very hard "
"to see how photography could have flourished as it did if the requirement "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2024 freeculture.xml:6795
+#: freeculture.xml:2021 freeculture.xml:6837
msgid "digital cameras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2025
+#: freeculture.xml:2022
msgid "Just Think!"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2027
+#: freeculture.xml:2024
msgid ""
"<emphasis role='strong'>If you drive</emphasis> through San Francisco's "
"Presidio, you might see two gaudy yellow school buses painted over with "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2042 freeculture.xml:2840
+#: freeculture.xml:2039 freeculture.xml:2840
msgid "education"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2042
+#: freeculture.xml:2039
msgid "in media literacy"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2043
+#: freeculture.xml:2040
msgid "media literacy"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2044
+#: freeculture.xml:2041
msgid "media literacy and"
msgstr ""
#. f9
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2052
+#: freeculture.xml:2049
msgid ""
"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and "
"Software You Need to Create Digital Multimedia Presentations,</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2046
+#: freeculture.xml:2043
msgid ""
"These buses are not cheap, but the technology they carry is increasingly "
"so. The cost of a high-quality digital video system has fallen "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2062
+#: freeculture.xml:2059
msgid "Yanofsky, Dave"
msgstr ""
#. PAGE BREAK 49
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2065
+#: freeculture.xml:2062
msgid ""
"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of "
"Just Think!, puts it, <quote>is the ability … to understand, analyze, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2073
+#: freeculture.xml:2070
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2078 freeculture.xml:2630 freeculture.xml:6791 freeculture.xml:7762 freeculture.xml:8863 freeculture.xml:8917
+#: freeculture.xml:2075 freeculture.xml:2629 freeculture.xml:6833 freeculture.xml:7810 freeculture.xml:8920 freeculture.xml:8974
msgid "advertising"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2079 freeculture.xml:6793 freeculture.xml:8864
+#: freeculture.xml:2076 freeculture.xml:6835 freeculture.xml:8921
msgid "commercials"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:2080 freeculture.xml:6792 freeculture.xml:8865 freeculture.xml:8899 freeculture.xml:15320
+#: freeculture.xml:2077 freeculture.xml:6834 freeculture.xml:8922 freeculture.xml:8956 freeculture.xml:15450
msgid "television"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2080 freeculture.xml:6792 freeculture.xml:8865
+#: freeculture.xml:2077 freeculture.xml:6834 freeculture.xml:8922
msgid "advertising on"
msgstr ""
#. f10
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2086
+#: freeculture.xml:2083
msgid ""
"Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2082
+#: freeculture.xml:2079
msgid ""
"Maybe. But in a world where children see on average 390 hours of television "
"commercials per year, or between 20,000 and 45,000 commercials "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2097
+#: freeculture.xml:2094
msgid ""
"A growing field of academics and activists sees this form of literacy as "
"crucial to the next generation of culture. For though anyone who has written "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2108
+#: freeculture.xml:2105
msgid ""
"It took filmmaking a generation before it could do these things well. But "
"even then, the knowledge was in the filming, not in writing about the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2115 freeculture.xml:2131 freeculture.xml:2237
+#: freeculture.xml:2112 freeculture.xml:2128 freeculture.xml:2234
msgid "Daley, Elizabeth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2116
+#: freeculture.xml:2113
msgid "Crichton, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2130 freeculture.xml:2190 freeculture.xml:2197 freeculture.xml:2270 freeculture.xml:2693
+#: freeculture.xml:2127 freeculture.xml:2187 freeculture.xml:2194 freeculture.xml:2267 freeculture.xml:2692
msgid "Barish, Stephanie"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2128
+#: freeculture.xml:2125
msgid ""
"Interview with Elizabeth Daley and Stephanie Barish, 13 December 2002. "
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
#. f12
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2142
+#: freeculture.xml:2139
msgid ""
"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, "
"4 November 2000, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2118
+#: freeculture.xml:2115
msgid ""
"This grammar has changed as media has changed. When it was just film, as "
"Elizabeth Daley, executive director of the University of Southern "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2149
+#: freeculture.xml:2146
msgid "computer games"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2151
+#: freeculture.xml:2148
msgid ""
"This skill is precisely the craft a filmmaker learns. As Daley describes, "
"<quote>people are very surprised about how they are led through a film. [I]t "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2158
+#: freeculture.xml:2155
msgid ""
"Yet the push for an expanded literacy—one that goes beyond text to "
"include audio and visual elements—is not about making better film "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:2165
+#: freeculture.xml:2162
msgid ""
"From my perspective, probably the most important digital divide is not "
"access to a box. It's the ability to be empowered with the language that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2173
+#: freeculture.xml:2170
msgid ""
"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. "
"Couch potatoes. Consumers. This is the world of media from the twentieth "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2189
+#: freeculture.xml:2186
msgid "Interview with Daley and Barish. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. f31
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:2194 freeculture.xml:4080 freeculture.xml:5253 freeculture.xml:8752
+#: freeculture.xml:2191 freeculture.xml:4099 freeculture.xml:5286 freeculture.xml:8807
msgid "Ibid."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2178
+#: freeculture.xml:2175
msgid ""
"The twenty-first century could be different. This is the crucial point: It "
"could be both read and write. Or at least reading and better understanding "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2199
+#: freeculture.xml:2196
msgid ""
"As with any language, this language comes more easily to some than to "
"others. It doesn't necessarily come more easily to those who excel in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2212
+#: freeculture.xml:2209
msgid ""
"The class was held on Friday afternoons, and it created a relatively new "
"problem for the school. While the challenge in most classes was getting the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2220
+#: freeculture.xml:2217
msgid ""
"Using whatever <quote>free web stuff they could find,</quote> and relatively "
"simple tools to enable the kids to mix <quote>image, sound, and "
"understand it and talk about it,</quote> Barish explained. That tool "
"succeeded in creating expression—far more successfully and powerfully "
"than could have been created using only text. <quote>If you had said to "
-"these students, `you have to do it in text,' they would've just thrown their "
-"hands up and gone and done something else,</quote> Barish described, in "
-"part, no doubt, because expressing themselves in text is not something these "
-"students can do well. Yet neither is text a form in which "
+"these students, <quote>you have to do it in text,</quote> they would've just "
+"thrown their hands up and gone and done something else,</quote> Barish "
+"described, in part, no doubt, because expressing themselves in text is not "
+"something these students can do well. Yet neither is text a form in which "
"<emphasis>these</emphasis> ideas can be expressed well. The power of this "
"message depended upon its connection to this form of expression."
msgstr ""
#. PAGE BREAK 52
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2241
+#: freeculture.xml:2238
msgid ""
"<quote>But isn't education about teaching kids to write?</quote> I asked. In "
"part, of course, it is. But why are we teaching kids to write? Education, "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:2252
+#: freeculture.xml:2249
msgid ""
"What you want is to give these students ways of constructing meaning. If all "
"you give them is text, they're not going to do it. Because they can't. You "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:2272
+#: freeculture.xml:2269
msgid ""
"That empowers enormously. And then what happens, of course, is eventually, "
"as it has happened in all these classes, they bump up against the fact, "
#. PAGE BREAK 53
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:2279
+#: freeculture.xml:2276
msgid ""
"Because they needed to. There was a reason for doing it. They needed to say "
"something, as opposed to just jumping through your hoops. They actually "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2293 freeculture.xml:2352 freeculture.xml:6084
+#: freeculture.xml:2288 freeculture.xml:2350 freeculture.xml:6115
msgid "September 11, 2001, terrorist attacks of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2294
+#: freeculture.xml:2289
msgid "World Trade Center"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2295 freeculture.xml:6004
+#: freeculture.xml:2290 freeculture.xml:6035
msgid "news coverage"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2297
+#: freeculture.xml:2292
msgid ""
"<emphasis role='strong'>When two planes</emphasis> crashed into the World "
"Trade Center, another into the Pentagon, and a fourth into a Pennsylvania "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2309
+#: freeculture.xml:2304
msgid ""
"These retellings had an increasingly familiar feel. There was music scored "
"for the intermissions, and fancy graphics that flashed across the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2316 freeculture.xml:8691 freeculture.xml:8911
+#: freeculture.xml:2311 freeculture.xml:8746 freeculture.xml:8968
msgid "ABC"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2317
+#: freeculture.xml:2312
msgid "CBS"
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:2313
+msgid "Cyber Rights (Godwin)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:2314
+msgid "Godwin, Mike"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:2315 freeculture.xml:2483
+msgid "news events on"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2319
+#: freeculture.xml:2317
msgid ""
"But in addition to this produced news about the <quote>tragedy of September "
"11,</quote> those of us tied to the Internet came to see a very different "
#. PAGE BREAK 54
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2334
+#: freeculture.xml:2332
msgid ""
"I don't mean simply to praise the Internet—though I do think the "
"people who supported this form of speech should be praised. I mean instead "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2344
+#: freeculture.xml:2342
msgid ""
"But unlike any technology for simply capturing images, the Internet allows "
"these creations to be shared with an extraordinary number of people, "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2353 freeculture.xml:2448 freeculture.xml:2587
+#: freeculture.xml:2351 freeculture.xml:2447 freeculture.xml:2586
msgid "blogs (Web-logs)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2354 freeculture.xml:2450
+#: freeculture.xml:2352 freeculture.xml:2449
msgid "blogs on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2355 freeculture.xml:2451
+#: freeculture.xml:2353 freeculture.xml:2450
msgid "Web-logs (blogs)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2357
+#: freeculture.xml:2355
msgid ""
"September 11 was not an aberration. It was a beginning. Around the same "
"time, a form of communication that has grown dramatically was just beginning "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2365 freeculture.xml:2434
+#: freeculture.xml:2364 freeculture.xml:2433
msgid "political discourse"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2366
+#: freeculture.xml:2365
msgid "public discourse conducted on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2368
+#: freeculture.xml:2367
msgid ""
"But in the United States, blogs have taken on a very different character. "
"There are some who use the space simply to talk about their private "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2382
+#: freeculture.xml:2381
msgid "elections"
msgstr ""
#. PAGE BREAK 55
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2385
+#: freeculture.xml:2384
msgid ""
"That's a strong statement. Yet it says as much about our democracy as it "
"does about blogs. This is the part of America that is most difficult for "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2398
+#: freeculture.xml:2397
msgid "Tocqueville, Alexis de"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2399
+#: freeculture.xml:2398
msgid "public discourse in"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2400
+#: freeculture.xml:2399
msgid "jury system"
msgstr ""
#. f15
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2417
+#: freeculture.xml:2416
msgid ""
"See, for example, Alexis de Tocqueville, <citetitle>Democracy in "
"America</citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2402
+#: freeculture.xml:2401
msgid ""
"But democracy has never just been about elections. Democracy means rule by "
"the people, but rule means something more than mere elections. In our "
#. f16
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2427
+#: freeculture.xml:2426
msgid ""
"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> "
"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2423
+#: freeculture.xml:2422
msgid ""
"Yet even this institution flags in American life today. And in its place, "
"there is no systematic effort to enable citizen deliberation. Some are "
#. f17
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2443
+#: freeculture.xml:2442
msgid ""
"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton "
"University Press, 2001), 65–80, 175, 182, 183, 192."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2436
+#: freeculture.xml:2435
msgid ""
"More bizarrely, there is generally not even permission for it to occur. We, "
"the most powerful democracy in the world, have developed a strong norm "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2449
+#: freeculture.xml:2448
msgid "e-mail"
msgstr ""
#. PAGE BREAK 56
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2456
+#: freeculture.xml:2455
msgid ""
"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 want "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2467
+#: freeculture.xml:2466
msgid ""
"But beyond architecture, blogs also have solved the problem of "
"norms. There's no norm (yet) in blog space not to talk about politics. "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2474
+#: freeculture.xml:2473
msgid "Dean, Howard"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2476
+#: freeculture.xml:2475
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2481
+#: freeculture.xml:2480
msgid "Lott, Trent"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2482
+#: freeculture.xml:2481
msgid "Thurmond, Strom"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2483
+#: freeculture.xml:2482
msgid "blog pressure on"
msgstr ""
-#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2484
-msgid "news events on"
-msgstr ""
-
#. f18
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2497
+#: freeculture.xml:2496
msgid ""
"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the "
"Pot,</quote> New York Times, 16 January 2003, G5."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2486
+#: freeculture.xml:2485
msgid ""
"One direct effect is on stories that had a different life cycle in the "
"mainstream media. The Trent Lott affair is an example. When Lott "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2501 freeculture.xml:2535
+#: freeculture.xml:2500 freeculture.xml:2534
msgid "commercial imperatives of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2503
+#: freeculture.xml:2502
msgid ""
"This different cycle is possible because the same commercial pressures don't "
"exist with blogs as with other ventures. Television and newspapers are "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2510
+#: freeculture.xml:2509
msgid "peer-generated rankings on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2512
+#: freeculture.xml:2511
msgid ""
"But bloggers don't have a similar constraint. They can obsess, they can "
"focus, they can get serious. If a particular blogger writes a particularly "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2521
+#: freeculture.xml:2520
msgid "journalism"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2522
+#: freeculture.xml:2521
msgid "Winer, Dave"
msgstr ""
#. PAGE BREAK 57
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2524
+#: freeculture.xml:2523
msgid ""
"There's a second way, as well, in which blogs have a different cycle from "
"the mainstream press. As Dave Winer, one of the fathers of this movement and "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2534 freeculture.xml:2584
+#: freeculture.xml:2533 freeculture.xml:2583
msgid "CNN"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2536 freeculture.xml:2585 freeculture.xml:5948
+#: freeculture.xml:2535 freeculture.xml:2584 freeculture.xml:5977
msgid "Iraq war"
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2545
+#: freeculture.xml:2544
msgid "Telephone interview with David Winer, 16 April 2003."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2539
+#: freeculture.xml:2538
msgid ""
"These conflicts become more important as media becomes more concentrated "
"(more on this below). A concentrated media can hide more from the public "
#. f20
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2565
+#: freeculture.xml:2564
msgid ""
"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of "
"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2557
+#: freeculture.xml:2556
msgid ""
"Blog space gives amateurs a way to enter the "
"debate—<quote>amateur</quote> not in the sense of inexperienced, but "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2586
+#: freeculture.xml:2585
msgid "Olafson, Steve"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2584
+#: freeculture.xml:2583
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
#. PAGE BREAK 58
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2577
+#: freeculture.xml:2576
msgid ""
"Winer is optimistic about the future of journalism infected with "
"blogs. <quote>It's going to become an essential skill,</quote> Winer "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2608
+#: freeculture.xml:2607
msgid ""
"This speech affects democracy. Winer thinks that happens because <quote>you "
"don't have to work for somebody who controls, [for] a gatekeeper.</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2629 freeculture.xml:6782
+#: freeculture.xml:2628 freeculture.xml:6824
msgid "Brown, John Seely"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2632
+#: freeculture.xml:2631
msgid ""
"<emphasis role='strong'>John Seely Brown</emphasis> is the chief scientist "
"of the Xerox Corporation. His work, as his Web site describes it, is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2638
+#: freeculture.xml:2637
msgid ""
"Brown thus looks at these technologies of digital creativity a bit "
"differently from the perspectives I've sketched so far. I'm sure he would be "
#. PAGE BREAK 59
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2645
+#: freeculture.xml:2644
msgid ""
"As Brown believes, we learn by tinkering. When <quote>a lot of us grew "
"up,</quote> he explains, that tinkering was done <quote>on motorcycle "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2658
+#: freeculture.xml:2657
msgid ""
"The best large-scale example of this kind of tinkering so far is free "
"software or open-source software (FS/OSS). FS/OSS is software whose source "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2665
+#: freeculture.xml:2664
msgid ""
"This opportunity creates a <quote>completely new kind of learning "
"platform,</quote> as Brown describes. <quote>As soon as you start doing "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2673
+#: freeculture.xml:2672
msgid ""
"In this process, <quote>the concrete things you tinker with are abstract. "
"They are code.</quote> Kids are <quote>shifting to the ability to tinker in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2682
+#: freeculture.xml:2681
msgid ""
"This same thing happens with content, too. And it happens in the same "
"collaborative way when that content is part of the Web. As Brown puts it, "
#. PAGE BREAK 60
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2695
+#: freeculture.xml:2694
msgid ""
"Brown is talking about what Elizabeth Daley, Stephanie Barish, and Just "
"Think! teach: that this tinkering with culture teaches as well as "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2703
+#: freeculture.xml:2702
msgid ""
"Yet the freedom to tinker with these objects is not guaranteed. Indeed, as "
"we'll see through the course of this book, that freedom is increasingly "
#. f22
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2719
+#: freeculture.xml:2718
msgid ""
"See, for example, Edward Felten and Andrew Appel, <quote>Technological "
"Access Control Interferes with Noninfringing Scholarship,</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2712
+#: freeculture.xml:2711
msgid ""
"These restrictions have become the focus of researchers and scholars. "
"Professor Ed Felten of Princeton (whom we'll see more of in chapter <xref "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2727
+#: freeculture.xml:2726
msgid ""
"<quote>This is where education in the twenty-first century is going,</quote> "
"Brown explains. We need to <quote>understand how kids who grow up digital "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2732
+#: freeculture.xml:2731
msgid ""
"<quote>Yet,</quote> as Brown continued, and as the balance of this book will "
"evince, <quote>we are building a legal system that completely suppresses the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2740
+#: freeculture.xml:2738
msgid ""
"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 "
"that technology."
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:2743 freeculture.xml:5978 freeculture.xml:6019 freeculture.xml:11635 freeculture.xml:11893
+msgid "Kahle, Brewster"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:2746
msgid ""
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2754 freeculture.xml:2797 freeculture.xml:9655
+#: freeculture.xml:2754 freeculture.xml:2797 freeculture.xml:9714
msgid "Jordan, Jesse"
msgstr ""
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:2798 freeculture.xml:3715 freeculture.xml:3717 freeculture.xml:3718 freeculture.xml:5537 freeculture.xml:8223 freeculture.xml:13571 freeculture.xml:13640
+#: freeculture.xml:2798 freeculture.xml:3728 freeculture.xml:3730 freeculture.xml:3731 freeculture.xml:5566 freeculture.xml:8274 freeculture.xml:13689 freeculture.xml:13758
msgid "Microsoft"
msgstr ""
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2856 freeculture.xml:9653 freeculture.xml:9930
+#: freeculture.xml:2856 freeculture.xml:9712 freeculture.xml:9991
msgid "in recording industry"
msgstr ""
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2858 freeculture.xml:2956 freeculture.xml:3209 freeculture.xml:3338 freeculture.xml:4291 freeculture.xml:4292 freeculture.xml:4293 freeculture.xml:9931 freeculture.xml:10342 freeculture.xml:10343 freeculture.xml:10344 freeculture.xml:10500
+#: freeculture.xml:2858 freeculture.xml:2956 freeculture.xml:3219 freeculture.xml:3348 freeculture.xml:4317 freeculture.xml:4318 freeculture.xml:4319 freeculture.xml:6250 freeculture.xml:9992 freeculture.xml:10411 freeculture.xml:10412 freeculture.xml:10413 freeculture.xml:10569
msgid "recording industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2858 freeculture.xml:9931
+#: freeculture.xml:2858 freeculture.xml:9992
msgid "copyright infringement lawsuits of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2859 freeculture.xml:2888 freeculture.xml:2957 freeculture.xml:9932 freeculture.xml:10345 freeculture.xml:10346 freeculture.xml:10498
+#: freeculture.xml:2859 freeculture.xml:2888 freeculture.xml:2957 freeculture.xml:9993 freeculture.xml:10414 freeculture.xml:10415 freeculture.xml:10567
msgid "Recording Industry Association of America (RIAA)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2859 freeculture.xml:9932
+#: freeculture.xml:2859 freeculture.xml:9993
msgid "copyright infringement lawsuits filed by"
msgstr ""
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2884 freeculture.xml:9652 freeculture.xml:9929
+#: freeculture.xml:2884 freeculture.xml:9711 freeculture.xml:9990
msgid "exaggerated claims of"
msgstr ""
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:2955 freeculture.xml:3339 freeculture.xml:4284 freeculture.xml:5546 freeculture.xml:5595 freeculture.xml:10240 freeculture.xml:10338 freeculture.xml:10499 freeculture.xml:10522 freeculture.xml:15221 freeculture.xml:15286
+#: freeculture.xml:2955 freeculture.xml:3349 freeculture.xml:4310 freeculture.xml:5575 freeculture.xml:5624 freeculture.xml:10306 freeculture.xml:10407 freeculture.xml:10568 freeculture.xml:10591 freeculture.xml:15349 freeculture.xml:15414
msgid "artists"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:2955 freeculture.xml:3339 freeculture.xml:4284 freeculture.xml:10240 freeculture.xml:10338 freeculture.xml:10499 freeculture.xml:10522 freeculture.xml:15221 freeculture.xml:15286
+#: freeculture.xml:2955 freeculture.xml:3349 freeculture.xml:4310 freeculture.xml:10306 freeculture.xml:10407 freeculture.xml:10568 freeculture.xml:10591 freeculture.xml:15349 freeculture.xml:15414
msgid "recording industry payments to"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2956 freeculture.xml:4291 freeculture.xml:10342 freeculture.xml:10500
+#: freeculture.xml:2956 freeculture.xml:4317 freeculture.xml:10411 freeculture.xml:10569
msgid "artist remuneration in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2957 freeculture.xml:10346
+#: freeculture.xml:2957 freeculture.xml:10415
msgid "lobbying power of"
msgstr ""
msgid "Film"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:3027 freeculture.xml:3028
+msgid "Hollywood film industry"
+msgstr ""
+
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+#: freeculture.xml:3027 freeculture.xml:7811 freeculture.xml:15453
+msgid "film industry"
+msgstr ""
+
+#. type: Content of: <book><chapter><indexterm><primary>
+#: freeculture.xml:3029 freeculture.xml:7268 freeculture.xml:11195 freeculture.xml:11196 freeculture.xml:13331 freeculture.xml:13813
+msgid "patents"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:3029
+msgid "on film technology"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3030
+#: freeculture.xml:3033
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> I am grateful to Peter DiMauro "
"for pointing me to this extraordinary history. See also Siva Vaidhyanathan, "
#. PAGE BREAK 67
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3028
+#: freeculture.xml:3031
msgid ""
"The film industry of Hollywood was built by fleeing pirates.<placeholder "
"type=\"footnote\" id=\"0\"/> Creators and directors migrated from the East "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3046
+#: freeculture.xml:3049
msgid "As one commentator tells one part of the story,"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3050
+#: freeculture.xml:3053
msgid ""
"A January 1909 deadline was set for all companies to comply with the "
"license. By February, unlicensed outlaws, who referred to themselves as "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary>
-#: freeculture.xml:3058
+#: freeculture.xml:3061
msgid "Fox, William"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary>
-#: freeculture.xml:3059
+#: freeculture.xml:3062
msgid "General Film Company"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3060 freeculture.xml:3357 freeculture.xml:4518 freeculture.xml:10388
+#: freeculture.xml:3063 freeculture.xml:3367 freeculture.xml:4550 freeculture.xml:10457
msgid "Picker, Randal C."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3084 freeculture.xml:4517 freeculture.xml:10108 freeculture.xml:10221
+#: freeculture.xml:3087 freeculture.xml:4549 freeculture.xml:10174 freeculture.xml:10287
msgid "broadcast flag"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3073
+#: freeculture.xml:3076
msgid ""
"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent "
"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3062
+#: freeculture.xml:3065
msgid ""
"With the country experiencing a tremendous expansion in the number of "
"nickelodeons, the Patents Company reacted to the independent movement by "
#. f3
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3095
+#: freeculture.xml:3099
msgid ""
"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents "
"Majority</citetitle>, archived at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3089
+#: freeculture.xml:3092
msgid ""
"The Napsters of those days, the <quote>independents,</quote> were companies "
"like Fox. And no less than today, these independents were vigorously "
"resisted. <quote>Shooting was disrupted by machinery stolen, and "
-"`accidents' resulting in loss of negatives, equipment, buildings and "
-"sometimes life and limb frequently occurred.</quote><placeholder "
-"type=\"footnote\" id=\"0\"/> That led the independents to flee the East "
-"Coast. California was remote enough from Edison's reach that filmmakers "
-"there could pirate his inventions without fear of the law. And the leaders "
-"of Hollywood filmmaking, Fox most prominently, did just that."
+"<quote>accidents</quote> resulting in loss of negatives, equipment, "
+"buildings and sometimes life and limb frequently "
+"occurred.</quote><placeholder type=\"footnote\" id=\"0\"/> That led the "
+"independents to flee the East Coast. California was remote enough from "
+"Edison's reach that filmmakers there could pirate his inventions without "
+"fear of the law. And the leaders of Hollywood filmmaking, Fox most "
+"prominently, did just that."
msgstr ""
#. PAGE BREAK 68
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3105
+#: freeculture.xml:3110
msgid ""
"Of course, California grew quickly, and the effective enforcement of federal "
"law eventually spread west. But because patents grant the patent holder a "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:3116
+#: freeculture.xml:3122
msgid "Recorded Music"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3117 freeculture.xml:4288
+#: freeculture.xml:3123 freeculture.xml:4314
msgid "on music recordings"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3119
+#: freeculture.xml:3125
msgid ""
"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."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3122
+#: freeculture.xml:3128
msgid "Fourneaux, Henri"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3123
+#: freeculture.xml:3129
msgid "Russel, Phil"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3125
+#: freeculture.xml:3131
msgid ""
"At the time that Edison and Henri Fourneaux invented machines for "
"reproducing music (Edison the phonograph, Fourneaux the player piano), the "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3134 freeculture.xml:3272
+#: freeculture.xml:3140 freeculture.xml:3282
msgid "Beatles"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3136
+#: freeculture.xml:3142
msgid ""
"But what if I wanted to record <quote>Happy Mose,</quote> using Edison's "
"phonograph or Fourneaux's player piano? Here the law stumbled. It was clear "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3159 freeculture.xml:3176
+#: freeculture.xml:3160 freeculture.xml:3167 freeculture.xml:3184
msgid "Kittredge, Alfred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3155
+#: freeculture.xml:3163
msgid ""
"The composers (and publishers) were none too happy about this capacity to "
"pirate. As South Dakota senator Alfred Kittredge put it, <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3170
+#: freeculture.xml:3178
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 "
"and H.R. 19853 Before the (Joint) Committees on Patents, 59th Cong. 59, 1st "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3163
+#: freeculture.xml:3171
msgid ""
"Imagine the injustice of the thing. A composer writes a song or an opera. A "
"publisher buys at great expense the rights to the same and copyrights "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3180
+#: freeculture.xml:3189
msgid "Sousa, John Philip"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3186
+#: freeculture.xml:3195
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 223 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3192
+#: freeculture.xml:3201
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 226 (statement of "
"Nathan Burkan, attorney for the Music Publishers Association)."
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3199
+#: freeculture.xml:3208
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 23 (statement of "
"John Philip Sousa, composer)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3182
+#: freeculture.xml:3191
msgid ""
"The innovators who developed the technology to record other people's works "
"were <quote>sponging upon the toil, the work, the talent, and genius of "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3203
+#: freeculture.xml:3213
msgid "American Graphophone Company"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3204
+#: freeculture.xml:3214
msgid "player pianos"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:3206 freeculture.xml:3207 freeculture.xml:4286 freeculture.xml:4287 freeculture.xml:4370 freeculture.xml:4371 freeculture.xml:6994 freeculture.xml:7083 freeculture.xml:7197 freeculture.xml:7198 freeculture.xml:10339 freeculture.xml:10340 freeculture.xml:10341 freeculture.xml:11119 freeculture.xml:11180 freeculture.xml:12117
+#: freeculture.xml:3216 freeculture.xml:3217 freeculture.xml:4312 freeculture.xml:4313 freeculture.xml:4398 freeculture.xml:4399 freeculture.xml:7036 freeculture.xml:7129 freeculture.xml:7244 freeculture.xml:7245 freeculture.xml:10408 freeculture.xml:10409 freeculture.xml:10410 freeculture.xml:11190 freeculture.xml:11252 freeculture.xml:11464 freeculture.xml:11539 freeculture.xml:12208 freeculture.xml:12297 freeculture.xml:12367 freeculture.xml:12369
msgid "Congress, U.S."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3206 freeculture.xml:4286 freeculture.xml:4370 freeculture.xml:7083 freeculture.xml:7197 freeculture.xml:10339
+#: freeculture.xml:3216 freeculture.xml:4312 freeculture.xml:4398 freeculture.xml:7129 freeculture.xml:7244 freeculture.xml:10408
msgid "on copyright laws"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3207 freeculture.xml:4287 freeculture.xml:10341
+#: freeculture.xml:3217 freeculture.xml:4313 freeculture.xml:10410
msgid "on recording industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3208 freeculture.xml:4289 freeculture.xml:10167
+#: freeculture.xml:3218 freeculture.xml:4315 freeculture.xml:10233
msgid "statutory licenses in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3209
+#: freeculture.xml:3219
msgid "statutory license system in"
msgstr ""
#. f8
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3219
+#: freeculture.xml:3229
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 283–84 "
"(statement of Albert Walker, representative of the Auto-Music Perforating "
#. f9
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3230
+#: freeculture.xml:3240
msgid ""
"To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared "
"memorandum of Philip Mauro, general patent counsel of the American "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3211
+#: freeculture.xml:3221
msgid ""
"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 player piano "
"of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
"innovators argued, the job of Congress was <quote>to consider first the "
"interest of [the public], whom they represent, and whose servants they "
-"are.</quote> <quote>All talk about `theft,'</quote> the general counsel of "
-"the American Graphophone Company wrote, <quote>is the merest claptrap, for "
-"there exists no property in ideas musical, literary or artistic, except as "
-"defined by statute.</quote><placeholder type=\"footnote\" id=\"1\"/>"
+"are.</quote> <quote>All talk about <quote>theft,</quote></quote> the general "
+"counsel of the American Graphophone Company wrote, <quote>is the merest "
+"claptrap, for there exists no property in ideas musical, literary or "
+"artistic, except as defined by statute.</quote><placeholder "
+"type=\"footnote\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3235
+#: freeculture.xml:3245
msgid "cover songs"
msgstr ""
#. PAGE BREAK 70
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3237
+#: freeculture.xml:3247
msgid ""
"The law soon resolved this battle in favor of the composer "
"<emphasis>and</emphasis> the recording artist. Congress amended the law to "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3251
+#: freeculture.xml:3261
msgid "compulsory license"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3252 freeculture.xml:4294 freeculture.xml:10166
+#: freeculture.xml:3262 freeculture.xml:4320 freeculture.xml:10232
msgid "statutory licenses"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3254
+#: freeculture.xml:3264
msgid ""
"American law ordinarily calls this a <quote>compulsory license,</quote> but "
"I will refer to it as a <quote>statutory license.</quote> A statutory "
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3261 freeculture.xml:14917
+#: freeculture.xml:3271 freeculture.xml:15045
msgid "Grisham, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3263
+#: freeculture.xml:3273
msgid ""
"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 gives the "
#. f10
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3288
+#: freeculture.xml:3298
msgid ""
"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 sess., "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3274
+#: freeculture.xml:3284
msgid ""
"But the law governing recordings gives recording artists less. And thus, in "
"effect, the law <emphasis>subsidizes</emphasis> the recording industry "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3299
+#: freeculture.xml:3309
msgid ""
"While the recording industry has been quite coy about this recently, "
"historically it has been quite a supporter of the statutory license for "
#. f11
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3321
+#: freeculture.xml:3331
msgid ""
"Copyright Law Revision: Report to Accompany H.R. 2512, House Committee on "
"the Judiciary, 90th Cong., 1st sess., House Document no. 83, (8 March "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3306
+#: freeculture.xml:3316
msgid ""
"the record producers argued vigorously that the compulsory license system "
"must be retained. They asserted that the record industry is a "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3332
+#: freeculture.xml:3342
msgid ""
"By limiting the rights musicians have, by partially pirating their creative "
"work, the record producers, and the public, benefit."
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:3337 freeculture.xml:4482
+#: freeculture.xml:3347 freeculture.xml:4513
msgid "Radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3338 freeculture.xml:4293 freeculture.xml:10343
+#: freeculture.xml:3348 freeculture.xml:4319 freeculture.xml:10412
msgid "radio broadcast and"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3341
+#: freeculture.xml:3351
msgid "Radio was also born of piracy."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3356
+#: freeculture.xml:3366
msgid "Hand, Learned"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3347
+#: freeculture.xml:3357
msgid ""
"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At "
"the beginning, record companies printed <quote>Not Licensed for Radio "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3344
+#: freeculture.xml:3354
msgid ""
"When a radio station plays a record on the air, that constitutes a "
"<quote>public performance</quote> of the composer's work.<placeholder "
"performance."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:3373 freeculture.xml:4316 freeculture.xml:10309
+msgid "music recordings played on"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:3374 freeculture.xml:9409 freeculture.xml:9884 freeculture.xml:12966
+#: freeculture.xml:3385 freeculture.xml:9466 freeculture.xml:9945 freeculture.xml:13083
msgid "Lovett, Lyle"
msgstr ""
#. PAGE BREAK 72
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3364
+#: freeculture.xml:3375
msgid ""
"But when the radio station plays a record, it is not only performing a copy "
"of the <emphasis>composer's</emphasis> work. The radio station is also "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3379
+#: freeculture.xml:3390
msgid ""
"But it doesn't. Under the law governing radio performances, the radio "
"station does not have to pay the recording artist. The radio station need "
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:3386 freeculture.xml:3898 freeculture.xml:6505 freeculture.xml:6521
+#: freeculture.xml:3397 freeculture.xml:3914 freeculture.xml:6545 freeculture.xml:6561
msgid "Madonna"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3388
+#: freeculture.xml:3399
msgid ""
"This difference can be huge. Imagine you compose a piece of music. Imagine "
"it is your first. You own the exclusive right to authorize public "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3394
+#: freeculture.xml:3405
msgid ""
"Imagine she does sing your song, and imagine she likes it a lot. She then "
"decides to make a recording of your song, and it becomes a top hit. Under "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3406
+#: freeculture.xml:3418
msgid ""
"No doubt, one might argue that, on balance, the recording artists "
"benefit. On average, the promotion they get is worth more than the "
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:3416 freeculture.xml:4488
+#: freeculture.xml:3428 freeculture.xml:4519
msgid "Cable TV"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3417 freeculture.xml:4308 freeculture.xml:8588 freeculture.xml:8627 freeculture.xml:15319
+#: freeculture.xml:3429 freeculture.xml:4334 freeculture.xml:8639 freeculture.xml:8679 freeculture.xml:15449
msgid "cable television"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3419
+#: freeculture.xml:3431
msgid "Cable TV was also born of a kind of piracy."
msgstr ""
#. PAGE BREAK 73
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3422
+#: freeculture.xml:3434
msgid ""
"When cable entrepreneurs first started wiring communities with cable "
"television in 1948, most refused to pay broadcasters for the content that "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3432
+#: freeculture.xml:3444
msgid "Anello, Douglas"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3433
+#: freeculture.xml:3445
msgid "Burdick, Quentin"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3434 freeculture.xml:3445
+#: freeculture.xml:3446 freeculture.xml:3457
msgid "Hyde, Rosel H."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3440
+#: freeculture.xml:3452
msgid ""
"Copyright Law Revision—CATV: Hearing on S. 1006 Before the "
"Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee "
#. f14
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3452
+#: freeculture.xml:3464
msgid ""
"Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello, "
"general counsel of the National Association of Broadcasters)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3436
+#: freeculture.xml:3448
msgid ""
"Broadcasters and copyright owners were quick to attack this theft. Rosel "
"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair "
#. f15
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3463
+#: freeculture.xml:3475
msgid ""
"Copyright Law Revision—CATV, 126 (statement of Ernest W. Jennes, "
"general counsel of the Association of Maximum Service Telecasters, Inc.)."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3459
+#: freeculture.xml:3471
msgid ""
"The extraordinary thing about the CATV business is that it is the only "
"business I know of where the product that is being sold is not paid "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3469
+#: freeculture.xml:3481
msgid "Again, the demand of the copyright holders seemed reasonable enough:"
msgstr ""
#. f16
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3478
+#: freeculture.xml:3490
msgid ""
"Copyright Law Revision—CATV, 169 (joint statement of Arthur B. Krim, "
"president of United Artists Corp., and John Sinn, president of United "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3473
+#: freeculture.xml:3485
msgid ""
"All we are asking for is a very simple thing, that people who now take our "
"property for nothing pay for it. We are trying to stop piracy and I don't "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3484 freeculture.xml:3492
+#: freeculture.xml:3496 freeculture.xml:3504
msgid "Heston, Charlton"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3490
+#: freeculture.xml:3502
msgid ""
"Copyright Law Revision—CATV, 209 (statement of Charlton Heston, "
"president of the Screen Actors Guild). <placeholder type=\"indexterm\" "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3486
+#: freeculture.xml:3498
msgid ""
"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president "
"Charlton Heston said, who were <quote>depriving actors of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3497
+#: freeculture.xml:3509
msgid ""
"But again, there was another side to the debate. As Assistant Attorney "
"General Edwin Zimmerman put it,"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary>
-#: freeculture.xml:3513 freeculture.xml:3515
+#: freeculture.xml:3525 freeculture.xml:3527
msgid "Zimmerman, Edwin"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3511
+#: freeculture.xml:3523
msgid ""
"Copyright Law Revision—CATV, 216 (statement of Edwin M. Zimmerman, "
"acting assistant attorney general). <placeholder type=\"indexterm\" "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3502
+#: freeculture.xml:3514
msgid ""
"Our point here is that unlike the problem of whether you have any copyright "
"protection at all, the problem here is whether copyright holders who are "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3519
+#: freeculture.xml:3531
msgid ""
"Copyright owners took the cable companies to court. Twice the Supreme Court "
"held that the cable companies owed the copyright owners nothing."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3523
+#: freeculture.xml:3535
msgid ""
"It took Congress almost thirty years before it resolved the question of "
"whether cable companies had to pay for the content they "
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3542
+#: freeculture.xml:3554
msgid ""
"See, for example, National Music Publisher's Association, <citetitle>The "
"Engine of Free Expression: Copyright on the Internet—The Myth of Free "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3537
+#: freeculture.xml:3549
msgid ""
"<emphasis role='strong'>These separate stories</emphasis> sing a common "
"theme. If <quote>piracy</quote> means using value from someone else's "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:3559
+#: freeculture.xml:3571
msgid "Chapter Five: <quote>Piracy</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:3561
+#: freeculture.xml:3573
msgid ""
"<emphasis role='strong'>There is piracy</emphasis> of copyrighted "
"material. Lots of it. This piracy comes in many forms. The most significant "
#. PAGE BREAK 76
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:3569
+#: freeculture.xml:3581
msgid ""
"But as well as copy-shop piracy, there is another kind of "
"<quote>taking</quote> that is more directly related to the Internet. That "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:3579
+#: freeculture.xml:3591
msgid "Piracy I"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3580 freeculture.xml:3660 freeculture.xml:3710 freeculture.xml:15321
+#: freeculture.xml:3592 freeculture.xml:3672 freeculture.xml:3722 freeculture.xml:15451
msgid "Asia, commercial piracy in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3581 freeculture.xml:4033 freeculture.xml:9885 freeculture.xml:10740 freeculture.xml:14712 freeculture.xml:15303
+#: freeculture.xml:3593 freeculture.xml:4052 freeculture.xml:9946 freeculture.xml:10809 freeculture.xml:14840 freeculture.xml:15433
msgid "CDs"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3581
+#: freeculture.xml:3593
msgid "foreign piracy of"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3589
+#: freeculture.xml:3601
msgid ""
"See IFPI (International Federation of the Phonographic Industry), "
"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3583
+#: freeculture.xml:3595
msgid ""
"All across the world, but especially in Asia and Eastern Europe, there are "
"businesses that do nothing but take others people's copyrighted content, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3599
+#: freeculture.xml:3611
msgid ""
"This is piracy plain and simple. Nothing in the argument of this book, nor "
"in the argument that most people make when talking about the subject of this "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3605
+#: freeculture.xml:3617
msgid ""
"Which is not to say that excuses and justifications couldn't be made for "
"it. We could, for example, remind ourselves that for the first one hundred "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3614
+#: freeculture.xml:3626
msgid ""
"That excuse isn't terribly strong. Technically, our law did not ban the "
"taking of foreign works. It explicitly limited itself to American "
#. PAGE BREAK 77
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3625
+#: freeculture.xml:3637
msgid ""
"True, these local rules have, in effect, been imposed upon these "
"countries. No country can be part of the world economy and choose not to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3653
+#: freeculture.xml:3665
msgid "agricultural patents"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3654 freeculture.xml:13258 freeculture.xml:13749 freeculture.xml:13756
+#: freeculture.xml:3666 freeculture.xml:13376 freeculture.xml:13868 freeculture.xml:13875
msgid "Drahos, Peter"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3638
+#: freeculture.xml:3650
msgid ""
"See Peter Drahos with John Braithwaite, Information Feudalism: "
"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3633
+#: freeculture.xml:3645
msgid ""
"If a country is to be treated as a sovereign, however, then its laws are its "
"laws regardless of their source. The international law under which these "
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3675 freeculture.xml:3954 freeculture.xml:15469
+#: freeculture.xml:3687 freeculture.xml:3971 freeculture.xml:15599
msgid "Liebowitz, Stan"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3668
+#: freeculture.xml:3680
msgid ""
"For an analysis of the economic impact of copying technology, see Stan "
"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3662
+#: freeculture.xml:3674
msgid ""
"Alternatively, we could try to excuse this piracy by noting that in any "
"case, it does no harm to the industry. The Chinese who get access to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3679
+#: freeculture.xml:3691
msgid ""
"This is often true (though I have friends who have purchased many thousands "
"of pirated DVDs who certainly have enough money to pay for the content they "
#. PAGE BREAK 78
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3693
+#: freeculture.xml:3705
msgid ""
"This argument is still very weak. However, although copyright is a property "
"right of a very special sort, it <emphasis>is</emphasis> a property "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:3711 freeculture.xml:15322
+#: freeculture.xml:3723 freeculture.xml:15452
msgid "in Asia"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:3724
+msgid "open-source software"
+msgstr ""
+
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3712 freeculture.xml:13569 freeculture.xml:14155
+#: freeculture.xml:3724 freeculture.xml:3725 freeculture.xml:13687 freeculture.xml:14279
msgid "free software/open-source software (FS/OSS)"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3713 freeculture.xml:3743 freeculture.xml:12049 freeculture.xml:13584 freeculture.xml:14211
+#: freeculture.xml:3726 freeculture.xml:3756 freeculture.xml:12139 freeculture.xml:13702 freeculture.xml:14335
msgid "GNU/Linux operating system"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3714 freeculture.xml:3744 freeculture.xml:12051 freeculture.xml:13585 freeculture.xml:14212
+#: freeculture.xml:3727 freeculture.xml:3757 freeculture.xml:12141 freeculture.xml:13703 freeculture.xml:14336
msgid "Linux operating system"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3715
+#: freeculture.xml:3728
msgid "competitive strategies of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3716
+#: freeculture.xml:3729
msgid "Windows"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3717
+#: freeculture.xml:3730
msgid "international software piracy of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3718
+#: freeculture.xml:3731
msgid "Windows operating system of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3720
+#: freeculture.xml:3733
msgid ""
"Finally, we could try to excuse this piracy with the argument that the "
"piracy actually helps the copyright owner. When the Chinese "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3732 freeculture.xml:4775 freeculture.xml:4999 freeculture.xml:6489 freeculture.xml:6565 freeculture.xml:6700 freeculture.xml:7112 freeculture.xml:14243
+#: freeculture.xml:3745 freeculture.xml:4808 freeculture.xml:5032 freeculture.xml:6529 freeculture.xml:6605 freeculture.xml:6742 freeculture.xml:7159 freeculture.xml:14367
msgid "law"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:3732 freeculture.xml:14243
+#: freeculture.xml:3745 freeculture.xml:14367
msgid "databases of case reports in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3734
+#: freeculture.xml:3747
msgid ""
"This argument, too, is somewhat true. The addiction strategy is a good "
"one. Many businesses practice it. Some thrive because of it. Law students, "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3741
+#: freeculture.xml:3754
msgid "Netscape"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3742
+#: freeculture.xml:3755
msgid "Internet Explorer"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3746
+#: freeculture.xml:3759
msgid ""
"Still, the argument is not terribly persuasive. We don't give the alcoholic "
"a defense when he steals his first beer, merely because that will make it "
#. PAGE BREAK 79
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3760
+#: freeculture.xml:3773
msgid ""
"Thus, while I understand the pull of these justifications for piracy, and I "
"certainly see the motivation, in my view, in the end, these efforts at "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3770
+#: freeculture.xml:3783
msgid ""
"But as the examples from the four chapters that introduced this part "
"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3779
+#: freeculture.xml:3792
msgid ""
"This doesn't mean that there are no questions raised by the latest piracy "
"concern, peer-to-peer file sharing. But it does mean that we need to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3785
+#: freeculture.xml:3798
msgid ""
"For (1) like the original Hollywood, p2p sharing escapes an overly "
"controlling industry; and (2) like the original recording industry, it "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3791
+#: freeculture.xml:3804
msgid ""
"These differences distinguish p2p sharing from true piracy. They should push "
"us to find a way to protect artists while enabling this sharing to survive."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:3797
+#: freeculture.xml:3810
msgid "Piracy II"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3802
+#: freeculture.xml:3815
msgid ""
"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 "
"Eng. Rep. 1274 (1777)."
#. PAGE BREAK 80
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3799
+#: freeculture.xml:3812
msgid ""
"The key to the <quote>piracy</quote> that the law aims to quash is a use "
"that <quote>rob[s] the author of [his] profit.</quote><placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3811
+#: freeculture.xml:3824
msgid "Fanning, Shawn"
msgstr ""
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3812 freeculture.xml:3819 freeculture.xml:9815
-msgid "innovation"
-msgstr ""
-
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3829 freeculture.xml:8821
+#: freeculture.xml:3843 freeculture.xml:8877
msgid "Christensen, Clayton M."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3819
+#: freeculture.xml:3833
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> See Clayton M. Christensen, "
"<citetitle>The Innovator's Dilemma: The Revolutionary National Bestseller "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3811
+#: freeculture.xml:3824
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Peer-to-peer sharing "
-"was made famous by Napster. But the inventors of the Napster technology had "
-"not made any major technological innovations. Like every great advance in "
-"innovation on the Internet (and, arguably, off the Internet as "
-"well<placeholder type=\"footnote\" id=\"3\"/>), Shawn Fanning and crew had "
-"simply put together components that had been developed independently."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
+"type=\"indexterm\" id=\"3\"/> Peer-to-peer sharing was made famous by "
+"Napster. But the inventors of the Napster technology had not made any major "
+"technological innovations. Like every great advance in innovation on the "
+"Internet (and, arguably, off the Internet as well<placeholder "
+"type=\"footnote\" id=\"4\"/>), Shawn Fanning and crew had simply put "
+"together components that had been developed independently."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3834
+#: freeculture.xml:3848
msgid "Kazaa"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
-#: freeculture.xml:3835
+#: freeculture.xml:3849
msgid "number of registrations on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
-#: freeculture.xml:3836
+#: freeculture.xml:3850
msgid "replacement of"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3842
+#: freeculture.xml:3856
msgid ""
"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood "
"Nightmare,</quote> <citetitle>San Francisco Chronicle</citetitle>, 24 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3834
+#: freeculture.xml:3848
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> The result was "
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3865
+#: freeculture.xml:3879
msgid ""
"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music "
"Distribution</citetitle> (September 2002), reporting that 28 percent of "
#. f8
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3874
+#: freeculture.xml:3888
msgid ""
"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> "
"<citetitle>New York Times</citetitle>, 6 June 2003, A1."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3859
+#: freeculture.xml:3873
msgid ""
"According to a number of estimates, a huge proportion of Americans have "
"tasted file-sharing technology. A study by Ipsos-Insight in September 2002 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3883
+#: freeculture.xml:3897
msgid ""
"Some of this enjoying involves copyright infringement. Some of it does "
"not. And even among the part that is technically copyright infringement, "
"sharing enables, and the kinds of harm it entails."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:3905
+msgid "four types of"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:3906
+msgid "range of content on"
+msgstr ""
+
#. PAGE BREAK 81
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3893
+#: freeculture.xml:3909
msgid ""
"File sharers share different kinds of content. We can divide these different "
"kinds into four types."
#. A.
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:3901
+#: freeculture.xml:3917
msgid ""
"There are some who use sharing networks as substitutes for purchasing "
"content. Thus, when a new Madonna CD is released, rather than buying the CD, "
#. B.
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:3911
+#: freeculture.xml:3927
msgid ""
"There are some who use sharing networks to sample music before purchasing "
"it. Thus, a friend sends another friend an MP3 of an artist he's not heard "
#. C.
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:3922
+#: freeculture.xml:3938
msgid ""
"There are many who use sharing networks to get access to copyrighted content "
"that is no longer sold or that they would not have purchased because the "
#. PAGE BREAK 82
#. D.
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:3939
+#: freeculture.xml:3955
msgid ""
"Finally, there are many who use sharing networks to get access to content "
"that is not copyrighted or that the copyright owner wants to give away."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3945
+#: freeculture.xml:3962
msgid "How do these different types of sharing balance out?"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3953
+#: freeculture.xml:3970
msgid ""
"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, "
"148–49. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3948
+#: freeculture.xml:3965
msgid ""
"Let's start with some simple but important points. From the perspective of "
"the law, only type D sharing is clearly legal. From the perspective of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3964
+#: freeculture.xml:3981
msgid ""
"Whether on balance sharing is harmful depends importantly on how harmful "
"type A sharing is. Just as Edison complained about Hollywood, composers "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3971 freeculture.xml:3980 freeculture.xml:4340 freeculture.xml:8383 freeculture.xml:8412 freeculture.xml:10164 freeculture.xml:15029
+#: freeculture.xml:3988 freeculture.xml:3997 freeculture.xml:4367 freeculture.xml:8434 freeculture.xml:8463 freeculture.xml:10230 freeculture.xml:15157
msgid "cassette recording"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3971 freeculture.xml:4340 freeculture.xml:8383 freeculture.xml:8412 freeculture.xml:10164 freeculture.xml:10165 freeculture.xml:15029 freeculture.xml:15030
+#: freeculture.xml:3988 freeculture.xml:4367 freeculture.xml:8434 freeculture.xml:8463 freeculture.xml:10230 freeculture.xml:10231 freeculture.xml:15157 freeculture.xml:15158
msgid "VCRs"
msgstr ""
+#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
+#: freeculture.xml:3998 freeculture.xml:4537
+msgid "DAT (digital audio tape)"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3980
-msgid ""
-"<placeholder type=\"indexterm\" id=\"0\"/> 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 practice of cassette taping in the 1970s, "
-"including an advertising campaign featuring a cassette-shape skull and the "
-"caption <quote>Home taping is killing music.</quote> At the time digital "
-"audio tape became a threat, the Office of Technical Assessment conducted a "
-"survey of consumer behavior. In 1988, 40 percent of consumers older than ten "
-"had taped music to a cassette format. U.S. Congress, Office of Technology "
-"Assessment, <citetitle>Copyright and Home Copying: Technology Challenges the "
+#: freeculture.xml:3997
+msgid ""
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/> 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 "
+"practice of cassette taping in the 1970s, including an advertising campaign "
+"featuring a cassette-shape skull and the caption <quote>Home taping is "
+"killing music.</quote> At the time digital audio tape became a threat, the "
+"Office of Technical Assessment conducted a survey of consumer behavior. In "
+"1988, 40 percent of consumers older than ten had taped music to a cassette "
+"format. U.S. Congress, Office of Technology Assessment, "
+"<citetitle>Copyright and Home Copying: Technology Challenges the "
"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing "
"Office, October 1989), 145–56."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3973
+#: freeculture.xml:3990
msgid ""
"While the numbers do suggest that sharing is harmful, how harmful is harder "
"to reckon. It has long been the recording industry's practice to blame "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3998
+#: freeculture.xml:4016
msgid "MTV"
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4008
+#: freeculture.xml:4027
msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4000
+#: freeculture.xml:4018
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
"regulation, MTV was launched, and the industry had a record "
"turnaround. <quote>In the end,</quote> Cap Gemini concludes, <quote>the "
-"`crisis' … was not the fault of the tapers—who did not [stop "
-"after MTV came into being]—but had to a large extent resulted from "
-"stagnation in musical innovation at the major labels.</quote><placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"<quote>crisis</quote> … was not the fault of the tapers—who did "
+"not [stop after MTV came into being]—but had to a large extent "
+"resulted from stagnation in musical innovation at the major "
+"labels.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4013
+#: freeculture.xml:4032
msgid ""
"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 the industry "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4023
+#: freeculture.xml:4042
msgid ""
"We start to answer this question by focusing on the net harm, from the "
"standpoint of the industry as a whole, that sharing networks cause. The "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4033
+#: freeculture.xml:4052
msgid "sales levels of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4035
+#: freeculture.xml:4054
msgid ""
"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 actually suggest "
#. f12
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4044
+#: freeculture.xml:4063
msgid ""
"See Recording Industry Association of America, <citetitle>2002 Yearend "
"Statistics</citetitle>, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:4071
+#: freeculture.xml:4090
msgid "Black, Jane"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4068
+#: freeculture.xml:4087
msgid ""
"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, "
"13 February 2003, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4040
+#: freeculture.xml:4059
msgid ""
"In 2002, the RIAA reported that CD sales had fallen by 8.9 percent, from 882 "
"million to 803 million units; revenues fell 6.7 percent.<placeholder "
#. PAGE BREAK 84
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4086
+#: freeculture.xml:4105
msgid ""
"But let's assume the RIAA is right, and all of the decline in CD sales is "
"because of Internet sharing. Here's the rub: In the same period that the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4094
+#: freeculture.xml:4113
msgid ""
"There are too many different things happening at the same time to explain "
"these numbers definitively, but one conclusion is unavoidable: The recording "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4110
+#: freeculture.xml:4129
msgid ""
"These are the harms—alleged and perhaps exaggerated but, let's assume, "
"real. What of the benefits? File sharing may impose costs on the recording "
#. f15
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4122
+#: freeculture.xml:4141
msgid ""
"By one estimate, 75 percent of the music released by the major labels is no "
"longer in print. See Online Entertainment and Copyright Law—Coming "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4116
+#: freeculture.xml:4135
msgid ""
"One benefit is type C sharing—making available content that is "
"technically still under copyright but is no longer commercially available. "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:4135 freeculture.xml:4143 freeculture.xml:4164 freeculture.xml:4188 freeculture.xml:4699 freeculture.xml:6159 freeculture.xml:6164 freeculture.xml:6216 freeculture.xml:7183 freeculture.xml:7184 freeculture.xml:7570 freeculture.xml:7639 freeculture.xml:7927 freeculture.xml:14415 freeculture.xml:15141 freeculture.xml:15142
+#: freeculture.xml:4154 freeculture.xml:4163 freeculture.xml:4184 freeculture.xml:4208 freeculture.xml:4732 freeculture.xml:6190 freeculture.xml:6195 freeculture.xml:6247 freeculture.xml:7230 freeculture.xml:7231 freeculture.xml:7618 freeculture.xml:7687 freeculture.xml:7975 freeculture.xml:14539 freeculture.xml:15269 freeculture.xml:15270
msgid "books"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:4135 freeculture.xml:4143 freeculture.xml:7183 freeculture.xml:15142
+#: freeculture.xml:4154 freeculture.xml:4163 freeculture.xml:7230 freeculture.xml:15270
msgid "resales of"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:4155
+msgid "used record sales"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4143
+#: freeculture.xml:4163
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> While there are not good "
"estimates of the number of used record stores in existence, in 2002, there "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4137
+#: freeculture.xml:4157
msgid ""
"In real space—long before the Internet—the market had a simple "
"response to this problem: used book and record stores. There are thousands "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:4164 freeculture.xml:6159 freeculture.xml:6164 freeculture.xml:7184 freeculture.xml:15141
+#: freeculture.xml:4184 freeculture.xml:6190 freeculture.xml:6195 freeculture.xml:7231 freeculture.xml:15269
msgid "out of print"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4165
+#: freeculture.xml:4185
msgid "Bernstein, Leonard"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4166 freeculture.xml:7640
+#: freeculture.xml:4186 freeculture.xml:7688 freeculture.xml:7976
msgid "books on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4168
+#: freeculture.xml:4188
msgid ""
"Type C sharing, then, is very much like used book stores or used record "
"stores. It is different, of course, because the person making the content "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4181
+#: freeculture.xml:4201
msgid ""
"It may well be, all things considered, that it would be better if the "
"copyright owner got something from this trade. But just because it may well "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:4188 freeculture.xml:14415
+#: freeculture.xml:4208 freeculture.xml:14539
msgid "free on-line releases of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4189
+#: freeculture.xml:4209
msgid "Doctorow, Cory"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4190
+#: freeculture.xml:4210
msgid "Down and Out in the Magic Kingdom (Doctorow)"
msgstr ""
#. PAGE BREAK 86
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4192
+#: freeculture.xml:4212
msgid ""
"Finally, and perhaps most importantly, file-sharing networks enable type D "
"sharing to occur—the sharing of content that copyright owners want to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4210
+#: freeculture.xml:4230
msgid ""
"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 of type A "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4216
+#: freeculture.xml:4236
msgid ""
"The point throughout is this: While the recording industry understandably "
"says, <quote>This is how much we've lost,</quote> we must also ask, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4224
+#: freeculture.xml:4244
msgid ""
"For unlike the piracy I described in the first section of this chapter, much "
"of the <quote>piracy</quote> that file sharing enables is plainly legal and "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4238
+#: freeculture.xml:4258
msgid ""
"<quote>But isn't the war just a war against illegal sharing? Isn't the "
"target just what you call type A sharing?</quote>"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:4261
+msgid "zero tolerance in"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:4262
+msgid "infringing material blocked by"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:4263
+msgid "infringement protections in"
+msgstr ""
+
#. f17
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4254
+#: freeculture.xml:4277
msgid ""
"See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 "
"(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4242
+#: freeculture.xml:4265
msgid ""
"You would think. And we should hope. But so far, it is not. The effect of "
"the war purportedly on type A sharing alone has been felt far beyond that "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4265
+#: freeculture.xml:4290
msgid ""
"If 99.4 percent is not good enough, then this is a war on file-sharing "
"technologies, not a war on copyright infringement. There is no way to assure "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4276
+#: freeculture.xml:4302
msgid ""
"Zero tolerance has not been our history. It has not produced the content "
"industry that we know today. The history of American law has been a process "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4285
+#: freeculture.xml:4311
msgid "composers, copyright protections of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4290
-msgid "music recordings played on"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4292
+#: freeculture.xml:4318
msgid "copyright protections in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4295
+#: freeculture.xml:4321
msgid "composer's rights vs. producers' rights in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4297
+#: freeculture.xml:4323
msgid ""
"So, as we've seen, when <quote>mechanical reproduction</quote> threatened "
"the interests of composers, Congress balanced the rights of composers "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4310
+#: freeculture.xml:4336
msgid ""
"Cable TV followed the pattern of record albums. When the courts rejected the "
"claim that cable broadcasters had to pay for the content they rebroadcast, "
"content, so long as they paid the statutory price."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:4344
+msgid "two central goals of"
+msgstr ""
+
#. PAGE BREAK 88
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4321
+#: freeculture.xml:4348
msgid ""
"This compromise, like the compromise affecting records and player pianos, "
"served two important goals—indeed, the two central goals of any "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4339
+#: freeculture.xml:4366
msgid "Betamax"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:4368 freeculture.xml:8203 freeculture.xml:8347 freeculture.xml:8412 freeculture.xml:8524
+msgid "Sony"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:4368
+msgid "Betamax technology developed by"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4342
+#: freeculture.xml:4370
msgid ""
"In the same year that Congress struck this balance, two major producers and "
"distributors of film content filed a lawsuit against another technology, the "
#. PAGE BREAK 89
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4356
+#: freeculture.xml:4384
msgid ""
"There was something to Disney's and Universal's claim. Sony did decide to "
"design its machine to make it very simple to record television shows. It "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4371
+#: freeculture.xml:4399 freeculture.xml:4400
msgid "on VCR technology"
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4380
+#: freeculture.xml:4409
msgid ""
"Copyright Infringements (Audio and Video Recorders): Hearing on S. 1758 "
"Before the Senate Committee on the Judiciary, 97th Cong., 1st and 2nd sess., "
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4392
+#: freeculture.xml:4421
msgid "Copyright Infringements (Audio and Video Recorders), 475."
msgstr ""
#. f20
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4397
+#: freeculture.xml:4426
msgid ""
"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony "
"Corp. of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)."
#. f21
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4408
+#: freeculture.xml:4437
msgid ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4373
+#: freeculture.xml:4402
msgid ""
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, "
"30, 40 million of these VCRs in the land, we will be invaded by millions of "
-"`tapeworms,' eating away at the very heart and essence of the most precious "
-"asset the copyright owner has, his copyright.</quote><placeholder "
-"type=\"footnote\" id=\"0\"/> <quote>One does not have to be trained in "
-"sophisticated marketing and creative judgment,</quote> he told Congress, "
-"<quote>to understand the devastation on the after-theater marketplace caused "
-"by the hundreds of millions of tapings that will adversely impact on the "
-"future of the creative community in this country. It is simply a question of "
-"basic economics and plain common sense.</quote><placeholder "
-"type=\"footnote\" id=\"1\"/> Indeed, as surveys would later show, 45 percent "
-"of VCR owners had movie libraries of ten videos or more<placeholder "
-"type=\"footnote\" id=\"2\"/> — a use the Court would later hold was "
-"not <quote>fair.</quote> By <quote>allowing VCR owners to copy freely by the "
-"means of an exemption from copyright infringement without creating a "
-"mechanism to compensate copyright owners,</quote> Valenti testified, "
-"Congress would <quote>take from the owners the very essence of their "
-"property: the exclusive right to control who may use their work, that is, "
-"who may copy it and thereby profit from its "
+"<quote>tapeworms,</quote> eating away at the very heart and essence of the "
+"most precious asset the copyright owner has, his "
+"copyright.</quote><placeholder type=\"footnote\" id=\"0\"/> <quote>One does "
+"not have to be trained in sophisticated marketing and creative "
+"judgment,</quote> he told Congress, <quote>to understand the devastation on "
+"the after-theater marketplace caused by the hundreds of millions of tapings "
+"that will adversely impact on the future of the creative community in this "
+"country. It is simply a question of basic economics and plain common "
+"sense.</quote><placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys "
+"would later show, 45 percent of VCR owners had movie libraries of ten videos "
+"or more<placeholder type=\"footnote\" id=\"2\"/> — a use the Court "
+"would later hold was not <quote>fair.</quote> By <quote>allowing VCR owners "
+"to copy freely by the means of an exemption from copyright infringement "
+"without creating a mechanism to compensate copyright owners,</quote> Valenti "
+"testified, Congress would <quote>take from the owners the very essence of "
+"their property: the exclusive right to control who may use their work, that "
+"is, who may copy it and thereby profit from its "
"reproduction.</quote><placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""
#. f22
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4426
+#: freeculture.xml:4456
msgid ""
"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony "
"Corp. of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:4429
+#: freeculture.xml:4459
msgid "Kozinski, Alex"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4414
+#: freeculture.xml:4444
msgid ""
"It took eight years for this case to be resolved by the Supreme Court. In "
"the interim, the Ninth Circuit Court of Appeals, which includes Hollywood in "
#. PAGE BREAK 90
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4432
+#: freeculture.xml:4463
msgid ""
"But the Supreme Court reversed the decision of the Ninth Circuit. And in "
"its reversal, the Court clearly articulated its understanding of when and "
#. f23
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:4451
+#: freeculture.xml:4482
msgid ""
"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City "
"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:4441
+#: freeculture.xml:4472
msgid ""
"Sound policy, as well as history, supports our consistent deference to "
"Congress when major technological innovations alter the market for "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4457
+#: freeculture.xml:4488
msgid ""
"Congress was asked to respond to the Supreme Court's decision. But as with "
"the plea of recording artists about radio broadcasts, Congress ignored the "
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4468
+#: freeculture.xml:4499
msgid "CASE"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4469
+#: freeculture.xml:4500
msgid "WHOSE VALUE WAS <quote>PIRATED</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4470
+#: freeculture.xml:4501
msgid "RESPONSE OF THE COURTS"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4471
+#: freeculture.xml:4502
msgid "RESPONSE OF CONGRESS"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4476
+#: freeculture.xml:4507
msgid "Recordings"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4477
+#: freeculture.xml:4508
msgid "Composers"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4478 freeculture.xml:4490 freeculture.xml:4496
+#: freeculture.xml:4509 freeculture.xml:4521 freeculture.xml:4527
msgid "No protection"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4479 freeculture.xml:4491
+#: freeculture.xml:4510 freeculture.xml:4522
msgid "Statutory license"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4483
+#: freeculture.xml:4514
msgid "Recording artists"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4484
+#: freeculture.xml:4515
msgid "N/A"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4485 freeculture.xml:4497
+#: freeculture.xml:4516 freeculture.xml:4528
msgid "Nothing"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4489
+#: freeculture.xml:4520
msgid "Broadcasters"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4494
+#: freeculture.xml:4525
msgid "VCR"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4495
+#: freeculture.xml:4526
msgid "Film creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4507
-msgid ""
-"These are the most important instances in our history, but there are other "
-"cases as well. The technology of digital audio tape (DAT), for example, was "
-"regulated by Congress to minimize the risk of piracy. The remedy Congress "
-"imposed did burden DAT producers, by taxing tape sales and controlling the "
-"technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the "
-"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. "
-"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not "
-"eliminate the opportunity for free riding in the sense I've described. See "
-"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From "
-"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law "
+#: freeculture.xml:4537
+msgid ""
+"<placeholder type=\"indexterm\" id=\"0\"/> These are the most important "
+"instances in our history, but there are other cases as well. The technology "
+"of digital audio tape (DAT), for example, was regulated by Congress to "
+"minimize the risk of piracy. The remedy Congress imposed did burden DAT "
+"producers, by taxing tape sales and controlling the technology of DAT. See "
+"Audio Home Recording Act of 1992 (Title 17 of the <citetitle>United States "
+"Code</citetitle>), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 "
+"U.S.C. §1001. Again, however, this regulation did not eliminate the "
+"opportunity for free riding in the sense I've described. See Lessig, "
+"<citetitle>Future</citetitle>, 71. See also Picker, <quote>From Edison to "
+"the Broadcast Flag,</quote> <citetitle>University of Chicago Law "
"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" "
-"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4504
+#: freeculture.xml:4535
msgid ""
"In each case throughout our history, a new technology changed the way "
"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each "
#. PAGE BREAK 91
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4525
+#: freeculture.xml:4557
msgid ""
"In <emphasis>none</emphasis> of these cases did either the courts or "
"Congress eliminate all free riding. In <emphasis>none</emphasis> of these "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4538
+#: freeculture.xml:4570
msgid ""
"When you think across these examples, and the other examples that make up "
"the first four chapters of this section, this balance makes sense. Was Walt "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4549
+#: freeculture.xml:4581
msgid "on balance of interests in copyright law"
msgstr ""
#. f25
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4556
+#: freeculture.xml:4588
msgid ""
"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City "
"Studios, Inc</citetitle>., 464 U.S. 417, (1984)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4551
+#: freeculture.xml:4583
msgid ""
"We could answer yes to each of these questions, but our tradition has "
"answered no. In our tradition, as the Supreme Court has stated, copyright "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4567
+#: freeculture.xml:4599
msgid ""
"We should be doing the same thing today. The technology of the Internet is "
"changing quickly. The way people connect to the Internet (wires "
#. f26
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4591
+#: freeculture.xml:4623
msgid ""
"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software "
"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4583
+#: freeculture.xml:4615
msgid ""
"This is especially true when a new technology enables a vastly superior mode "
"of distribution. And this p2p has done. P2p technologies can be ideally "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4596
+#: freeculture.xml:4628
msgid ""
"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about "
"<quote>balance,</quote> the copyright warriors raise a different "
"argument. <quote>All this hand waving about balance and incentives,</quote> "
"they say, <quote>misses a fundamental point. Our content,</quote> the "
"warriors insist, <quote>is our <emphasis>property</emphasis>. Why should we "
-"wait for Congress to `rebalance' our property rights? Do you have to wait "
-"before calling the police when your car has been stolen? And why should "
-"Congress deliberate at all about the merits of this theft? Do we ask whether "
-"the car thief had a good use for the car before we arrest him?</quote>"
+"wait for Congress to <quote>rebalance</quote> our property rights? Do you "
+"have to wait before calling the police when your car has been stolen? And "
+"why should Congress deliberate at all about the merits of this theft? Do we "
+"ask whether the car thief had a good use for the car before we arrest "
+"him?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4608
+#: freeculture.xml:4641
msgid ""
"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors "
"insist. <quote>And it should be protected just as any other property is "
msgstr ""
#. type: Content of: <book><part><title>
-#: freeculture.xml:4617
+#: freeculture.xml:4650
msgid "<quote>Property</quote>"
msgstr ""
#. PAGE BREAK 94
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4622
+#: freeculture.xml:4655
msgid ""
"<emphasis role='strong'>The copyright warriors</emphasis> are right: A "
"copyright is a kind of property. It can be owned and sold, and the law "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4629
+#: freeculture.xml:4662
msgid ""
"But in ordinary language, to call a copyright a <quote>property</quote> "
"right is a bit misleading, for the property of copyright is an odd kind of "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:4640 freeculture.xml:6450 freeculture.xml:14402
+#: freeculture.xml:4673 freeculture.xml:6488 freeculture.xml:14526
msgid "Jefferson, Thomas"
msgstr ""
#. f1
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:4655
+#: freeculture.xml:4688
msgid ""
"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in "
"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4642
+#: freeculture.xml:4675
msgid ""
"The point is not just about the thingness of picnic tables versus ideas, "
"though that's an important difference. The point instead is that in the "
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:4660
+#: freeculture.xml:4693
msgid "intangibility of"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4662
+#: freeculture.xml:4695
msgid ""
"The exceptions to free use are ideas and expressions within the reach of the "
"law of patent and copyright, and a few other domains that I won't discuss "
#. f2
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:4675
+#: freeculture.xml:4708
msgid ""
"As the legal realists taught American law, all property rights are "
"intangible. A property right is simply a right that an individual has "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4670
+#: freeculture.xml:4703
msgid ""
"But how, and to what extent, and in what form—the details, in other "
"words—matter. To get a good sense of how this practice of turning the "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4685
+#: freeculture.xml:4718
msgid ""
"My strategy in doing this will be the same as my strategy in the preceding "
"part. I offer four stories to help put the idea of <quote>copyright material "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:4698
+#: freeculture.xml:4731
msgid "Chapter Six: Founders"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4699
+#: freeculture.xml:4732
msgid "English copyright law developed for"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4702
+#: freeculture.xml:4735
msgid "England, copyright laws developed in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:4703 freeculture.xml:13943
+#: freeculture.xml:4736 freeculture.xml:14063
msgid "United Kingdom"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4703
+#: freeculture.xml:4736
msgid "history of copyright law in"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4704 freeculture.xml:4874
+#: freeculture.xml:4737 freeculture.xml:4907
msgid "Branagh, Kenneth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4705
+#: freeculture.xml:4738
msgid "Henry V"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4707 freeculture.xml:4839
+#: freeculture.xml:4740 freeculture.xml:4872
msgid "Romeo and Juliet (Shakespeare)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4709
+#: freeculture.xml:4742
msgid ""
"<emphasis role='strong'>William Shakespeare</emphasis> wrote "
"<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4720 freeculture.xml:4804 freeculture.xml:4913 freeculture.xml:5046
+#: freeculture.xml:4753 freeculture.xml:4837 freeculture.xml:4946 freeculture.xml:5079
msgid "Conger"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4721
+#: freeculture.xml:4754
msgid "Tonson, Jacob"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:4727
+#: freeculture.xml:4760
msgid "Jonson, Ben"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:4728
+#: freeculture.xml:4761
msgid "Dryden, John"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4727
+#: freeculture.xml:4760
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> Jacob Tonson is typically remembered for his associations with "
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4740
+#: freeculture.xml:4773
msgid ""
"Lyman Ray Patterson, <citetitle>Copyright in Historical "
"Perspective</citetitle> (Nashville: Vanderbilt University Press, 1968), "
#. PAGE BREAK 97
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4723
+#: freeculture.xml:4756
msgid ""
"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was "
"written, the <quote>copy-right</quote> for the work was still thought by "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4752 freeculture.xml:4805 freeculture.xml:4945 freeculture.xml:5126 freeculture.xml:5282
+#: freeculture.xml:4785 freeculture.xml:4838 freeculture.xml:4978 freeculture.xml:5159 freeculture.xml:5315
msgid "British Parliament"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4754 freeculture.xml:7121
+#: freeculture.xml:4787 freeculture.xml:7168
msgid "renewability of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4755 freeculture.xml:4807 freeculture.xml:4851 freeculture.xml:4958 freeculture.xml:5045 freeculture.xml:7111
+#: freeculture.xml:4788 freeculture.xml:4840 freeculture.xml:4884 freeculture.xml:4991 freeculture.xml:5078 freeculture.xml:7158
msgid "Statute of Anne (1710)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4766
+#: freeculture.xml:4799
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> As Siva Vaidhyanathan nicely "
"argues, it is erroneous to call this a <quote>copyright law.</quote> See "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4757
+#: freeculture.xml:4790
msgid ""
"Now, there's something puzzling about the year 1774 to anyone who knows a "
"little about copyright law. The better-known year in the history of "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4775 freeculture.xml:4999
+#: freeculture.xml:4808 freeculture.xml:5032
msgid "common vs. positive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4776 freeculture.xml:5000
+#: freeculture.xml:4809 freeculture.xml:5033
msgid "positive law"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4777
+#: freeculture.xml:4810
msgid "Licensing Act (1662)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4779
+#: freeculture.xml:4812
msgid ""
"The reason is that the English hadn't yet agreed on what a "
"<quote>copyright</quote> was—indeed, no one had. At the time the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4790 freeculture.xml:4998 freeculture.xml:5069 freeculture.xml:5169
+#: freeculture.xml:4823 freeculture.xml:5031 freeculture.xml:5102 freeculture.xml:5202
msgid "common law"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4792
+#: freeculture.xml:4825
msgid ""
"There was no <emphasis>positive</emphasis> law, but that didn't mean that "
"there was no law. The Anglo-American legal tradition looks to both the words "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4806 freeculture.xml:5035 freeculture.xml:5143 freeculture.xml:5221
+#: freeculture.xml:4839 freeculture.xml:5068 freeculture.xml:5176 freeculture.xml:5254
msgid "Scottish publishers"
msgstr ""
#. PAGE BREAK 98
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4809
+#: freeculture.xml:4842
msgid ""
"This question was important to the publishers, or "
"<quote>booksellers,</quote> as they were called, because there was growing "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4820
+#: freeculture.xml:4853
msgid "as narrow monopoly right"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4822
+#: freeculture.xml:4855
msgid ""
"The Statute of Anne granted the author or <quote>proprietor</quote> of a "
"book an exclusive right to print that book. In an important limitation, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4832
+#: freeculture.xml:4865
msgid ""
"Now, the thing to puzzle about for a moment is this: Why would Parliament "
"limit the exclusive right? Not why would they limit it to the particular "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4841
+#: freeculture.xml:4874
msgid ""
"For the booksellers, and the authors whom they represented, had a very "
"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4853
+#: freeculture.xml:4886
msgid ""
"The answer comes in two parts. We first need to see something special about "
"the notion of <quote>copyright</quote> that existed at the time of the "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4858 freeculture.xml:7631 freeculture.xml:7802
+#: freeculture.xml:4891 freeculture.xml:7679 freeculture.xml:7850
msgid "usage restrictions attached to"
msgstr ""
#. PAGE BREAK 99
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4860
+#: freeculture.xml:4893
msgid ""
"First, about copyright. In the last three hundred years, we have come to "
"apply the concept of <quote>copyright</quote> ever more broadly. But in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4877
+#: freeculture.xml:4910
msgid ""
"So, for example, even if the copyright to Shakespeare's works were "
"perpetual, all that would have meant under the original meaning of the term "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4886
+#: freeculture.xml:4919
msgid "Henry VIII, King of England"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4887
+#: freeculture.xml:4920
msgid "monopoly, copyright as"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4888
+#: freeculture.xml:4921
msgid "Statute of Monopolies (1656)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4890
+#: freeculture.xml:4923
msgid ""
"Even that limited right was viewed with skepticism by the British. They had "
"had a long and ugly experience with <quote>exclusive rights,</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4903
+#: freeculture.xml:4936
msgid ""
"Thus the <quote>copy-right,</quote> when viewed as a monopoly right, was "
"naturally viewed as a right that should be limited. (However convincing the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4911 freeculture.xml:5204
+#: freeculture.xml:4944 freeculture.xml:5237
msgid "Milton, John"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4912
+#: freeculture.xml:4945
msgid "booksellers, English"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4931
+#: freeculture.xml:4964
msgid ""
"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary "
"Property</citetitle> (New York: J. Messner, Inc., 1937), 31."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4916
+#: freeculture.xml:4949
msgid ""
"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. "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4935
+#: freeculture.xml:4968
msgid "Enlightenment"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4936
+#: freeculture.xml:4969
msgid "knowledge, freedom of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4938
+#: freeculture.xml:4971
msgid ""
"Many believed the power the booksellers exercised over the spread of "
"knowledge was harming that spread, just at the time the Enlightenment was "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4947
+#: freeculture.xml:4980
msgid ""
"To balance this power, Parliament decided to increase competition among "
"booksellers, and the simplest way to do that was to spread the wealth of "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4960 freeculture.xml:5095 freeculture.xml:5189 freeculture.xml:11144
+#: freeculture.xml:4993 freeculture.xml:5128 freeculture.xml:5222 freeculture.xml:11215
msgid "in perpetuity"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4962
+#: freeculture.xml:4995
msgid ""
"When 1731 (1710 + 21) came along, however, the booksellers were getting "
"anxious. They saw the consequences of more competition, and like every "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4971
+#: freeculture.xml:5004
msgid ""
"Parliament rejected their requests. As one pamphleteer put it, in words that "
"echo today,"
#. f5
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:4986
+#: freeculture.xml:5019
msgid ""
"A Letter to a Member of Parliament concerning the Bill now depending in the "
"House of Commons, for making more effectual an Act in the Eighth Year of the "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:4976
+#: freeculture.xml:5009
msgid ""
"I see no Reason for granting a further Term now, which will not hold as well "
"for granting it again and again, as often as the Old ones Expire; so that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5002
+#: freeculture.xml:5035
msgid ""
"Having failed in Parliament, the publishers turned to the courts in a series "
"of cases. Their argument was simple and direct: The Statute of Anne gave "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:5024 freeculture.xml:5034 freeculture.xml:5077
+#: freeculture.xml:5057 freeculture.xml:5067 freeculture.xml:5110
msgid "Patterson, Raymond"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5024
+#: freeculture.xml:5057
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5018
+#: freeculture.xml:5051
msgid ""
"This was a clever argument, and one that had the support of some of the "
"leading jurists of the day. It also displayed extraordinary chutzpah. Until "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5033 freeculture.xml:5142
+#: freeculture.xml:5066 freeculture.xml:5175
msgid "Donaldson, Alexander"
msgstr ""
#. f7
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5041
+#: freeculture.xml:5074
msgid ""
"For a compelling account, see David Saunders, <citetitle>Authorship and "
"Copyright</citetitle> (London: Routledge, 1992), 62–69."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5037
+#: freeculture.xml:5070
msgid ""
"The booksellers' argument was not accepted without a fight. The hero of "
"this fight was a Scottish bookseller named Alexander Donaldson.<placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5047
+#: freeculture.xml:5080
msgid "Boswell, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5048
+#: freeculture.xml:5081
msgid "Erskine, Andrew"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:5057 freeculture.xml:15566
+#: freeculture.xml:5090 freeculture.xml:15696
msgid "Rose, Mark"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5055
+#: freeculture.xml:5088
msgid ""
"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard "
"University Press, 1993), 92. <placeholder type=\"indexterm\" id=\"0\"/>"
#. f9
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5066
+#: freeculture.xml:5099
msgid "Ibid., 93."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5050
+#: freeculture.xml:5083
msgid ""
"Donaldson was an outsider to the London Conger. He began his career in "
"Edinburgh in 1750. The focus of his business was inexpensive reprints "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5077
+#: freeculture.xml:5110
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Lyman Ray Patterson, "
"<citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5071
+#: freeculture.xml:5104
msgid ""
"When the London booksellers tried to shut down Donaldson's shop in Scotland, "
"he responded by moving his shop to London, where he sold inexpensive "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5086
+#: freeculture.xml:5119
msgid "Millar v. Taylor"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5088
+#: freeculture.xml:5121
msgid ""
"The London booksellers quickly brought suit to block <quote>piracy</quote> "
"like Donaldson's. A number of actions were successful against the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5094 freeculture.xml:5148
+#: freeculture.xml:5127 freeculture.xml:5181
msgid "Thomson, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5096
+#: freeculture.xml:5129
msgid "Seasons, The (Thomson)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5097
+#: freeculture.xml:5130
msgid "Taylor, Robert"
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5106
+#: freeculture.xml:5139
msgid ""
"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: "
"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5099
+#: freeculture.xml:5132
msgid ""
"Millar was a bookseller who in 1729 had purchased the rights to James "
"Thomson's poem <quote>The Seasons.</quote> Millar complied with the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5113
+#: freeculture.xml:5146
msgid ""
"Astonishingly to modern lawyers, one of the greatest judges in English "
"history, Lord Mansfield, agreed with the booksellers. Whatever protection "
#. PAGE BREAK 103
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5128
+#: freeculture.xml:5161
msgid ""
"Considered as a matter of abstract justice—reasoning as if justice "
"were just a matter of logical deduction from first "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5145
+#: freeculture.xml:5178
msgid ""
"The fight to defend the limits of the Statute of Anne was not to end there, "
"however, and it is here that Donaldson enters the mix."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5149
+#: freeculture.xml:5182
msgid "Beckett, Thomas"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5150 freeculture.xml:5257
+#: freeculture.xml:5183 freeculture.xml:5290
msgid "House of Lords"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5151
+#: freeculture.xml:5184
msgid "House of Lords vs."
msgstr ""
#. f12
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5157
+#: freeculture.xml:5190
msgid "Ibid., 1156."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5153
+#: freeculture.xml:5186
msgid ""
"Millar died soon after his victory, so his case was not appealed. His estate "
"sold Thomson's poems to a syndicate of printers that included Thomas "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5168
+#: freeculture.xml:5201
msgid "Donaldson v. Beckett"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5171
+#: freeculture.xml:5204
msgid ""
"As few legal cases ever do, <citetitle>Donaldson</citetitle> "
"v. <citetitle>Beckett</citetitle> drew an enormous amount of attention "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5182
+#: freeculture.xml:5215
msgid ""
"The House of Lords was an odd institution. Legal questions were presented to "
"the House and voted upon first by the <quote>law lords,</quote> members of "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5190 freeculture.xml:5258
+#: freeculture.xml:5223 freeculture.xml:5291
msgid "English legal establishment of"
msgstr ""
#. PAGE BREAK 104
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5192
+#: freeculture.xml:5225
msgid ""
"The reports about the law lords' votes are mixed. On some counts, it looks "
"as if perpetual copyright prevailed. But there is no ambiguity about how the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5201
+#: freeculture.xml:5234
msgid "Bacon, Francis"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5202
+#: freeculture.xml:5235
msgid "Bunyan, John"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5203
+#: freeculture.xml:5236
msgid "Johnson, Samuel"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5207
+#: freeculture.xml:5240
msgid ""
"<quote>The public domain.</quote> Before the case of "
"<citetitle>Donaldson</citetitle> v. <citetitle>Beckett</citetitle>, there "
#. f13
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5233
+#: freeculture.xml:5266
msgid "Rose, 97."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5223
+#: freeculture.xml:5256
msgid ""
"It is hard for us to imagine, but this decision by the House of Lords fueled "
"an extraordinarily popular and political reaction. In Scotland, where most "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5238
+#: freeculture.xml:5271
msgid ""
"In London, however, at least among publishers, the reaction was equally "
"strong in the opposite direction. The <citetitle>Morning "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5244
+#: freeculture.xml:5277
msgid ""
"By the above decision … near 200,000 pounds worth of what was "
"honestly purchased at public sale, and which was yesterday thought property "
#. PAGE BREAK 105
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5261
+#: freeculture.xml:5294
msgid ""
"<quote>Ruined</quote> is a bit of an exaggeration. But it is not an "
"exaggeration to say that the change was profound. The decision of the House "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5284
+#: freeculture.xml:5317
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:5301
+#: freeculture.xml:5334
msgid "Chapter Seven: Recorders"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:5302 freeculture.xml:7609 freeculture.xml:7723 freeculture.xml:7782
+#: freeculture.xml:5335 freeculture.xml:7657 freeculture.xml:7771 freeculture.xml:7830
msgid "fair use and"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5303
+#: freeculture.xml:5336
msgid "documentary film"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5304
+#: freeculture.xml:5337
msgid "Else, Jon"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5305 freeculture.xml:5452 freeculture.xml:7608 freeculture.xml:7641 freeculture.xml:7722 freeculture.xml:7784
+#: freeculture.xml:5338 freeculture.xml:5481 freeculture.xml:7656 freeculture.xml:7689 freeculture.xml:7770 freeculture.xml:7832
msgid "fair use"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5305
+#: freeculture.xml:5338
msgid "in documentary film"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5306
+#: freeculture.xml:5339
msgid "fair use of copyrighted material in"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5308
+#: freeculture.xml:5341
msgid ""
"<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best known "
"for his documentaries and has been very successful in spreading his art. He "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5315
+#: freeculture.xml:5348
msgid ""
"Else worked on a documentary that I was involved in. At a break, he told me "
"a story about the freedom to create with film in America today."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5319 freeculture.xml:5385
+#: freeculture.xml:5352 freeculture.xml:5416
msgid "Wagner, Richard"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5320 freeculture.xml:5399
+#: freeculture.xml:5353 freeculture.xml:5430
msgid "San Francisco Opera"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5322
+#: freeculture.xml:5355
msgid ""
"In 1990, Else was working on a documentary about Wagner's Ring Cycle. The "
"focus was stagehands at the San Francisco Opera. Stagehands are a "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5329
+#: freeculture.xml:5362
msgid "Simpsons, The"
msgstr ""
#. PAGE BREAK 107
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5331
+#: freeculture.xml:5364
msgid ""
"During one of the performances, Else was shooting some stagehands playing "
"checkers. In one corner of the room was a television set. Playing on the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5340
+#: freeculture.xml:5373
msgid "multiple copyrights associated with"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5342
+#: freeculture.xml:5375
msgid ""
"Years later, when he finally got funding to complete the film, Else "
"attempted to clear the rights for those few seconds of <citetitle>The "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5348
+#: freeculture.xml:5381
msgid "Gracie Films"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5349 freeculture.xml:5410 freeculture.xml:5474
+#: freeculture.xml:5382 freeculture.xml:5503
msgid "Groening, Matt"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5351
+#: freeculture.xml:5384
msgid ""
"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office "
"to get permission. Groening approved the shot. The shot was a "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5357 freeculture.xml:5409 freeculture.xml:5473
+#: freeculture.xml:5390 freeculture.xml:5502
msgid "Fox (film company)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5359
+#: freeculture.xml:5392
msgid ""
"Gracie Films was okay with it, too, but they, like Groening, wanted to be "
"careful. So they told Else to contact Fox, Gracie's parent company. Else "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5367
+#: freeculture.xml:5400
msgid ""
"Then, as Else told me, <quote>two things happened. First we discovered "
"… that Matt Groening doesn't own his own creation—or at least "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5376
+#: freeculture.xml:5407
msgid "Herrera, Rebecca"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5378
+#: freeculture.xml:5409
msgid ""
"Else was certain there was a mistake. He worked his way up to someone he "
"thought was a vice president for licensing, Rebecca Herrera. He explained "
#. PAGE BREAK 108
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5387
+#: freeculture.xml:5418
msgid ""
"<quote>I wanted to make sure I had my facts straight,</quote> he told "
"me. <quote>Yes, you have your facts straight,</quote> she said. It would "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5400
+#: freeculture.xml:5431
msgid "Day After Trinity, The"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5402
+#: freeculture.xml:5433
msgid ""
"Else didn't have the money to buy the right to replay what was playing on "
"the television backstage at the San Francisco Opera. To reproduce this "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5412
+#: freeculture.xml:5441
msgid ""
"There's no doubt that someone, whether Matt Groening or Fox, owns the "
"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5423
+#: freeculture.xml:5452
msgid ""
"For example, <quote>public performance</quote> is a use of <citetitle>The "
"Simpsons</citetitle> that the copyright owner gets to control. If you take a "
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5435
+#: freeculture.xml:5464
msgid ""
"For an excellent argument that such use is <quote>fair use,</quote> but that "
"lawyers don't permit recognition that it is <quote>fair use,</quote> see "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5432
+#: freeculture.xml:5461
msgid ""
"But when lawyers hear this story about Jon Else and Fox, their first thought "
"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's "
#. PAGE BREAK 109
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5449
+#: freeculture.xml:5478
msgid ""
"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's "
"his reply:"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:5452 freeculture.xml:7784
+#: freeculture.xml:5481 freeculture.xml:7832
msgid "legal intimidation tactics against"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5454
+#: freeculture.xml:5483
msgid ""
"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the "
"gulf between what lawyers find irrelevant in some abstract sense, and what "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5463
+#: freeculture.xml:5492
msgid "Errors and Omissions insurance"
msgstr ""
#. 1.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5466
+#: freeculture.xml:5495
msgid ""
"Before our films can be broadcast, the network requires that we buy Errors "
"and Omissions insurance. The carriers require a detailed <quote>visual cue "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5475
+#: freeculture.xml:5504
msgid "Lucas, George"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5476
+#: freeculture.xml:5505
msgid "<citetitle>Star Wars</citetitle>"
msgstr ""
#. 2.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5479
+#: freeculture.xml:5508
msgid ""
"I probably never should have asked Matt Groening in the first place. But I "
"knew (at least from folklore) that Fox had a history of tracking down and "
#. 3.
#. PAGE BREAK 110
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5491
+#: freeculture.xml:5520
msgid ""
"I did, in fact, speak with one of your colleagues at Stanford Law School "
"… who confirmed that it was fair use. He also confirmed that Fox "
#. 4.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5503
+#: freeculture.xml:5532
msgid ""
"The question of fair use usually comes up at the end of the project, when we "
"are up against a release deadline and out of money."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5511
+#: freeculture.xml:5540
msgid ""
"In theory, fair use means you need no permission. The theory therefore "
"supports free culture and insulates against a permission culture. But in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5519
+#: freeculture.xml:5548
msgid ""
"This practice shows just how far the law has come from its "
"eighteenth-century roots. The law was born as a shield to protect "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:5534
+#: freeculture.xml:5563
msgid "Chapter Eight: Transformers"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5535
+#: freeculture.xml:5564
msgid "Allen, Paul"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:5536 freeculture.xml:5596 freeculture.xml:5781 freeculture.xml:10497 freeculture.xml:14932
+#: freeculture.xml:5565 freeculture.xml:5625 freeculture.xml:5810 freeculture.xml:10566 freeculture.xml:15060
msgid "Alben, Alex"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5539
+#: freeculture.xml:5568
msgid ""
"<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer working "
"at Starwave, Inc. Starwave was an innovative company founded by Microsoft "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5546
+#: freeculture.xml:5575
msgid "retrospective compilations on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5547
+#: freeculture.xml:5576
msgid "CD-ROMs, film clips used in"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5549
+#: freeculture.xml:5578
msgid ""
"Alben had a special interest in new technology. He was intrigued by the "
"emerging market for CD-ROM technology—not to distribute film, but to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5559
+#: freeculture.xml:5588
msgid ""
"At that time, Eastwood had made more than fifty films, as an actor and as a "
"director. Alben began with a series of interviews with Eastwood, asking him "
#. PAGE BREAK 112
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5566
+#: freeculture.xml:5595
msgid ""
"That alone would not have made a very interesting product, so Starwave "
"wanted to add content from the movies in Eastwood's career: posters, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5573
+#: freeculture.xml:5602
msgid ""
"Then Alben and his team decided to include actual film clips. <quote>Our "
"goal was that we were going to have a clip from every one of Eastwood's "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5581
+#: freeculture.xml:5610
msgid ""
"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, "
"<quote>Well, what will it take?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
-#: freeculture.xml:5595
+#: freeculture.xml:5624
msgid "publicity rights on images of"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5591
+#: freeculture.xml:5620
msgid ""
"Technically, the rights that Alben had to clear were mainly those of "
"publicity—rights an artist has to control the commercial exploitation "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5585
+#: freeculture.xml:5614
msgid ""
"Alben replied, <quote>Well, we're going to have to clear rights from "
"everyone who appears in these films, and the music and everything else that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5600
+#: freeculture.xml:5629
msgid ""
"The problem was that neither Alben nor Slade had any idea what clearing "
"those rights would mean. Every actor in each of the films could have a claim "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5607
+#: freeculture.xml:5636
msgid ""
"I asked Alben how he dealt with the problem. With an obvious pride in his "
"resourcefulness that obscured the obvious bizarreness of his tale, Alben "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5613
+#: freeculture.xml:5642
msgid ""
"So we very mechanically went about looking up the film clips. We made some "
"artistic decisions about what film clips to include—of course we were "
#. PAGE BREAK 113
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5622
+#: freeculture.xml:5651
msgid ""
"We decided that it would be fair if we offered them the dayplayer rate for "
"the right to reuse that performance. We're talking about a clip of less than "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5633
+#: freeculture.xml:5662
msgid "Sutherland, Donald"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5635
+#: freeculture.xml:5664
msgid ""
"Some actors were glad to help—Donald Sutherland, for example, followed "
"up himself to be sure that the rights had been cleared. Others were "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5646
+#: freeculture.xml:5675
msgid ""
"It was one <emphasis>year</emphasis> later—<quote>and even then we "
"weren't sure whether we were totally in the clear.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5650
+#: freeculture.xml:5679
msgid ""
"Alben is proud of his work. The project was the first of its kind and the "
"only time he knew of that a team had undertaken such a massive project for "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5656
+#: freeculture.xml:5685
msgid ""
"Everyone thought it would be too hard. Everyone just threw up their hands "
"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the "
#. PAGE BREAK 114
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5668
+#: freeculture.xml:5697
msgid ""
"And no doubt, the product itself was exceptionally good. Eastwood loved it, "
"and it sold very well."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5671
+#: freeculture.xml:5700
msgid "Drucker, Peter"
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5679
+#: freeculture.xml:5708
msgid ""
"U.S. Department of Commerce Office of Acquisition Management, "
"<citetitle>Seven Steps to Performance-Based Services "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5673
+#: freeculture.xml:5702
msgid ""
"But I pressed Alben about how weird it seems that it would have to take a "
"year's work simply to clear rights. No doubt Alben had done this "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5687
+#: freeculture.xml:5716
msgid ""
"For, as he acknowledged, <quote>very few … have the time and "
"resources, and the will to do this,</quote> and thus, very few such works "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5695
+#: freeculture.xml:5724
msgid ""
"I don't think so. When an actor renders a performance in a movie, he or she "
"gets paid very well. … And then when 30 seconds of that performance "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5703
+#: freeculture.xml:5732
msgid ""
"Or at least, is this <emphasis>how</emphasis> the artist should be "
"compensated? Would it make sense, I asked, for there to be some kind of "
#. PAGE BREAK 115
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5714
+#: freeculture.xml:5743
msgid ""
"Absolutely. I think that if there were some fair-licensing "
"mechanism—where you weren't subject to hold-ups and you weren't "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5734
+#: freeculture.xml:5763
msgid ""
"Alben worked for a big company. His company was backed by some of the "
"richest investors in the world. He therefore had authority and access that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5743
+#: freeculture.xml:5772
msgid ""
"These costs are the burdens of a kind of regulation. Put on a Republican hat "
"for a moment, and get angry for a bit. The government defines the scope of "
#. PAGE BREAK 116
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5756
+#: freeculture.xml:5785
msgid ""
"I've seen the flash of recognition when people get this point, but only a "
"few times. The first was at a conference of federal judges in California. "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5766
+#: freeculture.xml:5795
msgid ""
"The video was a brilliant collage of film from every period in the twentieth "
"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5771
+#: freeculture.xml:5800
msgid "Nimmer, David"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5773
+#: freeculture.xml:5802
msgid ""
"When the lights came up, I looked over to my copanelist, David Nimmer, "
"perhaps the leading copyright scholar and practitioner in the nation. He had "
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5782
+#: freeculture.xml:5811
msgid "Boies, David"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5783
+#: freeculture.xml:5812
msgid "Court of Appeals"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><secondary>
-#: freeculture.xml:5783
+#: freeculture.xml:5812
msgid "Ninth Circuit"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5784
+#: freeculture.xml:5813
msgid "Ninth Circuit Court of Appeals"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5781
+#: freeculture.xml:5810
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5801
+#: freeculture.xml:5830
msgid ""
"We live in a <quote>cut and paste</quote> culture enabled by "
"technology. Anyone building a presentation knows the extraordinary freedom "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5807
+#: freeculture.xml:5836
msgid "Camp Chaos"
msgstr ""
#. PAGE BREAK 117
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5809
+#: freeculture.xml:5838
msgid ""
"But presentations are just a tiny beginning. Using the Internet and its "
"archives, musicians are able to string together mixes of sound never before "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5820
+#: freeculture.xml:5849
msgid ""
"All of these creations are technically illegal. Even if the creators wanted "
"to be <quote>legal,</quote> the cost of complying with the law is impossibly "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5827
+#: freeculture.xml:5856
msgid ""
"To some, these stories suggest a solution: Let's alter the mix of rights so "
"that people are free to build upon our culture. Free to add or mix as they "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5842
+#: freeculture.xml:5871
msgid ""
"Who could possibly object to this? And what reason would there be for "
"objecting? We're talking about work that is not now being made; which if "
#. PAGE BREAK 118
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5848
+#: freeculture.xml:5877
msgid ""
"<emphasis role='strong'>In February 2003</emphasis>, DreamWorks studios "
"announced an agreement with Mike Myers, the comic genius of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5861
+#: freeculture.xml:5890
msgid ""
"The announcement called this <quote>film sampling.</quote> As Myers "
"explained, <quote>Film Sampling is an exciting way to put an original spin "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5870
+#: freeculture.xml:5899
msgid ""
"Spielberg is right. Film sampling by Myers will be brilliant. But if you "
"don't think about it, you might miss the truly astonishing point about this "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5880
+#: freeculture.xml:5909
msgid ""
"This privilege becomes reserved for two sorts of reasons. The first "
"continues the story of the last chapter: the vagueness of <quote>fair "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:5895
+#: freeculture.xml:5924
msgid "Chapter Nine: Collectors"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5896 freeculture.xml:9239 freeculture.xml:11562 freeculture.xml:11807
+#: freeculture.xml:5925 freeculture.xml:9296 freeculture.xml:11648 freeculture.xml:11894
msgid "archives, digital"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5897 freeculture.xml:8526
+#: freeculture.xml:5926 freeculture.xml:8577
msgid "bots"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5899
+#: freeculture.xml:5928
msgid ""
"<emphasis role='strong'>In April 1996</emphasis>, millions of "
"<quote>bots</quote>—computer codes designed to <quote>spider,</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5909 freeculture.xml:5940 freeculture.xml:6002
+#: freeculture.xml:5938 freeculture.xml:5969 freeculture.xml:6033
msgid "Way Back Machine"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5911
+#: freeculture.xml:5940
msgid ""
"By October 2001, the bots had collected more than five years of copies. And "
"at a small announcement in Berkeley, California, the archive that these "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5918
+#: freeculture.xml:5947
msgid "Orwell, George"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5920
+#: freeculture.xml:5949
msgid ""
"This is the thing about the Internet that Orwell would have appreciated. In "
"the dystopia described in <citetitle>1984</citetitle>, old newspapers were "
#. PAGE BREAK 120
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5928
+#: freeculture.xml:5957
msgid ""
"Thousands of workers constantly reedited the past, meaning there was no way "
"ever to know whether the story you were reading today was the story that was "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5933
+#: freeculture.xml:5962
msgid ""
"It's the same with the Internet. If you go to a Web page today, there's no "
"way for you to know whether the content you are reading is the same as the "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:5949
+#: freeculture.xml:5979
msgid "White House press releases"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5948
+#: freeculture.xml:5977
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the "
-"White House changes its own press releases without notice. A May 13, 2003, "
-"press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> "
-"That was later changed, without notice, to <quote>Major Combat Operations in "
-"Iraq Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003."
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> The temptations "
+"remain, however. Brewster Kahle reports that the White House changes its own "
+"press releases without notice. A May 13, 2003, press release stated, "
+"<quote>Combat Operations in Iraq Have Ended.</quote> That was later changed, "
+"without notice, to <quote>Major Combat Operations in Iraq Have "
+"Ended.</quote> E-mail from Brewster Kahle, 1 December 2003."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5942
+#: freeculture.xml:5971
msgid ""
"Until the Way Back Machine, at least. With the Way Back Machine, and the "
"Internet Archive underlying it, you can see what the Internet was. You have "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5957
+#: freeculture.xml:5987
msgid "history, records of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5959
+#: freeculture.xml:5989
msgid ""
"<emphasis role='strong'>We take it</emphasis> for granted that we can go "
"back to see what we remember reading. Think about newspapers. If you wanted "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5970
+#: freeculture.xml:6000
msgid ""
"It is said that those who fail to remember history are doomed to repeat "
"it. That's not quite correct. We <emphasis>all</emphasis> forget "
#. PAGE BREAK 121
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5979
+#: freeculture.xml:6009
msgid ""
"The Internet was an exception to this presumption. Until the Internet "
"Archive, there was no way to go back. The Internet was the quintessentially "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5990
+#: freeculture.xml:6021
msgid ""
"Brewster Kahle is the founder of the Internet Archive. He was a very "
"successful Internet entrepreneur after he was a successful computer "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5999 freeculture.xml:6054 freeculture.xml:10482
+#: freeculture.xml:6030 freeculture.xml:6085 freeculture.xml:10551
msgid "Library of Congress"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6000
+#: freeculture.xml:6031
msgid "Television Archive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6001
+#: freeculture.xml:6032
msgid "Vanderbilt University"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:6003 freeculture.xml:11053 freeculture.xml:14114 freeculture.xml:14244 freeculture.xml:14280
+#: freeculture.xml:6034 freeculture.xml:11124 freeculture.xml:14238 freeculture.xml:14368 freeculture.xml:14404
msgid "libraries"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6003
+#: freeculture.xml:6034
msgid "archival function of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6006
+#: freeculture.xml:6037
msgid ""
"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 terabytes "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
-#: freeculture.xml:6023
+#: freeculture.xml:6054
msgid "Quayle, Dan"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
-#: freeculture.xml:6024
+#: freeculture.xml:6055
msgid "60 Minutes"
msgstr ""
#. PAGE BREAK 122
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:6026
+#: freeculture.xml:6057
msgid ""
"Do you remember when Dan Quayle was interacting with Murphy Brown? Remember "
"that back and forth surreal experience of a politician interacting with a "
"are almost unfindable. …"
msgstr ""
-#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6037
+#. type: Content of: <book><part><chapter><
section><indexterm><primary>
+#: freeculture.xml:6068 freeculture.xml:8680
msgid "newspapers"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6037
+#: freeculture.xml:6068
msgid "archives of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6039
+#: freeculture.xml:6070
msgid ""
"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 recorded "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6047
+#: freeculture.xml:6078
msgid ""
"In part, this is because of the law. Early in American copyright law, "
"copyright owners were required to deposit copies of their work in "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6055 freeculture.xml:6099
+#: freeculture.xml:6086 freeculture.xml:6130
msgid "archive of"
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6066
+#: freeculture.xml:6097
msgid ""
"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at "
"the Library of Congress,</quote> <citetitle>Film Library "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6057
+#: freeculture.xml:6088
msgid ""
"These rules applied to film as well. But in 1915, the Library of Congress "
"made an exception for film. Film could be copyrighted so long as such "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6074
+#: freeculture.xml:6105
msgid ""
"The same is generally true about television. Television broadcasts were "
"originally not copyrighted—there was no way to capture the broadcasts, "
#. PAGE BREAK 123
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6086
+#: freeculture.xml:6117
msgid ""
"Kahle was eager to correct this. Before September 11, 2001, he and his "
"allies had started capturing television. They selected twenty stations from "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6096
+#: freeculture.xml:6127
msgid "Movie Archive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6097
+#: freeculture.xml:6128
msgid "archive.org"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6097 freeculture.xml:6100
+#: freeculture.xml:6128 freeculture.xml:6131
msgid "Internet Archive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6101
+#: freeculture.xml:6132
msgid "Duck and Cover film"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6102
+#: freeculture.xml:6133
msgid "ephemeral films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6103
+#: freeculture.xml:6134
msgid "Prelinger, Rick"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6105
+#: freeculture.xml:6136
msgid ""
"Kahle had the same idea with film. Working with Rick Prelinger, whose "
"archive of film includes close to 45,000 <quote>ephemeral films</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6123
+#: freeculture.xml:6154
msgid ""
"Here again, Kahle is providing access to a part of our culture that we "
"otherwise could not get easily, if at all. It is yet another part of what "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6131
+#: freeculture.xml:6162
msgid ""
"The key here is access, not price. Kahle wants to enable free access to this "
"content, but he also wants to enable others to sell access to it. His aim is "
#. PAGE BREAK 124
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6139
+#: freeculture.xml:6170
msgid ""
"For here is an idea that we should more clearly recognize. Every bit of "
"creative property goes through different <quote>lives.</quote> In its first "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6151
+#: freeculture.xml:6182
msgid ""
"After the commercial life of creative property has ended, our tradition has "
"always supported a second life as well. A newspaper delivers the news every "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6164
+#: freeculture.xml:6195
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Dave Barns, <quote>Fledgling "
"Career in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6161
+#: freeculture.xml:6192
msgid ""
"The same has always been true about books. A book goes out of print very "
"quickly (the average today is after about a year<placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6179
+#: freeculture.xml:6210
msgid ""
"Yet increasingly, any assumption about a stable second life for creative "
"property does not hold true with the most important components of popular "
#. PAGE BREAK 125
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6190
+#: freeculture.xml:6221
msgid ""
"<emphasis role='strong'>For most of</emphasis> the twentieth century, it was "
"economics that made this so. It would have been insanely expensive to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6202
+#: freeculture.xml:6233
msgid ""
"Perhaps the single most important feature of the digital revolution is that "
"for the first time since the Library of Alexandria, it is feasible to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6210
+#: freeculture.xml:6241
msgid ""
"The scale of this potential archive is something we've never imagined "
"before. The Brewster Kahles of our history have dreamed about it; but we are "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><indexterm><secondary>
-#: freeculture.xml:6216
+#: freeculture.xml:6247 freeculture.xml:6248 freeculture.xml:6251
msgid "total number of"
msgstr ""
+#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
+#: freeculture.xml:6249 freeculture.xml:6250 freeculture.xml:6251
+msgid "music recordings"
+msgstr ""
+
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:6218
+#: freeculture.xml:6253
msgid ""
"It looks like there's about two to three million recordings of music. "
"Ever. There are about a hundred thousand theatrical releases of movies, "
#. PAGE BREAK 126
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6233
+#: freeculture.xml:6268
msgid ""
"Kahle is not the only librarian. The Internet Archive is not the only "
"archive. But Kahle and the Internet Archive suggest what the future of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6248
+#: freeculture.xml:6283
msgid ""
"Technologists have thus removed the economic costs of building such an "
"archive. But lawyers' costs remain. For as much as we might like to call "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:6259
+#: freeculture.xml:6295
msgid "Chapter Ten: <quote>Property</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6260
+#: freeculture.xml:6296
msgid "Johnson, Lyndon"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6261 freeculture.xml:10241
+#: freeculture.xml:6297 freeculture.xml:10307
msgid "Kennedy, John F."
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:6298
+msgid "background of"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6263
+#: freeculture.xml:6300
msgid ""
"<emphasis role='strong'>Jack Valenti</emphasis> has been the president of "
"the Motion Picture Association of America since 1966. He first came to "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6273
-msgid "Sony Pictures Entertainment"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6274
+#: freeculture.xml:6310
msgid "MGM"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6275
+#: freeculture.xml:6311
msgid "Paramount Pictures"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6276
+#: freeculture.xml:6312
msgid "Twentieth Century Fox"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6277
+#: freeculture.xml:6313
+msgid "Sony Pictures Entertainment"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:6314
msgid "Universal Pictures"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6278 freeculture.xml:7893 freeculture.xml:8065
+#: freeculture.xml:6315 freeculture.xml:7941 freeculture.xml:8115
msgid "Warner Brothers"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6280
+#: freeculture.xml:6317
msgid ""
"The MPAA is the American branch of the international Motion Picture "
"Association. It was formed in 1922 as a trade association whose goal was to "
#. PAGE BREAK 128
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6293
+#: freeculture.xml:6330
msgid ""
"Valenti is only the third president of the MPAA. No president before him has "
"had as much influence over that organization, or over Washington. As a "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6305
+#: freeculture.xml:6342
msgid ""
"In defending artistic liberty and the freedom of speech that our culture "
"depends upon, the MPAA has done important good. In crafting the MPAA rating "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6314
+#: freeculture.xml:6351
msgid "In 1982, Valenti's testimony to Congress captured the strategy perfectly:"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:6328
+#: freeculture.xml:6365
msgid ""
"Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794, "
"H.R. 4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:6319
+#: freeculture.xml:6356
msgid ""
"No matter the lengthy arguments made, no matter the charges and the "
"counter-charges, no matter the tumult and the shouting, reasonable men and "
#. PAGE BREAK 129
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6338
+#: freeculture.xml:6375
msgid ""
"The strategy of this rhetoric, like the strategy of most of Valenti's "
"rhetoric, is brilliant and simple and brilliant because simple. The "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6349
+#: freeculture.xml:6386
msgid ""
"This claim has an obvious and powerful intuitive pull. It is stated with "
"such clarity as to make the idea as obvious as the notion that we use "
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6364
+#: freeculture.xml:6402
msgid ""
"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a "
"bundle of rights that are sometimes associated with a particular "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6361
+#: freeculture.xml:6399
msgid ""
"While <quote>creative property</quote> is certainly <quote>property</quote> "
"in a nerdy and precise sense that lawyers are trained to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6379
+#: freeculture.xml:6417
msgid ""
"Valenti knows this. But he speaks for an industry that cares squat for our "
"tradition and the values it represents. He speaks for an industry that is "
#. PAGE BREAK 130
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6387
+#: freeculture.xml:6425
msgid ""
"I have two purposes in this chapter. The first is to convince you that, "
"historically, Valenti's claim is absolutely wrong. The second is to convince "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6402
+#: freeculture.xml:6440
msgid ""
"Organizations such as the MPAA, whose board includes the most powerful of "
"the old guard, have little interest, their rhetoric notwithstanding, in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6411
+#: freeculture.xml:6449
msgid ""
"<emphasis role='strong'>To get</emphasis> just a hint that there is "
"something fundamentally wrong in Valenti's argument, we need look no further "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6416
+#: freeculture.xml:6454
msgid ""
"The framers of our Constitution loved <quote>property.</quote> Indeed, so "
"strongly did they love property that they built into the Constitution an "
#. PAGE BREAK 131
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6427
+#: freeculture.xml:6465
msgid ""
"Yet the very same Constitution speaks very differently about what Valenti "
"calls <quote>creative property.</quote> In the clause granting Congress the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6442
+#: freeculture.xml:6480
msgid ""
"The Constitution thus on its face states that these two forms of property "
"are not to be accorded the same rights. They are plainly to be treated "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6452
+#: freeculture.xml:6490
msgid ""
"Arguing for a change in our Constitution is not necessarily wrong. There "
"was much in our original Constitution that was plainly wrong. The "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6464
+#: freeculture.xml:6502
msgid ""
"Instead, my argument is that because Jefferson did it, we should at least "
"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6474
+#: freeculture.xml:6512
msgid ""
"To answer this question, we need to get some perspective on the history of "
"these <quote>creative property</quote> rights, and the control that they "
"artists get paid need also control how culture develops."
msgstr ""
+#. type: Content of: <book><chapter><indexterm><primary>
+#: freeculture.xml:6525 freeculture.xml:8060 freeculture.xml:9928 freeculture.xml:11255 freeculture.xml:11301 freeculture.xml:13641
+msgid "Lessig, Lawrence"
+msgstr ""
+
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6486
+#: freeculture.xml:6526
msgid "four modalities of constraint on"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6487 freeculture.xml:6746 freeculture.xml:9816 freeculture.xml:9933
+#: freeculture.xml:6527 freeculture.xml:6788 freeculture.xml:9877 freeculture.xml:9994 freeculture.xml:10106
msgid "regulation"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6487
+#: freeculture.xml:6527
msgid "four modalities of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6488
+#: freeculture.xml:6528
msgid "as ex post regulation modality"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6489 freeculture.xml:6565 freeculture.xml:6700
+#: freeculture.xml:6529 freeculture.xml:6605 freeculture.xml:6742
msgid "as constraint modality"
msgstr ""
#. PAGE BREAK 132
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6493
+#: freeculture.xml:6533
msgid ""
"To answer these questions, we need a more general way to talk about how "
"property is protected. More precisely, we need a more general way than the "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6503 freeculture.xml:6696 freeculture.xml:7066
+#: freeculture.xml:6543 freeculture.xml:6738 freeculture.xml:7112
msgid ""
"<graphic fileref=\"images/1331.svg\" align=\"center\" "
-"width=\"50%\"></graphic>"
+"width=\"45%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6507
+#: freeculture.xml:6547
msgid ""
"At the center of this picture is a regulated dot: the individual or group "
"that is the target of regulation, or the holder of a right. (In each case "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6523 freeculture.xml:6585 freeculture.xml:6701
+#: freeculture.xml:6563 freeculture.xml:6625 freeculture.xml:6743
msgid "norms, regulatory influence of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6525
+#: freeculture.xml:6565
msgid ""
"Norms are a different kind of constraint. They, too, punish an individual "
"for violating a rule. But the punishment of a norm is imposed by a "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6535 freeculture.xml:6584 freeculture.xml:6677 freeculture.xml:6717 freeculture.xml:9825 freeculture.xml:10059
+#: freeculture.xml:6575 freeculture.xml:6624 freeculture.xml:6718 freeculture.xml:6759 freeculture.xml:9886 freeculture.xml:10104
msgid "market constraints"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6537
+#: freeculture.xml:6577
msgid ""
"The market is a third type of constraint. Its constraint is effected through "
"conditions: You can do X if you pay Y; you'll be paid M if you do N. These "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6546 freeculture.xml:6583 freeculture.xml:6635 freeculture.xml:6676 freeculture.xml:6699
+#: freeculture.xml:6586 freeculture.xml:6623 freeculture.xml:6676 freeculture.xml:6717 freeculture.xml:6741
msgid "architecture, constraint effected through"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6548
+#: freeculture.xml:6588
msgid ""
"Finally, and for the moment, perhaps, most mysteriously, "
"<quote>architecture</quote>—the physical world as one finds "
#. PAGE BREAK 134
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6569
+#: freeculture.xml:6609
msgid ""
"So the first point about these four modalities of regulation is obvious: "
"They interact. Restrictions imposed by one might be reinforced by "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6575
+#: freeculture.xml:6615
msgid ""
"The second point follows directly: If we want to understand the effective "
"freedom that anyone has at a given moment to do any particular thing, we "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6586
+#: freeculture.xml:6626
msgid "driving speed, constraints on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6587
+#: freeculture.xml:6627
msgid "speeding, constraints on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6589
+#: freeculture.xml:6629
msgid ""
"So, for example, consider the <quote>freedom</quote> to drive a car at a "
"high speed. That freedom is in part restricted by laws: speed limits that "
"norm wouldn't be as effective in a different town, or at night."
msgstr ""
-#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6607
+#: freeculture.xml:6647
msgid ""
"By describing the way law affects the other three modalities, I don't mean "
"to suggest that the other three don't affect law. Obviously, they do. Law's "
"more timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other "
"Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; "
"Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal "
-"of Legal Studies</citetitle>, June 1998."
+"of Legal Studies</citetitle>, June 1998. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
#. PAGE BREAK 135
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6603
+#: freeculture.xml:6643
msgid ""
"The final point about this simple model should also be fairly clear: While "
"these four modalities are analytically independent, law has a special role "
msgstr ""
#. type: Content of: <book><part><chapter><figure>
-#: freeculture.xml:6632
+#: freeculture.xml:6673
msgid ""
"<graphic fileref=\"images/1361.svg\" align=\"center\" "
-"width=\"50%\"></graphic>"
+"width=\"45%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6674
+#: freeculture.xml:6715
msgid "Americans with Disabilities Act (1990)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6675
+#: freeculture.xml:6716
msgid "Commons, John R."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6645
+#: freeculture.xml:6686
msgid ""
"Some people object to this way of talking about <quote>liberty.</quote> They "
"object because their focus when considering the constraints that exist at "
"the effective liberty that each of these groups might face. <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
-"id=\"3\"/>"
+"id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6637
+#: freeculture.xml:6678
msgid ""
"These constraints can thus change, and they can be changed. To understand "
"the effective protection of liberty or protection of property at any "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:6682
+#: freeculture.xml:6724
msgid "Why Hollywood Is Right"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6683 freeculture.xml:7056
+#: freeculture.xml:6725 freeculture.xml:7102
msgid "four regulatory modalities on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6685
+#: freeculture.xml:6727
msgid ""
"The most obvious point that this model reveals is just why, or just how, "
"Hollywood is right. The copyright warriors have rallied Congress and the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6691
+#: freeculture.xml:6733
msgid "Let's say this is the picture of copyright's regulation before the Internet:"
msgstr ""
#. PAGE BREAK 136
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6704
+#: freeculture.xml:6746
msgid ""
"There is balance between law, norms, market, and architecture. The law "
"limits the ability to copy and share content, by imposing penalties on those "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6715
+#: freeculture.xml:6757
msgid "copyright regulatory balance lost with"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6716
+#: freeculture.xml:6758
msgid "regulatory balance lost in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6718
+#: freeculture.xml:6760
msgid "MP3s"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6720
+#: freeculture.xml:6762
msgid ""
"Enter the Internet, or, more precisely, technologies such as MP3s and p2p "
"sharing. Now the constraint of architecture changes dramatically, as does "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6729 freeculture.xml:7573 freeculture.xml:7882
+#: freeculture.xml:6771 freeculture.xml:7621 freeculture.xml:7930 freeculture.xml:10107
msgid "technology"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6729
+#: freeculture.xml:6771
msgid "established industries threatened by changes in"
msgstr ""
#. PAGE BREAK 137
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6731
+#: freeculture.xml:6773
msgid ""
"Thus the sense of, and justification for, the warriors' response. "
"Technology has changed, the warriors say, and the effect of this change, "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6742
+#: freeculture.xml:6784
msgid ""
"<graphic fileref=\"images/1381.svg\" align=\"center\" "
-"width=\"50%\"></graphic>"
+"width=\"45%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6745
+#: freeculture.xml:6787
msgid "Commerce, U.S. Department of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6746 freeculture.xml:9816
+#: freeculture.xml:6788 freeculture.xml:9877
msgid "as establishment protectionism"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6748
+#: freeculture.xml:6790
msgid ""
"Neither this analysis nor the conclusions that follow are new to the "
"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6761 freeculture.xml:6901
+#: freeculture.xml:6803 freeculture.xml:6943
msgid "farming"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6762
+#: freeculture.xml:6804
msgid "steel industry"
msgstr ""
#. PAGE BREAK 138
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6764
+#: freeculture.xml:6806
msgid ""
"This mixed strategy is just what copyright needed—if it was to "
"preserve the particular balance that existed before the change induced by "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6784
+#: freeculture.xml:6826
msgid ""
"Thus, there's nothing wrong or surprising in the content industry's campaign "
"to protect itself from the harmful consequences of a technological "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6797
+#: freeculture.xml:6839
msgid "railroad industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6798
+#: freeculture.xml:6840
msgid "remote channel changers"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6808
+#: freeculture.xml:6850
msgid ""
"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a "
"Bridge?</quote> BusinessWeek online, 2 August 1999, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6800
+#: freeculture.xml:6842
msgid ""
"But just because a particular interest asks for government support, it "
"doesn't follow that support should be granted. And just because technology "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6829
+#: freeculture.xml:6871
msgid "free market, technological changes in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:6830 freeculture.xml:15508
+#: freeculture.xml:6872 freeculture.xml:15638
msgid "Brezhnev, Leonid"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:6833 freeculture.xml:13708
+#: freeculture.xml:6875 freeculture.xml:13827
msgid "Gates, Bill"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6834 freeculture.xml:7847
+#: freeculture.xml:6876 freeculture.xml:7895
msgid "market competition"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6847
+#: freeculture.xml:6889
msgid ""
"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, "
"1994), 170–71."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6837
+#: freeculture.xml:6879
msgid ""
"The obvious answer to these obviously rhetorical questions is no. In a free "
"society, with a free market, supported by free enterprise and free trade, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6858
+#: freeculture.xml:6900
msgid ""
"Thus, while it is understandable for industries threatened with new "
"technologies that change the way they do business to look to the government "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6869
+#: freeculture.xml:6911
msgid "speech, freedom of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6869
+#: freeculture.xml:6911
msgid "constitutional guarantee of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6871
+#: freeculture.xml:6913
msgid ""
"In the context of laws regulating speech—which include, obviously, "
"copyright law—that duty is even stronger. When the industry "
#. PAGE BREAK 140
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6887
+#: freeculture.xml:6929
msgid ""
"My argument just now, however, has nothing to do with whether the changes "
"that are being pushed by the copyright warriors are "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6896
+#: freeculture.xml:6938
msgid "Here's the metaphor that will capture the argument to follow."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6898
+#: freeculture.xml:6940
msgid "Müller, Paul Hermann"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6899
+#: freeculture.xml:6941
msgid "DDT"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6900
+#: freeculture.xml:6942
msgid "insecticide, environmental consequences of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6903
+#: freeculture.xml:6945
msgid ""
"In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul "
"Hermann Müller won the Nobel Prize for his work demonstrating the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6910
+#: freeculture.xml:6952
msgid ""
"No one doubts that killing disease-carrying pests or increasing crop "
"production is a good thing. No one doubts that the work of Müller was "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6914
+#: freeculture.xml:6956
msgid "Carson, Rachel"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6915
+#: freeculture.xml:6957
msgid "Silent Spring (Carson)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6916
+#: freeculture.xml:6958
msgid "environmentalism"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6918
+#: freeculture.xml:6960
msgid ""
"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, "
"which argued that DDT, whatever its primary benefits, was also having "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6924
+#: freeculture.xml:6966
msgid ""
"No one set out to destroy the environment. Paul Müller certainly did not aim "
"to harm any birds. But the effort to solve one set of problems produced "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6933
+#: freeculture.xml:6975
msgid "Boyle, James"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6934
+#: freeculture.xml:6976
msgid "innovative freedom balanced with fair compensation in"
msgstr ""
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6940
+#: freeculture.xml:6982
msgid ""
"See, for example, James Boyle, <quote>A Politics of Intellectual Property: "
"Environmentalism for the Net?</quote> <citetitle>Duke Law "
#. PAGE BREAK 141
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6936
+#: freeculture.xml:6978
msgid ""
"It is to this image precisely that Duke University law professor James Boyle "
"appeals when he argues that we need an <quote>environmentalism</quote> for "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6958
+#: freeculture.xml:7000
msgid ""
"My argument, in the balance of this chapter, tries to map exactly this "
"effect. No doubt the technology of the Internet has had a dramatic effect on "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6970
+#: freeculture.xml:7012
msgid ""
"In a line: To kill a gnat, we are spraying DDT with consequences for free "
"culture that will be far more devastating than that this gnat will be lost."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:6979
+#: freeculture.xml:7021
msgid "Beginnings"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6980
+#: freeculture.xml:7022
msgid "on creative property"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6981 freeculture.xml:11472
+#: freeculture.xml:7023 freeculture.xml:11555
msgid "copyright purpose established in"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6982 freeculture.xml:11181
+#: freeculture.xml:7024 freeculture.xml:11253 freeculture.xml:12370
msgid "Progress Clause of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6983 freeculture.xml:11473
+#: freeculture.xml:7025 freeculture.xml:11556
msgid "constitutional purpose of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6985
+#: freeculture.xml:7027
msgid "constitutional tradition on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6986 freeculture.xml:11182
+#: freeculture.xml:7028 freeculture.xml:11254 freeculture.xml:12368
msgid "Progress Clause"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6989
+#: freeculture.xml:7031
msgid ""
"America copied English copyright law. Actually, we copied and improved "
"English copyright law. Our Constitution makes the purpose of <quote>creative "
"aim to avoid overly powerful publishers."
msgstr ""
-#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6994
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:7036 freeculture.xml:12367
msgid "in constitutional Progress Clause"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6996
+#: freeculture.xml:7038
msgid ""
"The power to establish <quote>creative property</quote> rights is granted to "
"Congress in a way that, for our Constitution, at least, is very odd. Article "
"I, section 8, clause 8 of our Constitution states that:"
msgstr ""
-#. PAGE BREAK 142
-#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7001
+#. type: Content of: <book><part><chapter><section><blockquote><para>
+#: freeculture.xml:7044
msgid ""
"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 "
-"<quote>Progress Clause,</quote> for notice what this clause does not say. It "
-"does not say Congress has the power to grant <quote>creative property "
-"rights.</quote> It says that Congress has the power <emphasis>to promote "
-"progress</emphasis>. The grant of power is its purpose, and its purpose is a "
-"public one, not the purpose of enriching publishers, nor even primarily the "
-"purpose of rewarding authors."
+"to their respective Writings and Discoveries."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><para>
+#: freeculture.xml:7052
+msgid ""
+"We can call this the <quote>Progress Clause,</quote> for notice what this "
+"clause does not say. It does not say Congress has the power to grant "
+"<quote>creative property rights.</quote> It says that Congress has the power "
+"<emphasis>to promote progress</emphasis>. The grant of power is its purpose, "
+"and its purpose is a public one, not the purpose of enriching publishers, "
+"nor even primarily the purpose of rewarding authors."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7015
+#: freeculture.xml:7061
msgid "history of American"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7017
+#: freeculture.xml:7063
msgid ""
"The Progress Clause expressly limits the term of copyrights. As we saw in "
"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7026
+#: freeculture.xml:7072
msgid "Senate, U.S."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7027
+#: freeculture.xml:7073
msgid "structural checks and balances of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7028
+#: freeculture.xml:7074
msgid "electoral college"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7030
+#: freeculture.xml:7076
msgid ""
"The design of the Progress Clause reflects something about the "
"Constitution's design in general. To avoid a problem, the framers built "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7047
+#: freeculture.xml:7093
msgid ""
"I doubt the framers would recognize the regulation we call "
"<quote>copyright</quote> today. The scope of that regulation is far beyond "
#. PAGE BREAK 143
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7058
+#: freeculture.xml:7104
msgid ""
"Some of these changes come from the law: some in light of changes in "
"technology, and some in light of changes in technology given a particular "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7069
+#: freeculture.xml:7115
msgid "We will end here:"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7073
+#: freeculture.xml:7119
msgid ""
"<graphic fileref=\"images/1442.svg\" align=\"center\" "
-"width=\"50%\"></graphic>"
+"width=\"45%\"></graphic>"
msgstr ""
#. PAGE BREAK 144
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7076
+#: freeculture.xml:7122
msgid "Let me explain how."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:7081
+#: freeculture.xml:7127
msgid "Law: Duration"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7084 freeculture.xml:7376
+#: freeculture.xml:7130 freeculture.xml:7424
msgid "Copyright Act (1790)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7085
+#: freeculture.xml:7131
msgid "common law protections of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7086
+#: freeculture.xml:7132
msgid "balance of U.S. content in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:7102
+#: freeculture.xml:7149
msgid "Crosskey, William W."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7096
+#: freeculture.xml:7142
msgid ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
-"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the "
-"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, "
-"or were supposed by some to have, under the Common Law</emphasis></quote> "
-"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>"
+"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of "
+"<quote>the supreme Law of the Land,</quote> <emphasis>the perpetual rights "
+"which authors had, or were supposed by some to have, under the Common "
+"Law</emphasis></quote> (emphasis added). <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7088
+#: freeculture.xml:7134
msgid ""
"When the first Congress enacted laws to protect creative property, it faced "
"the same uncertainty about the status of creative property that the English "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7112
+#: freeculture.xml:7159
msgid "federal vs. state"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7114
+#: freeculture.xml:7161
msgid ""
"That uncertainty ended after Congress passed legislation granting "
"copyrights. Because federal law overrides any contrary state law, federal "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7123
+#: freeculture.xml:7170
msgid ""
"In 1790, Congress enacted the first copyright law. It created a federal "
"copyright and secured that copyright for fourteen years. If the author was "
#. f9
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7139
+#: freeculture.xml:7186
msgid ""
"Although 13,000 titles were published in the United States from 1790 to "
"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7131
+#: freeculture.xml:7178
msgid ""
"While there were many works created in the United States in the first ten "
"years of the Republic, only 5 percent of the works were actually registered "
#. PAGE BREAK 145
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7157
+#: freeculture.xml:7204
msgid ""
"This system of renewal was a crucial part of the American system of "
"copyright. It assured that the maximum terms of copyright would be granted "
#. f10
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7172
+#: freeculture.xml:7219
msgid ""
"Few copyright holders ever chose to renew their copyrights. For instance, of "
"the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7166
+#: freeculture.xml:7213
msgid ""
"Fourteen years may not seem long to us, but for the vast majority of "
"copyright owners at that time, it was long enough: Only a small minority of "
#. f11
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7190
+#: freeculture.xml:7237
msgid "See Ringer, ch. 9, n. 2."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7186
+#: freeculture.xml:7233
msgid ""
"Even today, this structure would make sense. Most creative work has an "
"actual commercial life of just a couple of years. Most books fall out of "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:7198 freeculture.xml:11119
+#: freeculture.xml:7245 freeculture.xml:11190 freeculture.xml:12369
msgid "copyright terms extended by"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:7199 freeculture.xml:11121
+#: freeculture.xml:7246 freeculture.xml:11192
msgid "term extensions in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7201
+#: freeculture.xml:7248
msgid ""
"In the first hundred years of the Republic, the term of copyright was "
"changed once. In 1831, the term was increased from a maximum of 28 years to "
"setting a maximum term of 56 years."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:7255
+msgid "CTEA"
+msgstr ""
+
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:7208 freeculture.xml:7243 freeculture.xml:11145 freeculture.xml:15426
+#: freeculture.xml:7255 freeculture.xml:7256 freeculture.xml:7291 freeculture.xml:11216 freeculture.xml:15556
msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:7209 freeculture.xml:11125
+#: freeculture.xml:7257 freeculture.xml:11196
msgid "future patents vs. future copyrights in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7211
+#: freeculture.xml:7259
msgid ""
"Then, beginning in 1962, Congress started a practice that has defined "
"copyright law since. Eleven times in the last forty years, Congress has "
"of existing and future copyrights by twenty years."
msgstr ""
-#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:7220 freeculture.xml:11124 freeculture.xml:11125 freeculture.xml:13213 freeculture.xml:13694
-msgid "patents"
-msgstr ""
-
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:7220 freeculture.xml:11124
+#: freeculture.xml:7268 freeculture.xml:11195
msgid "in public domain"
msgstr ""
#. PAGE BREAK 146
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7222
+#: freeculture.xml:7270
msgid ""
"The effect of these extensions is simply to toll, or delay, the passing of "
"works into the public domain. This latest extension means that the public "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7234
+#: freeculture.xml:7282
msgid ""
"The effect of these extensions has been exacerbated by another, "
"little-noticed change in the copyright law. Remember I said that the framers "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7244
+#: freeculture.xml:7292
msgid "of natural authors vs. corporations"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:7245 freeculture.xml:13367
+#: freeculture.xml:7293 freeculture.xml:13485
msgid "corporations"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7245
+#: freeculture.xml:7293
msgid "copyright terms for"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7247
+#: freeculture.xml:7295
msgid ""
"The United States abandoned this sensible system in 1976. For all works "
"created after 1978, there was only one copyright term—the maximum "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7257
+#: freeculture.xml:7305
msgid ""
"This change meant that American law no longer had an automatic way to assure "
"that works that were no longer exploited passed into the public domain. And "
#. f12
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7276
+#: freeculture.xml:7324
msgid ""
"These statistics are understated. Between the years 1910 and 1962 (the first "
"year the renewal term was extended), the average term was never more than "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7268
+#: freeculture.xml:7316
msgid ""
"The effect of these changes on the average duration of copyright is "
"dramatic. In 1973, more than 85 percent of copyright owners failed to renew "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:7290
+#: freeculture.xml:7338
msgid "Law: Scope"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7291 freeculture.xml:7510
+#: freeculture.xml:7339 freeculture.xml:7558
msgid "scope of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7293
+#: freeculture.xml:7341
msgid ""
"The <quote>scope</quote> of a copyright is the range of rights granted by "
"the law. The scope of American copyright has changed dramatically. Those "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7299
+#: freeculture.xml:7347
msgid "historical shift in copyright coverage of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7301
+#: freeculture.xml:7349
msgid ""
"In 1790, that scope was very narrow. Copyright covered only <quote>maps, "
"charts, and books.</quote> That means it didn't cover, for example, music or "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7314
+#: freeculture.xml:7362
msgid ""
"This, too, has changed dramatically. While the contours of copyright today "
"are extremely hard to describe simply, in general terms, the right covers "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7328
+#: freeculture.xml:7376
msgid "marking of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7329
+#: freeculture.xml:7377
msgid "formalities"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7330
+#: freeculture.xml:7378
msgid "registration requirement of"
msgstr ""
#. PAGE BREAK 148
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7332
+#: freeculture.xml:7380
msgid ""
"At the same time that the scope of copyright has expanded, procedural "
"limitations on the right have been relaxed. I've already described the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7347
+#: freeculture.xml:7395
msgid ""
"The reason for the registration requirement was the sensible understanding "
"that for most works, no copyright was required. Again, in the first ten "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7360
+#: freeculture.xml:7408
msgid "European"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7362
+#: freeculture.xml:7410
msgid ""
"All of these <quote>formalities</quote> were abolished in the American "
"system when we decided to follow European copyright law. There is no "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7373
+#: freeculture.xml:7421
msgid "Consider a practical example to understand the scope of these differences."
msgstr ""
#. f13
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7385
+#: freeculture.xml:7433
msgid ""
"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the "
"Creation of American Literature,</quote> 29 <citetitle>New York University "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7378
+#: freeculture.xml:7426
msgid ""
"If, in 1790, you wrote a book and you were one of the 5 percent who actually "
"copyrighted that book, then the copyright law protected you against another "
#. PAGE BREAK 149
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7400
+#: freeculture.xml:7448
msgid ""
"The act left other creators totally unregulated. If I copied your poem by "
"hand, over and over again, as a way to learn it by heart, my act was totally "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7410
+#: freeculture.xml:7458
msgid ""
"Today the story is very different: If you write a book, your book is "
"automatically protected. Indeed, not just your book. Every e-mail, every "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7419
+#: freeculture.xml:7467
msgid ""
"That protection gives you the right (subject to a narrow range of fair use "
"exceptions) to control how others copy the work, whether they copy it to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7424
+#: freeculture.xml:7472
msgid ""
"That much is the obvious part. Any system of copyright would control "
"competing publishing. But there's a second part to the copyright of today "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7439
+#: freeculture.xml:7487
msgid ""
"It is this derivative right that would seem most bizarre to our framers, "
"though it has become second nature to us. Initially, this expansion was "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7461
+#: freeculture.xml:7509
msgid ""
"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal "
"Affairs</citetitle>, July/August 2003, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7451
+#: freeculture.xml:7499
msgid ""
"In preventing that joke, the law created an astonishing power within a free "
"culture—at least, it's astonishing when you understand that the law "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:7483
+#: freeculture.xml:7531
msgid "Rubenfeld, Jeb"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7476
+#: freeculture.xml:7524
msgid ""
"Professor Rubenfeld has presented a powerful constitutional argument about "
"the difference that copyright law should draw (from the perspective of the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7471
+#: freeculture.xml:7519
msgid ""
"Yet copyright law treats these two different wrongs in the same way. I can "
"go to court and get an injunction against your pirating my book. I can go to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7491
+#: freeculture.xml:7539
msgid ""
"This again may seem right to you. If I wrote a book, then why should you be "
"able to write a movie that takes my story and makes money from it without "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7499
+#: freeculture.xml:7547
msgid ""
"These are good arguments, and, in general, my point is not that the "
"derivative right is unjustified. My aim just now is much narrower: simply to "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:7508
+#: freeculture.xml:7556
msgid "Law and Architecture: Reach"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7509 freeculture.xml:7571 freeculture.xml:7783
+#: freeculture.xml:7557 freeculture.xml:7619 freeculture.xml:7831
msgid "copies as core issue of"
msgstr ""
#. f16
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7517
+#: freeculture.xml:7565
msgid ""
"This is a simplification of the law, but not much of one. The law certainly "
"regulates more than <quote>copies</quote>—a public performance of a "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7512
+#: freeculture.xml:7560
msgid ""
"Whereas originally the law regulated only publishers, the change in "
"copyright's scope means that the law today regulates publishers, users, and "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7528
+#: freeculture.xml:7576
msgid "other property rights vs."
msgstr ""
#. PAGE BREAK 151
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7531
+#: freeculture.xml:7579
msgid ""
"<quote>Copies.</quote> That certainly sounds like the obvious thing for "
"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's "
#. f17
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7550
+#: freeculture.xml:7598
msgid ""
"Thus, my argument is not that in each place that copyright law extends, we "
"should repeal it. It is instead that we should have a good argument for its "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7545
+#: freeculture.xml:7593
msgid ""
"This is perhaps the central claim of this book, so let me take this very "
"slowly so that the point is not easily missed. My claim is that the Internet "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7563
+#: freeculture.xml:7611
msgid ""
"We can see this point abstractly by beginning with this largely empty "
"circle."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7568
+#: freeculture.xml:7616
msgid ""
"<graphic fileref=\"images/1521.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7570
+#: freeculture.xml:7618
msgid "three types of uses of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7572
+#: freeculture.xml:7620
msgid "copyright applicability altered by technology of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7573
+#: freeculture.xml:7621
msgid "copyright intent altered by"
msgstr ""
#. PAGE BREAK 152
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7578
+#: freeculture.xml:7626
msgid ""
"Think about a book in real space, and imagine this circle to represent all "
"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7592
+#: freeculture.xml:7640
msgid ""
"<graphic fileref=\"images/1531.png\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7595
+#: freeculture.xml:7643
msgid ""
"Obviously, however, some uses of a copyrighted book are regulated by "
"copyright law. Republishing the book, for example, makes a copy. It is "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7606
+#: freeculture.xml:7654
msgid ""
"<graphic fileref=\"images/1541.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7611
+#: freeculture.xml:7659
msgid ""
"Finally, there is a tiny sliver of otherwise regulated copying uses that "
"remain unregulated because the law considers these <quote>fair uses.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7618
+#: freeculture.xml:7666
msgid ""
"These are uses that themselves involve copying, but which the law treats as "
"unregulated because public policy demands that they remain unregulated. You "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7629
+#: freeculture.xml:7677
msgid ""
"<graphic fileref=\"images/1542.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
#. PAGE BREAK 154
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7634
+#: freeculture.xml:7682
msgid ""
"In real space, then, the possible uses of a book are divided into three "
"sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7639 freeculture.xml:7927 freeculture.xml:10195
+#: freeculture.xml:7687 freeculture.xml:7975 freeculture.xml:10261
msgid "on Internet"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7641 freeculture.xml:7722
+#: freeculture.xml:7689 freeculture.xml:7770
msgid "Internet burdens on"
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7646
+#: freeculture.xml:7694
msgid ""
"I don't mean <quote>nature</quote> in the sense that it couldn't be "
"different, but rather that its present instantiation entails a copy. Optical "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7643
+#: freeculture.xml:7691
msgid ""
"Enter the Internet—a distributed, digital network where every use of a "
"copyrighted work produces a copy.<placeholder type=\"footnote\" id=\"0\"/> "
#. PAGE BREAK 155
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7666
+#: freeculture.xml:7714
msgid ""
"So let's be very specific to make this general point clear. Before the "
"Internet, if you purchased a book and read it ten times, there would be no "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7677
+#: freeculture.xml:7725
msgid "e-books"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7678
+#: freeculture.xml:7726
msgid "technological developments and"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7680
+#: freeculture.xml:7728
msgid ""
"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 only once or "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7693
+#: freeculture.xml:7741
msgid ""
"<graphic fileref=\"images/1551.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7696
+#: freeculture.xml:7744
msgid ""
"There are some people who think this makes perfect sense. My aim just now is "
"not to argue about whether it makes sense or not. My aim is only to make "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7702
+#: freeculture.xml:7750
msgid ""
"First, making category 1 disappear is not anything any policy maker ever "
"intended. Congress did not think through the collapse of the presumptively "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7711
+#: freeculture.xml:7759
msgid ""
"Second, this shift is especially troubling in the context of transformative "
"uses of creative content. Again, we can all understand the wrong in "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7724
+#: freeculture.xml:7772
msgid "fair use vs."
msgstr ""
#. PAGE BREAK 156
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7726
+#: freeculture.xml:7774
msgid ""
"Third, this shift from category 1 to category 2 puts an extraordinary burden "
"on category 3 (<quote>fair use</quote>) that fair use never before had to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7745
+#: freeculture.xml:7793
msgid ""
"This point about fair use is totally ignored, even by advocates for free "
"culture. We have been cornered into arguing that our rights depend upon fair "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7761
+#: freeculture.xml:7809
msgid "Video Pipeline"
msgstr ""
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:7763 freeculture.xml:15323
-msgid "film industry"
-msgstr ""
-
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7763
+#: freeculture.xml:7811
msgid "trailer advertisements of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7765
+#: freeculture.xml:7813
msgid ""
"The case of Video Pipeline is a good example. Video Pipeline was in the "
"business of making <quote>trailer</quote> advertisements for movies "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:7771 freeculture.xml:7846 freeculture.xml:14069
+#: freeculture.xml:7819 freeculture.xml:7894 freeculture.xml:14193
msgid "browsing"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7773
+#: freeculture.xml:7821
msgid ""
"The company did this for about fifteen years. Then, in 1997, it began to "
"think about the Internet as another way to distribute these previews. The "
#. PAGE BREAK 157
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7786
+#: freeculture.xml:7834
msgid ""
"In 1998, Video Pipeline informed Disney and other film distributors that it "
"intended to distribute the trailers through the Internet (rather than "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7803
+#: freeculture.xml:7851
msgid "willful infringement findings in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7804
+#: freeculture.xml:7852
msgid "willful infringement"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7806
+#: freeculture.xml:7854
msgid ""
"Disney countersued—for $100 million in damages. Those damages were "
"predicated upon a claim that Video Pipeline had <quote>willfully "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7816
+#: freeculture.xml:7864
msgid ""
"Disney has the right to control its property, of course. But the video "
"stores that were selling Disney's films also had some sort of right to be "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7824
+#: freeculture.xml:7872
msgid "first-sale doctrine"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7826
+#: freeculture.xml:7874
msgid ""
"Now, you might think this is a close case, and I think the courts would "
"consider it a close case. My point here is to map the change that gives "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7845
+#: freeculture.xml:7893
msgid "Barnes & Noble"
msgstr ""
#. PAGE BREAK 158
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7850
+#: freeculture.xml:7898
msgid ""
"No doubt, a potential is not yet an abuse, and so the potential for control "
"is not yet the abuse of control. Barnes & Noble has the right to say you "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7865
+#: freeculture.xml:7913
msgid ""
"Again, my aim so far is simply to map the changes that this changed "
"architecture enables. Enabling technology to enforce the control of "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:7874
+#: freeculture.xml:7922
msgid "Architecture and Law: Force"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7876
+#: freeculture.xml:7924
msgid ""
"The disappearance of unregulated uses would be change enough, but a second "
"important change brought about by the Internet magnifies its "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7881
+#: freeculture.xml:7929
msgid "technology as automatic enforcer of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7882
+#: freeculture.xml:7930
msgid "copyright enforcement controlled by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7884
+#: freeculture.xml:7932
msgid ""
"In the world before digital technology, it was generally the law that "
"controlled whether and how someone was regulated by copyright law. The law, "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7891
+#: freeculture.xml:7939
msgid "Casablanca"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7892 freeculture.xml:8064
+#: freeculture.xml:7940 freeculture.xml:8114
msgid "Marx Brothers"
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7903
+#: freeculture.xml:7951
msgid ""
"See David Lange, <quote>Recognizing the Public Domain,</quote> "
"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7895
+#: freeculture.xml:7943
msgid ""
"There's a famous story about a battle between the Marx Brothers and Warner "
"Brothers. The Marxes intended to make a parody of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7912
+#: freeculture.xml:7960
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Ibid. See also Vaidhyanathan, "
"<citetitle>Copyrights and Copywrongs</citetitle>, 1–3."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7908
+#: freeculture.xml:7956
msgid ""
"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
"that the Marx Brothers <quote>were brothers long before you "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7922
+#: freeculture.xml:7970
msgid ""
"An absurd and hollow threat, of course, because Warner Brothers, like the "
"Marx Brothers, knew that no court would ever enforce such a silly "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7929
+#: freeculture.xml:7978
msgid ""
"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 machine: "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7941
+#: freeculture.xml:7990
msgid "Adobe eBook Reader"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7943
+#: freeculture.xml:7992
msgid "Consider the life of my Adobe eBook Reader."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7946
+#: freeculture.xml:7995
msgid ""
"An e-book is a book delivered in electronic form. An Adobe eBook is not a "
"book that Adobe has published; Adobe simply produces the software that "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7954
+#: freeculture.xml:8003
msgid ""
"<graphic fileref=\"images/example-adobe-ebook-reader.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7957
+#: freeculture.xml:8006
msgid ""
"In figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-example-adobe-ebook-reader\"/> is a picture of an old version "
#. PAGE BREAK 160
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7962
+#: freeculture.xml:8011
msgid ""
"As you can see, I have a small collection of e-books within this e-book "
"library. Some of these books reproduce content that is in the public domain: "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7975
+#: freeculture.xml:8024
msgid ""
"If you click on the Permissions button, you'll see a list of the permissions "
"that the publisher purports to grant with this book."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7980
+#: freeculture.xml:8029
msgid ""
"<graphic fileref=\"images/1612.png\" align=\"center\" "
"width=\"50%\"></graphic>"
#. PAGE BREAK 161
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7984
+#: freeculture.xml:8033
msgid ""
"According to my eBook Reader, I have the permission to copy to the clipboard "
"of the computer ten text selections every ten days. (So far, I've copied no "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7991
+#: freeculture.xml:8040
msgid "Aristotle"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7992
+#: freeculture.xml:8041
msgid "<citetitle>Politics</citetitle>, (Aristotle)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7994
+#: freeculture.xml:8043
msgid ""
"Here's the e-book for another work in the public domain (including the "
"translation): Aristotle's <citetitle>Politics</citetitle>."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7999
+#: freeculture.xml:8048
msgid ""
"<graphic fileref=\"images/aristotele-ebook.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8002
+#: freeculture.xml:8051
msgid ""
"According to its permissions, no printing or copying is permitted at "
"all. But fortunately, you can use the Read Aloud button to hear the book."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:8008
+#: freeculture.xml:8057
msgid ""
"<graphic fileref=\"images/1622.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8010 freeculture.xml:9866
+#: freeculture.xml:8059 freeculture.xml:9927
msgid "Future of Ideas, The (Lessig)"
msgstr ""
-#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:8011 freeculture.xml:9867 freeculture.xml:11183 freeculture.xml:11229 freeculture.xml:13523
-msgid "Lessig, Lawrence"
-msgstr ""
-
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8013
+#: freeculture.xml:8062
msgid ""
"Finally (and most embarrassingly), here are the permissions for the original "
"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:8020
+#: freeculture.xml:8069
msgid ""
"<graphic fileref=\"images/1631.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8023
+#: freeculture.xml:8072
msgid "No copying, no printing, and don't you dare try to listen to this book!"
msgstr ""
-#. f21
+#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
+#: freeculture.xml:8089
+msgid "contracts"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8033
+#: freeculture.xml:8082
msgid ""
"In principle, a contract might impose a requirement on me. I might, for "
"example, buy a book from you that includes a contract that says I will read "
"it only three times, or that I promise to read it three times. But that "
"obligation (and the limits for creating that obligation) would come from the "
"contract, not from copyright law, and the obligations of contract would not "
-"necessarily pass to anyone who subsequently acquired the book."
+"necessarily pass to anyone who subsequently acquired the book. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8026
+#: freeculture.xml:8075
msgid ""
"Now, the Adobe eBook Reader calls these controls "
"<quote>permissions</quote>— as if the publisher has the power to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8048
+#: freeculture.xml:8098
msgid ""
"The control comes instead from the code—from the technology within "
"which the e-book <quote>lives.</quote> Though the e-book says that these are "
#. PAGE BREAK 163
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8068
+#: freeculture.xml:8118
msgid ""
"These are <emphasis>controls</emphasis>, not permissions. Imagine a world "
"where the Marx Brothers sold word processing software that, when you tried "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8074
+#: freeculture.xml:8124
msgid ""
"This is the future of copyright law: not so much copyright "
"<emphasis>law</emphasis> as copyright <emphasis>code</emphasis>. The "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8083
+#: freeculture.xml:8133
msgid ""
"How significant is this? Isn't it always possible to get around the controls "
"built into the technology? Software used to be sold with technologies that "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8090
+#: freeculture.xml:8140
msgid ""
"We've only scratched the surface of this story. Return to the Adobe eBook "
"Reader."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8093
+#: freeculture.xml:8143
msgid "Alice's Adventures in Wonderland (Carroll)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8094
+#: freeculture.xml:8144
msgid "e-book restrictions on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8096
+#: freeculture.xml:8146
msgid ""
"Early in the life of the Adobe eBook Reader, Adobe suffered a public "
"relations nightmare. Among the books that you could download for free on the "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:8105
+#: freeculture.xml:8155
msgid ""
"<graphic fileref=\"images/1641.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8109
+#: freeculture.xml:8159
msgid ""
"Here was a public domain children's book that you were not allowed to copy, "
"not allowed to lend, not allowed to give, and, as the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8114
+#: freeculture.xml:8164
msgid ""
"The public relations nightmare attached to that final permission. For the "
"text did not say that you were not permitted to use the Read Aloud button; "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8122
+#: freeculture.xml:8172
msgid ""
"Adobe responded quickly that it was absurd to think that it was trying to "
"restrict the right to read a book aloud. Obviously it was only restricting "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8137
+#: freeculture.xml:8187
msgid ""
"The point is not to blame Adobe. Indeed, Adobe is among the most innovative "
"companies developing strategies to balance open access to content with "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8147
+#: freeculture.xml:8198
msgid ""
"To see the point in a particularly absurd context, consider a favorite story "
"of mine that makes the same point."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8150 freeculture.xml:8294 freeculture.xml:8359 freeculture.xml:8471
+#: freeculture.xml:8201 freeculture.xml:8345 freeculture.xml:8410 freeculture.xml:8522
msgid "Aibo robotic dog"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8151 freeculture.xml:8295 freeculture.xml:8360 freeculture.xml:8472
+#: freeculture.xml:8202 freeculture.xml:8346 freeculture.xml:8411 freeculture.xml:8523
msgid "robotic dog"
msgstr ""
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8152 freeculture.xml:8296 freeculture.xml:8361 freeculture.xml:8473
-msgid "Sony"
-msgstr ""
-
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8152 freeculture.xml:8296 freeculture.xml:8361 freeculture.xml:8473
+#: freeculture.xml:8203 freeculture.xml:8347 freeculture.xml:8412 freeculture.xml:8524
msgid "Aibo robotic dog produced by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8154
+#: freeculture.xml:8205
msgid ""
"Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo "
"learns tricks, cuddles, and follows you around. It eats only electricity and "
#. PAGE BREAK 165
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8159
+#: freeculture.xml:8210
msgid ""
"The Aibo is expensive and popular. Fans from around the world have set up "
"clubs to trade stories. One fan in particular set up a Web site to enable "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8168
+#: freeculture.xml:8219
msgid ""
"<quote>Teach</quote> here has a special meaning. Aibos are just cute "
"computers. You teach a computer how to do something by programming it "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8175
+#: freeculture.xml:8226
msgid "hacks"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8177
+#: freeculture.xml:8228
msgid ""
"If you're not a programmer or don't know many programmers, the word "
"<citetitle>hack</citetitle> has a particularly unfriendly "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8191
+#: freeculture.xml:8242
msgid ""
"Some hacks are easy. Some are unbelievably hard. Hackers as a community like "
"to challenge themselves and others with increasingly difficult "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8198
+#: freeculture.xml:8249
msgid ""
"The Aibo fan was displaying a bit of both when he hacked the program and "
"offered to the world a bit of code that would enable the Aibo to dance "
#. PAGE BREAK 166
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8208
+#: freeculture.xml:8259
msgid ""
"I've told this story in many contexts, both inside and outside the United "
"States. Once I was asked by a puzzled member of the audience, is it "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8223
+#: freeculture.xml:8274
msgid "government case against"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8225
+#: freeculture.xml:8276
msgid ""
"Let's put the dog to sleep for a minute, and turn to a pony show— not "
"literally a pony show, but rather a paper that a Princeton academic named Ed "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8248 freeculture.xml:10821
+#: freeculture.xml:8299 freeculture.xml:10890
msgid "Electronic Frontier Foundation"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8238
+#: freeculture.xml:8289
msgid ""
"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to "
"Science,</quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8236
+#: freeculture.xml:8287
msgid ""
"But Felten's bravery was really tested in April 2001.<placeholder "
"type=\"footnote\" id=\"0\"/> He and a group of colleagues were working on a "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8256
+#: freeculture.xml:8307
msgid ""
"The SDMI coalition had as its goal a technology to enable content owners to "
"exercise much better control over their content than the Internet, as it "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8266
+#: freeculture.xml:8317
msgid ""
"When SDMI thought it was close to a standard, it set up a competition. In "
"exchange for providing contestants with the code to an SDMI-encrypted bit of "
#. PAGE BREAK 167
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8273
+#: freeculture.xml:8324
msgid ""
"Felten and his team figured out the encryption system quickly. He and the "
"team saw the weakness of this system as a type: Many encryption systems "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8279
+#: freeculture.xml:8330
msgid ""
"Let's review just what Felten was doing. Again, this is the United "
"States. We have a principle of free speech. We have this principle not just "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8287
+#: freeculture.xml:8338
msgid ""
"What Felten and his colleagues were doing was publishing a paper describing "
"the weakness in a technology. They were not spreading free music, or "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8298
+#: freeculture.xml:8349
msgid ""
"What links these two, aibopet.com and Felten, is the letters they then "
"received. Aibopet.com received a letter from Sony about the aibopet.com "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:8305
+#: freeculture.xml:8356
msgid ""
"Your site contains information providing the means to circumvent AIBO-ware's "
"copy protection protocol constituting a violation of the anti-circumvention "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8314
+#: freeculture.xml:8365
msgid ""
"And though an academic paper describing the weakness in a system of "
"encryption should also be perfectly legal, Felten received a letter from an "
#. PAGE BREAK 168
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:8320
+#: freeculture.xml:8371
msgid ""
"Any disclosure of information gained from participating in the Public "
"Challenge would be outside the scope of activities permitted by the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8328
+#: freeculture.xml:8379
msgid ""
"In both cases, this weirdly Orwellian law was invoked to control the spread "
"of information. The Digital Millennium Copyright Act made spreading such "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8333
+#: freeculture.xml:8384
msgid ""
"The DMCA was enacted as a response to copyright owners' first fear about "
"cyberspace. The fear was that copyright control was effectively dead; the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8344
+#: freeculture.xml:8395
msgid ""
"The DMCA was a bit of law intended to back up the protection of this code "
"designed to protect copyrighted material. It was, we could say, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8351
+#: freeculture.xml:8402
msgid ""
"But the DMCA was not designed merely to protect copyrighted works to the "
"extent copyright law protected them. Its protection, that is, did not end at "
#. PAGE BREAK 169
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8363
+#: freeculture.xml:8414
msgid ""
"Aibopet.com and Felten make the point. The Aibo hack circumvented a "
"copyright protection system for the purpose of enabling the dog to dance "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8375
+#: freeculture.xml:8426
msgid ""
"The threat against Felten was more attenuated, but it followed the same line "
"of reasoning. By publishing a paper describing how a copyright protection "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8382 freeculture.xml:8417
+#: freeculture.xml:8433 freeculture.xml:8468
msgid "Rogers, Fred"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8393 freeculture.xml:8432 freeculture.xml:8460
+#: freeculture.xml:8444 freeculture.xml:8483 freeculture.xml:8511
msgid "Conrad, Paul"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8385
+#: freeculture.xml:8436
msgid ""
"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 the VCR could "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:8412
+#: freeculture.xml:8463
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <citetitle>Sony Corporation of "
"America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:8397
+#: freeculture.xml:8448
msgid ""
"Some public stations, as well as commercial stations, program the "
"<quote>Neighborhood</quote> at hours when some children cannot use it. I "
#. PAGE BREAK 170
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8423
+#: freeculture.xml:8474
msgid ""
"Even though there were uses that were legal, because there were some uses "
"that were illegal, the court held the companies producing the VCR "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8428
+#: freeculture.xml:8479
msgid ""
"This led Conrad to draw the cartoon in figure <xref "
"xrefstyle=\"template:%n\" linkend=\"fig-1711-vcr-handgun-cartoonfig\"/>, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8435
+#: freeculture.xml:8486
msgid "No argument I have can top this picture, but let me try to get close."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:8438
+#: freeculture.xml:8489
msgid ""
"— On which item have the courts ruled that manufacturers and retailers "
"be held responsible for having supplied the equipment?"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:8441
+#: freeculture.xml:8492
msgid ""
"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" "
-"width=\"65%\"></graphic>"
+"width=\"55%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8444
+#: freeculture.xml:8495
msgid ""
"The anticircumvention provisions of the DMCA target copyright circumvention "
"technologies. Circumvention technologies can be used for different "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8451
+#: freeculture.xml:8502
msgid "handguns"
msgstr ""
#. PAGE BREAK 171
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8453
+#: freeculture.xml:8504
msgid ""
"A handgun can be used to shoot a police officer or a child. Most would agree "
"such a use is bad. Or a handgun can be used for target practice or to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8462
+#: freeculture.xml:8513
msgid ""
"The obvious point of Conrad's cartoon is the weirdness of a world where guns "
"are legal, despite the harm they can do, while VCRs (and circumvention "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8475
+#: freeculture.xml:8526
msgid ""
"The Aibo and RIAA examples demonstrate how copyright owners are changing the "
"balance that copyright law grants. Using code, copyright owners restrict "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8483
+#: freeculture.xml:8534
msgid ""
"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The "
"controls built into the technology of copy and access protection become "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8495
+#: freeculture.xml:8546
msgid ""
"There is one final aspect of the interaction between architecture and law "
"that contributes to the force of copyright's regulation. This is the ease "
#. f24
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8514
+#: freeculture.xml:8565
msgid ""
"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal "
"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8508
+#: freeculture.xml:8559
msgid ""
"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan "
"club. You gathered every month to share trivia, and maybe to enact a kind of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8520
+#: freeculture.xml:8571
msgid ""
"Before the Internet, this was, in effect, a totally unregulated activity. "
"No matter what happened inside your club room, you would never be interfered "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8528
+#: freeculture.xml:8579
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8538
+#: freeculture.xml:8589
msgid ""
"This change in the effective force of the law is caused by a change in the "
"ease with which the law can be enforced. That change too shifts the law's "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:8547
+#: freeculture.xml:8598
msgid "Market: Concentration"
msgstr ""
#. PAGE BREAK 173
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8549
+#: freeculture.xml:8600
msgid ""
"So copyright's duration has increased dramatically—tripled in the past "
"thirty years. And copyright's scope has increased as well—from "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8567
+#: freeculture.xml:8618
msgid ""
"Still, in my view, all of these changes would not matter much if it weren't "
"for one more change that we must also consider. This is a change that is in "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8574
+#: freeculture.xml:8625
msgid ""
"This is the change in the concentration and integration of the media. In "
"the past twenty years, the nature of media ownership has undergone a radical "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8585
+#: freeculture.xml:8636
msgid "These changes are of two sorts: the scope of concentration, and its nature."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8589
+#: freeculture.xml:8640
msgid "BMG"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8590 freeculture.xml:9976
+#: freeculture.xml:8641 freeculture.xml:10037
msgid "EMI"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8591
+#: freeculture.xml:8642
msgid "McCain, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8592 freeculture.xml:9983
+#: freeculture.xml:8643 freeculture.xml:10044
msgid "Universal Music Group"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8593
+#: freeculture.xml:8644
msgid "Warner Music Group"
msgstr ""
#. f25
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8599
+#: freeculture.xml:8650
msgid ""
"FCC Oversight: Hearing Before the Senate Commerce, Science and "
"Transportation Committee, 108th Cong., 1st sess. (22 May 2003) (statement "
#. f26
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8606
+#: freeculture.xml:8657
msgid ""
"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to "
"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002."
#. f27
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8612
+#: freeculture.xml:8663
msgid ""
"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> "
"<citetitle>Charleston Gazette</citetitle>, 31 May 2003."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8595
+#: freeculture.xml:8646
msgid ""
"Changes in scope are the easier ones to describe. As Senator John McCain "
"summarized the data produced in the FCC's review of media ownership, "
"nationwide.</quote><placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:8667
+msgid "ownership consolidation in"
+msgstr ""
+
#. PAGE BREAK 174
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8617
+#: freeculture.xml:8669
msgid ""
"The story with radio is even more dramatic. Before deregulation, the "
"nation's largest radio broadcasting conglomerate owned fewer than "
"revenues."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:8680
+msgid "ownership consolidation of"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8629
+#: freeculture.xml:8682
msgid ""
"Newspaper ownership is becoming more concentrated as well. Today, there are "
"six hundred fewer daily newspapers in the United States than there were "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8639 freeculture.xml:8660
+#: freeculture.xml:8692 freeculture.xml:8713
msgid "Fallows, James"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8641
+#: freeculture.xml:8694
msgid ""
"Concentration in size alone is one thing. The more invidious change is in "
"the nature of that concentration. As author James Fallows put it in a recent "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:8658
+#: freeculture.xml:8711
msgid ""
"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic "
"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:8647
+#: freeculture.xml:8700
msgid ""
"Murdoch's companies now constitute a production system unmatched in its "
"integration. They supply content—Fox movies … Fox TV shows "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8665
+#: freeculture.xml:8720
msgid ""
"The pattern with Murdoch is the pattern of modern media. Not just large "
"companies owning many radio stations, but a few companies owning as many "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:8672
+#: freeculture.xml:8727
msgid ""
"<graphic fileref=\"images/pattern-modern-media-ownership.png\" "
"align=\"center\" width=\"100%\"></graphic>"
#. PAGE BREAK 175
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8676
+#: freeculture.xml:8731
msgid ""
"Does this concentration matter? Will it affect what is made, or what is "
"distributed? Or is it merely a more efficient way to produce and distribute "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8681
+#: freeculture.xml:8736
msgid ""
"My view was that concentration wouldn't matter. I thought it was nothing "
"more than a more efficient financial structure. But now, after reading and "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8687
+#: freeculture.xml:8742
msgid ""
"Here's a representative story that begins to suggest how this integration "
"may matter."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8690
+#: freeculture.xml:8745
msgid "Lear, Norman"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8692 freeculture.xml:8755
+#: freeculture.xml:8747 freeculture.xml:8810
msgid "All in the Family"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8694
+#: freeculture.xml:8749
msgid ""
"In 1969, Norman Lear created a pilot for <citetitle>All in the "
"Family</citetitle>. He took the pilot to ABC. The network didn't like it. It "
#. f29
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8706
+#: freeculture.xml:8761
msgid ""
"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum "
"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8701
+#: freeculture.xml:8756
msgid ""
"Rather than comply, Lear simply took the show elsewhere. CBS was happy to "
"have the series; ABC could not stop Lear from walking. The copyrights that "
#. PAGE BREAK 176
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8717
+#: freeculture.xml:8772
msgid ""
"The network did not control those copyrights because the law forbade the "
"networks from controlling the content they syndicated. The law required a "
#. f30
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8736
+#: freeculture.xml:8791
msgid ""
"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media "
"Ownership Before the Senate Commerce Committee, 108th Cong., 1st "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8726
+#: freeculture.xml:8781
msgid ""
"In 1994, the FCC abandoned the rules that required this independence. After "
"that change, the networks quickly changed the balance. In 1985, there were "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8757
+#: freeculture.xml:8812
msgid ""
"Today, another Norman Lear with another <citetitle>All in the "
"Family</citetitle> would find that he had the choice either to make the show "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8762
+#: freeculture.xml:8817
msgid "Diller, Barry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8763
+#: freeculture.xml:8818
msgid "Moyers, Bill"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8765
+#: freeculture.xml:8820
msgid ""
"While the number of channels has increased dramatically, the ownership of "
"those channels has narrowed to an ever smaller and smaller few. As Barry "
#. f32
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:8780
+#: freeculture.xml:8835
msgid ""
"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with "
"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:8771
+#: freeculture.xml:8826
msgid ""
"Well, if you have companies that produce, that finance, that air on their "
"channel and then distribute worldwide everything that goes through their "
"you have less than a handful.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:8841
+msgid "media concentration and"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8787
+#: freeculture.xml:8843
msgid ""
"This narrowing has an effect on what is produced. The product of such large "
"and concentrated networks is increasingly homogenous. Increasingly "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8798
+#: freeculture.xml:8854
msgid "Clark, Kim B."
msgstr ""
#. f33
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8807
+#: freeculture.xml:8863
msgid ""
"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The "
"Revolutionary National Bestseller that Changed the Way We Do "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8800
+#: freeculture.xml:8856
msgid ""
"Economics itself offers a parallel that explains why this integration "
"affects creativity. Clay Christensen has written about the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8824
+#: freeculture.xml:8880
msgid ""
"I don't think we know enough about the economics of the media market to say "
"with certainty what concentration and integration will do. The efficiencies "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8830
+#: freeculture.xml:8886
msgid ""
"But there is a quintessentially obvious example that does strongly suggest "
"the concern."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8834
+#: freeculture.xml:8890
msgid ""
"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."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:8894
+msgid "criminal justice system"
+msgstr ""
+
#. PAGE BREAK 178
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8839
+#: freeculture.xml:8896
msgid ""
"Let me hereby disqualify myself from any possible appointment to any "
"position in government by saying I believe this war is a profound mistake. I "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8858
+#: freeculture.xml:8915
msgid ""
"You may not be convinced. That's fine. We live in a democracy, and it is "
"through votes that we are to choose policy. But to do that, we depend "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8866
+#: freeculture.xml:8923
msgid "Nick and Norm anti-drug campaign"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8868
+#: freeculture.xml:8925
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8880
+#: freeculture.xml:8937
msgid ""
"Fair enough. It's a good ad. Not terribly misleading. It delivers its "
"message well. It's a fair and reasonable message."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8884
+#: freeculture.xml:8941
msgid ""
"But let's say you think it is a wrong message, and you'd like to run a "
"countercommercial. Say you want to run a series of ads that try to "
#. PAGE BREAK 179
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8890
+#: freeculture.xml:8947
msgid ""
"Well, obviously, these ads cost lots of money. Assume you raise the "
"money. Assume a group of concerned citizens donates all the money in the "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8898
+#: freeculture.xml:8955
msgid "on television advertising bans"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8899
+#: freeculture.xml:8956
msgid "controversy avoided by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8912
+#: freeculture.xml:8969
msgid "Comcast"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8913
+#: freeculture.xml:8970
msgid "Marijuana Policy Project"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8914
+#: freeculture.xml:8971
msgid "NBC"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8915
+#: freeculture.xml:8972
msgid "WJOA"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8916
+#: freeculture.xml:8973
msgid "WRC"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8911
+#: freeculture.xml:8968
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8901
+#: freeculture.xml:8958
msgid ""
"No. You cannot. Television stations have a general policy of avoiding "
"<quote>controversial</quote> ads. Ads sponsored by the government are deemed "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8950
+#: freeculture.xml:9007
msgid ""
"I'd be happy to defend the networks' rights, as well—if we lived in a "
"media market that was truly diverse. But concentration in the media throws "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:8963
+#: freeculture.xml:9020
msgid "Together"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8965
+#: freeculture.xml:9022
msgid ""
"There is something innocent and obvious about the claim of the copyright "
"warriors that the government should <quote>protect my property.</quote> In "
#. PAGE BREAK 180
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8971
+#: freeculture.xml:9028
msgid ""
"But when we see how dramatically this <quote>property</quote> has "
"changed— when we recognize how it might now interact with both "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8987
+#: freeculture.xml:9044
msgid ""
"Not starkly. Or absolutely. My point is not that we should abolish copyright "
"or go back to the eighteenth century. That would be a total mistake, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8993
+#: freeculture.xml:9050
msgid ""
"But there is a space between zero and one, Internet culture "
"notwithstanding. And these massive shifts in the effective power of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9005
+#: freeculture.xml:9062
msgid ""
"Copyright law has not been a rock of Gibraltar. It's not a set of constant "
"commitments that, for some mysterious reason, teenagers and geeks now "
#. PAGE BREAK 181
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9017
+#: freeculture.xml:9074
msgid ""
"For the single point that is lost in this war on pirates is a point that we "
"see only after surveying the range of these changes. When you add together "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9041
+#: freeculture.xml:9098
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Siva Vaidhyanathan captures a "
"similar point in his <quote>four surrenders</quote> of copyright law in the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9026
+#: freeculture.xml:9083
msgid ""
"Not when copyrights were perpetual, for when copyrights were perpetual, they "
"affected only that precise creative work. Not when only publishers had the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9047
+#: freeculture.xml:9104
msgid ""
"<emphasis role='strong'>This has been</emphasis> a long chapter. Its point "
"can now be briefly stated."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9051
+#: freeculture.xml:9108
msgid ""
"At the start of this book, I distinguished between commercial and "
"noncommercial culture. In the course of this chapter, I have distinguished "
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:9063 freeculture.xml:9100
+#: freeculture.xml:9120 freeculture.xml:9157
msgid "PUBLISH"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:9064 freeculture.xml:9101 freeculture.xml:9139 freeculture.xml:9171
+#: freeculture.xml:9121 freeculture.xml:9158 freeculture.xml:9196 freeculture.xml:9228
msgid "TRANSFORM"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9069 freeculture.xml:9106 freeculture.xml:9144 freeculture.xml:9176
+#: freeculture.xml:9126 freeculture.xml:9163 freeculture.xml:9201 freeculture.xml:9233
msgid "Commercial"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9070 freeculture.xml:9107 freeculture.xml:9108 freeculture.xml:9145 freeculture.xml:9146 freeculture.xml:9177 freeculture.xml:9178 freeculture.xml:9182 freeculture.xml:9183
+#: freeculture.xml:9127 freeculture.xml:9164 freeculture.xml:9165 freeculture.xml:9202 freeculture.xml:9203 freeculture.xml:9234 freeculture.xml:9235 freeculture.xml:9239 freeculture.xml:9240
msgid "©"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9071 freeculture.xml:9075 freeculture.xml:9076 freeculture.xml:9112 freeculture.xml:9113 freeculture.xml:9151
+#: freeculture.xml:9128 freeculture.xml:9132 freeculture.xml:9133 freeculture.xml:9169 freeculture.xml:9170 freeculture.xml:9208
msgid "Free"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9074 freeculture.xml:9111 freeculture.xml:9149 freeculture.xml:9181
+#: freeculture.xml:9131 freeculture.xml:9168 freeculture.xml:9206 freeculture.xml:9238
msgid "Noncommercial"
msgstr ""
#. PAGE BREAK 182
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9083
+#: freeculture.xml:9140
msgid ""
"The act of publishing a map, chart, and book was regulated by copyright "
"law. Nothing else was. Transformations were free. And as copyright attached "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9092
+#: freeculture.xml:9149
msgid "By the end of the nineteenth century, the law had changed to this:"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9120
+#: freeculture.xml:9177
msgid ""
"Derivative works were now regulated by copyright law—if published, "
"which again, given the economics of publishing at the time, means if offered "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9126
+#: freeculture.xml:9183
msgid ""
"In 1909 the law changed to regulate copies, not publishing, and after this "
"change, the scope of the law was tied to technology. As the technology of "
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:9138 freeculture.xml:9170
+#: freeculture.xml:9195 freeculture.xml:9227
msgid "COPY"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9150
+#: freeculture.xml:9207
msgid "© / Free"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9158
+#: freeculture.xml:9215
msgid ""
"The law was interpreted to reach noncommercial copying through, say, copy "
"machines, but still much of copying outside of the commercial market "
#. PAGE BREAK 183
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9190
+#: freeculture.xml:9247
msgid ""
"Every realm is governed by copyright law, whereas before most creativity was "
"not. The law now regulates the full range of creativity— commercial or "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9198
+#: freeculture.xml:9255
msgid ""
"Obviously, copyright law is not the enemy. The enemy is regulation that does "
"no good. So the question that we should be asking just now is whether "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9204
+#: freeculture.xml:9261
msgid ""
"I have no doubt that it does good in regulating commercial copying. But I "
"also have no doubt that it does more harm than good when regulating (as it "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9222
+#: freeculture.xml:9279
msgid "legal realist movement"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9222
+#: freeculture.xml:9279
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> It was the single most important "
"contribution of the legal realist movement to demonstrate that all property "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9216
+#: freeculture.xml:9273
msgid ""
"The issue is therefore not simply whether copyright is property. Of course "
"copyright is a kind of <quote>property,</quote> and of course, as with any "
#. PAGE BREAK 184
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9241
+#: freeculture.xml:9298
msgid ""
"We achieved that free culture because our law respected important limits on "
"the scope of the interests protected by <quote>property.</quote> The very "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9264
+#: freeculture.xml:9321
msgid ""
"Free culture is increasingly the casualty in this war on piracy. In response "
"to a real, if not yet quantified, threat that the technologies of the "
msgstr ""
#. type: Content of: <book><part><title>
-#: freeculture.xml:9281
+#: freeculture.xml:9338
msgid "Puzzles"
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:9285
+#: freeculture.xml:9342
msgid "Chapter Eleven: Chimera"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:9286
+#: freeculture.xml:9343
msgid "chimeras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:9287
+#: freeculture.xml:9344
msgid "Wells, H. G."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:9288
+#: freeculture.xml:9345
msgid "<quote>Country of the Blind, The</quote> (Wells)"
msgstr ""
#. f1.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:9296
+#: freeculture.xml:9353
msgid ""
"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See "
"H. G. Wells, <citetitle>The Country of the Blind and Other "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9291
+#: freeculture.xml:9348
msgid ""
"<emphasis role='strong'>In a well-known</emphasis> short story by "
"H. G. Wells, a mountain climber named Nunez trips (literally, down an ice "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9308
+#: freeculture.xml:9365
msgid ""
"Things don't go quite as he planned. He tries to explain the idea of sight "
"to the villagers. They don't understand. He tells them they are "
"<citetitle>blind</citetitle>. They think he's just thick. Indeed, as they "
"increasingly notice the things he can't do (hear the sound of grass being "
"stepped on, for example), they increasingly try to control him. He, in turn, "
-"becomes increasingly frustrated. <quote>`You don't understand,' he cried, in "
-"a voice that was meant to be great and resolute, and which broke. `You are "
-"blind and I can see. Leave me alone!'</quote>"
+"becomes increasingly frustrated. <quote><quote>You don't understand,</quote> "
+"he cried, in a voice that was meant to be great and resolute, and which "
+"broke. <quote>You are blind and I can see. Leave me alone!</quote></quote>"
msgstr ""
#. PAGE BREAK 187
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9320
+#: freeculture.xml:9377
msgid ""
"The villagers don't leave him alone. Nor do they see (so to speak) the "
"virtue of his special power. Not even the ultimate target of his affection, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9331
+#: freeculture.xml:9388
msgid ""
"When Nunez announces his desire to marry his <quote>mysteriously "
"delighted</quote> love, the father and the village object. <quote>You see, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9337
+#: freeculture.xml:9394
msgid ""
"After a careful examination, the doctor gives his opinion. <quote>His brain "
"is affected,</quote> he reports."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9341
+#: freeculture.xml:9398
msgid ""
"<quote>What affects it?</quote> the father asks. <quote>Those queer things "
"that are called the eyes … are diseased … in such a way as to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9346
+#: freeculture.xml:9403
msgid ""
"The doctor continues: <quote>I think I may say with reasonable certainty "
"that in order to cure him completely, all that we need to do is a simple and "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9352
+#: freeculture.xml:9409
msgid ""
"<quote>Thank Heaven for science!</quote> says the father to the doctor. They "
"inform Nunez of this condition necessary for him to be allowed his bride. "
#. PAGE BREAK 188
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9358
+#: freeculture.xml:9415
msgid ""
"<emphasis role='strong'>It sometimes</emphasis> happens that the eggs of "
"twins fuse in the mother's womb. That fusion produces a "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9372
+#: freeculture.xml:9429
msgid ""
"Before I had read about chimeras, I would have said they were impossible. A "
"single person can't have two sets of DNA. The very idea of DNA is that it is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9380
+#: freeculture.xml:9437
msgid ""
"The more I work to understand the current struggle over copyright and "
"culture, which I've sometimes called unfairly, and sometimes not unfairly "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9394
+#: freeculture.xml:9451
msgid ""
"But the description is also false in part. For when my p2p server is on a "
"p2p network through which anyone can get access to my music, then sure, my "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9403
+#: freeculture.xml:9460
msgid ""
"Likewise, when the other side says, <quote>File sharing is just like walking "
"into a Tower Records and taking a CD off the shelf and walking out with "
#. PAGE BREAK 189
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9414
+#: freeculture.xml:9471
msgid ""
"But it is not quite stealing from Tower. After all, when I take a CD from "
"Tower Records, Tower has one less CD to sell. And when I take a CD from "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9424
+#: freeculture.xml:9481
msgid ""
"The point is not that it is as neither side describes. The point is that it "
"is both—both as the RIAA describes it and as Kazaa describes it. It is "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9440 freeculture.xml:9727 freeculture.xml:10822
+#: freeculture.xml:9497 freeculture.xml:9788 freeculture.xml:10891
msgid "ISPs (Internet service providers), user identities revealed by"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9471
+#: freeculture.xml:9528
msgid "Conyers, John, Jr."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9472 freeculture.xml:10219
+#: freeculture.xml:9529 freeculture.xml:10285
msgid "Berman, Howard L."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:9440
+#: freeculture.xml:9497
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> For an excellent summary, see the "
"report prepared by GartnerG2 and the Berkman Center for Internet and Society "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9431
+#: freeculture.xml:9488
msgid ""
"We could respond by simply pretending that it is not a chimera. We could, "
"with the RIAA, decide that every act of file sharing should be a felony. We "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9478
+#: freeculture.xml:9535
msgid ""
"Alternatively, we could respond to file sharing the way many kids act as "
"though we've responded. We could totally legalize it. Let there be no "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9485
+#: freeculture.xml:9542
msgid ""
"Either response is possible. I think either would be a mistake. Rather than "
"embrace one of these two extremes, we should embrace something that "
#. PAGE BREAK 190
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9497
+#: freeculture.xml:9554
msgid ""
"Yet zero tolerance is increasingly our government's policy. In the middle of "
"the chaos that the Internet has created, an extraordinary land grab is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9505
+#: freeculture.xml:9562
msgid ""
"I'm not talking about the opportunities for kids to <quote>steal</quote> "
"music. My focus instead is the commercial and cultural innovation that this "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:9518
+#: freeculture.xml:9575
msgid ""
"eMusic opposes music piracy. We are a distributor of copyrighted material, "
"and we want to protect those rights."
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:9522
+#: freeculture.xml:9579
msgid ""
"But building a technology fortress that locks in the clout of the major "
"labels is by no means the only way to protect copyright interests, nor is it "
#. f3.
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:9539
+#: freeculture.xml:9596
msgid ""
"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital "
"Entertainment on the Internet and Other Media: Hearing Before the "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:9529
+#: freeculture.xml:9586
msgid ""
"This is a critical point. The choices that industry sectors make with "
"respect to these systems will in many ways directly shape the market for "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9553 freeculture.xml:9927
+#: freeculture.xml:9610 freeculture.xml:9988
msgid "Vivendi Universal"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9550
+#: freeculture.xml:9607
msgid ""
"In April 2001, eMusic.com was purchased by Vivendi Universal, one of "
"<quote>the major labels.</quote> Its position on these matters has now "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9556
+#: freeculture.xml:9613
msgid ""
"Reversing our tradition of tolerance now will not merely quash piracy. It "
"will sacrifice values that are important to this culture, and will kill "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:9564
+#: freeculture.xml:9621
msgid "Chapter Twelve: Harms"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9566
+#: freeculture.xml:9623
msgid ""
"<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to "
"protect <quote>property,</quote> the content industry has launched a "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9574
+#: freeculture.xml:9631
msgid ""
"My aim so far has been to describe the consequences of this war, in "
"particular, the consequences for <quote>free culture.</quote> But my aim now "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9580
+#: freeculture.xml:9637
msgid ""
"In my view, it is not. There is no good reason why this time, for the first "
"time, the law should defend the old against the new, just when the power of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9588
+#: freeculture.xml:9645
msgid ""
"Yet <quote>common sense</quote> does not see it this way. Common sense is "
"still on the side of the Causbys and the content industry. The extreme "
#. PAGE BREAK 193
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9596
+#: freeculture.xml:9653
msgid ""
"There will be many consequences of continuing this war. I want to describe "
"just three. All three might be said to be unintended. I am quite confident "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:9603
+#: freeculture.xml:9660
msgid "Constraining Creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9605
+#: freeculture.xml:9662
msgid ""
"In the next ten years we will see an explosion of digital technologies. "
"These technologies will enable almost anyone to capture and share "
"in a collage and make it available on the Net."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:9676
+msgid "digital sharing within"
+msgstr ""
+
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9620
+#: freeculture.xml:9679
msgid ""
"This digital <quote>capturing and sharing</quote> is in part an extension of "
"the capturing and sharing that has always been integral to our culture, and "
#. PAGE BREAK 194
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9631
+#: freeculture.xml:9690
msgid ""
"Technology has thus given us an opportunity to do something with culture "
"that has only ever been possible for individuals in small groups, isolated "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9641
+#: freeculture.xml:9700
msgid ""
"Yet all this is possible only if the activity is presumptively legal. In the "
"current regime of legal regulation, it is not. Forget file sharing for a "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9651 freeculture.xml:9675
+#: freeculture.xml:9710 freeculture.xml:9734
msgid "WorldCom"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9654
+#: freeculture.xml:9713
msgid "doctors malpractice claims against"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9670
+#: freeculture.xml:9729
msgid ""
"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at "
"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9691
+#: freeculture.xml:9751
+msgid "tort reform"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
+#: freeculture.xml:9752
msgid "Bush, George W."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9682
+#: freeculture.xml:9742
msgid ""
"The bill, modeled after California's tort reform model, was passed in the "
"House of Representatives but defeated in a Senate vote in July 2003. For an "
-"overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be "
-"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and "
-"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"overview, see Tanya Albert, <quote>Measure Stalls in Senate: <quote>We'll Be "
+"Back,</quote> Say Tort Reformers,</quote> amednews.com, 28 July 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, "
+"and <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July "
+"
2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#39</ulink>. President Bush has continued to urge tort reform in recent "
-"months. <placeholder type=\"indexterm\" id=\"0\"/>"
+"months. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
+"type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9657
+#: freeculture.xml:9716
msgid ""
"That presumption will increasingly chill creativity, as the examples of "
"extreme penalties for vague infringements continue to proliferate. It is "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9697
+#: freeculture.xml:9758
msgid "art, underground"
msgstr ""
#. f3.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9718
+#: freeculture.xml:9779
msgid ""
"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> "
"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9699
+#: freeculture.xml:9760
msgid ""
"The consequence of this legal uncertainty, tied to these extremely high "
"penalties, is that an extraordinary amount of creativity will either never "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9729
+#: freeculture.xml:9790
msgid ""
"Part of the reason for this fear of illegality has to do with the changing "
"law. I described that change in detail in chapter <xref xrefstyle=\"select: "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9742
+#: freeculture.xml:9803
msgid ""
"Never in our history has a painter had to worry about whether his painting "
"infringed on someone else's work; but the modern-day painter, using the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9753
+#: freeculture.xml:9814
msgid ""
"Lawyers rarely see this because lawyers are rarely empirical. As I described "
"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, "
#. PAGE BREAK 196
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9764
+#: freeculture.xml:9825
msgid ""
"But fair use in America simply means the right to hire a lawyer to defend "
"your right to create. And as lawyers love to forget, our system for "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9774
+#: freeculture.xml:9835
msgid ""
"Judges and lawyers can tell themselves that fair use provides adequate "
"<quote>breathing room</quote> between regulation by the law and the access "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9785
+#: freeculture.xml:9846
msgid ""
"For in a world that threatens $150,000 for a single willful infringement of "
"a copyright, and which demands tens of thousands of dollars to even defend "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9796
+#: freeculture.xml:9857
msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me,"
msgstr ""
#. PAGE BREAK 197
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:9800
+#: freeculture.xml:9861
msgid ""
"We're losing [creative] opportunities right and left. Creative people are "
"being forced not to express themselves. Thoughts are not being "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:9813
+#: freeculture.xml:9874
msgid "Constraining Innovators"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9814
+#: freeculture.xml:9875
msgid "innovation hampered by"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9815
+#: freeculture.xml:9876
msgid "industry establishment opposed to"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9818
+#: freeculture.xml:9879
msgid ""
"The story of the last section was a crunchy-lefty story—creativity "
"quashed, artists who can't speak, yada yada yada. Maybe that doesn't get you "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9827
+#: freeculture.xml:9888
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9838
+#: freeculture.xml:9899
msgid ""
"The charge I've been making about the regulation of culture is the same "
"charge free marketers make about regulating markets. Everyone, of course, "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9851 freeculture.xml:9972 freeculture.xml:9978
+#: freeculture.xml:9912 freeculture.xml:10033 freeculture.xml:10039
msgid "Barry, Hank"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9852 freeculture.xml:9984
+#: freeculture.xml:9913 freeculture.xml:10045
msgid "venture capitalists"
msgstr ""
#. PAGE BREAK 198
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9854
+#: freeculture.xml:9915
msgid ""
"This is the single most dramatic effect of the shift in regulatory strategy "
"that I described in chapter <xref xrefstyle=\"select: labelnumber\" "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9869
+#: freeculture.xml:9930
msgid ""
"Consider one example to make the point, a story whose beginning I told in "
"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9873
+#: freeculture.xml:9934
msgid "MP3.com"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9874
+#: freeculture.xml:9935
msgid "my.mp3.com"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9875
+#: freeculture.xml:9936
msgid "Roberts, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9877
+#: freeculture.xml:9938
msgid ""
"In 1997, Michael Roberts launched a company called MP3.com. MP3.com was "
"keen to remake the music business. Their goal was not just to facilitate new "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9885
+#: freeculture.xml:9946
msgid "preference data on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9887
+#: freeculture.xml:9948
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9894
+#: freeculture.xml:9955
msgid ""
"This idea required a simple way to gather data about user preferences. "
"MP3.com came up with an extraordinarily clever way to gather this preference "
#. PAGE BREAK 199
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9906
+#: freeculture.xml:9967
msgid ""
"No doubt some could use this system to illegally copy content. But that "
"opportunity existed with or without MP3.com. The aim of the my.mp3.com "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9916
+#: freeculture.xml:9977
msgid ""
"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 uploaded the music, "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9928 freeculture.xml:9973
+#: freeculture.xml:9989 freeculture.xml:10034
msgid "distribution technology targeted in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9933
+#: freeculture.xml:9994 freeculture.xml:10106
msgid "outsize penalties of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9935
+#: freeculture.xml:9996
msgid ""
"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 with four of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9945
+#: freeculture.xml:10006
msgid "That part of the story I have told before. Now consider its conclusion."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9948
+#: freeculture.xml:10009
msgid ""
"After Vivendi purchased MP3.com, Vivendi turned around and filed a "
"malpractice lawsuit against the lawyers who had advised it that they had a "
#. PAGE BREAK 200
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9959
+#: freeculture.xml:10020
msgid ""
"The clear purpose of this lawsuit (which was settled for an unspecified "
"amount shortly after the story was no longer covered in the press) was to "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9974
+#: freeculture.xml:10035
msgid "BMW"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9975
+#: freeculture.xml:10036
msgid "cars, MP3 sound systems in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9977
+#: freeculture.xml:10038
msgid "Hummer, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9979
+#: freeculture.xml:10040
msgid "Hummer Winblad"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9980
+#: freeculture.xml:10041
msgid "MP3 players"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9981
+#: freeculture.xml:10042
msgid "venture capital for"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9982 freeculture.xml:10028
+#: freeculture.xml:10043 freeculture.xml:10089
msgid "Needleman, Rafe"
msgstr ""
#. f4.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9992
+#: freeculture.xml:10053
msgid ""
"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> "
"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9986
+#: freeculture.xml:10047
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:10024
+#: freeculture.xml:10085
msgid ""
"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> "
"<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10015
+#: freeculture.xml:10076
msgid ""
"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 engineers in Germany "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10036
+#: freeculture.xml:10097
msgid ""
"This is the world of the mafia—filled with <quote>your money or your "
"life</quote> offers, governed in the end not by courts but by the threats "
"threatened by litigation."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:10105
+msgid "transaction cost of"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:10107
+msgid "legal murkiness on"
+msgstr ""
+
#. PAGE BREAK 201
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10046
+#: freeculture.xml:10111
msgid ""
"The point is not that businesses should have a right to start illegal "
"enterprises. The point is the definition of <quote>illegal.</quote> The law "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10061
+#: freeculture.xml:10125
msgid ""
"The point is directly parallel to the crunchy-lefty point about fair "
"use. Whatever the <quote>real</quote> law is, realism about the effect of "
#. PAGE BREAK 202
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10073
+#: freeculture.xml:10137
msgid ""
"The building of a permission culture, rather than a free culture, is the "
"first important way in which the changes I have described will burden "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10092
+#: freeculture.xml:10158
msgid ""
"<emphasis role='strong'>The uncertainty</emphasis> of the law is one burden "
"on innovation. There is a second burden that operates more directly. This is "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10099
+#: freeculture.xml:10165
msgid ""
"The motivation for this response is obvious. The Internet enables the "
"efficient spread of content. That efficiency is a feature of the Internet's "
#. f6.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10114
+#: freeculture.xml:10180
msgid ""
"<quote>Copyright and Digital Media in a Post-Napster World,</quote> "
"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law "
#. f7.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10127
+#: freeculture.xml:10193
msgid "GartnerG2, 26–27."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10110
+#: freeculture.xml:10176
msgid ""
"The examples of this form of legislation are many. At the urging of the "
"content industry, some in Congress have threatened legislation that would "
#. PAGE BREAK 203
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10131
+#: freeculture.xml:10197
msgid ""
"In one sense, these solutions seem sensible. If the problem is the code, why "
"not regulate the code to remove the problem. But any regulation of technical "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:10140 freeculture.xml:12050
+#: freeculture.xml:10206 freeculture.xml:12140
msgid "Intel"
msgstr ""
#. f8.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10146
+#: freeculture.xml:10212
msgid ""
"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> "
"Newsbytes, February 2002 (Entertainment)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10142
+#: freeculture.xml:10208
msgid ""
"In March 2002, a broad coalition of technology companies, led by Intel, "
"tried to get Congress to see the harm that such legislation would "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10154
+#: freeculture.xml:10220
msgid ""
"<emphasis role='strong'>There is one</emphasis> more obvious way in which "
"this war has harmed innovation—again, a story that will be quite "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10159
+#: freeculture.xml:10225
msgid ""
"Copyright may be property, but like all property, it is also a form of "
"regulation. It is a regulation that benefits some and harms others. When "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10177
+#: freeculture.xml:10243
msgid "Digital Copyright (Litman)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10175
+#: freeculture.xml:10241
msgid ""
"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: "
"Prometheus Books, 2001). <placeholder type=\"indexterm\" id=\"0\"/> "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10169
+#: freeculture.xml:10235
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, despite this feature of copyright as regulation, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10188
+#: freeculture.xml:10254
msgid ""
"But that pattern of deference to new technologies has now changed with the "
"rise of the Internet. Rather than striking a balance between the claims of a "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10194
+#: freeculture.xml:10260
msgid "radio on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10199
+#: freeculture.xml:10265
msgid "Grokster, Ltd."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10199
+#: freeculture.xml:10265
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> The only circuit court exception "
"is found in <citetitle>Recording Industry Association of America "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10218
+#: freeculture.xml:10284
msgid "Tauzin, Billy"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10220
+#: freeculture.xml:10286
msgid "Hollings, Fritz"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10218
+#: freeculture.xml:10284
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10197
+#: freeculture.xml:10263
msgid ""
"The response by the courts has been fairly universal.<placeholder "
"type=\"footnote\" id=\"0\"/> It has been mirrored in the responses "
"demise of Internet radio."
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><primary>
+#: freeculture.xml:10308
+msgid "Monroe, Marilyn"
+msgstr ""
+
#. PAGE BREAK 204
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10245
+#: freeculture.xml:10313
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"pirates\"/>, when a radio station plays a song, the recording "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10256
+#: freeculture.xml:10324
msgid ""
"The reasoning behind this balance struck by Congress makes some sense. The "
"justification was that radio was a kind of advertising. The recording artist "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10267
+#: freeculture.xml:10336
msgid ""
"Enter Internet radio. Like regular radio, Internet radio is a technology to "
"stream content from a broadcaster to a listener. The broadcast travels "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10276
+#: freeculture.xml:10345
msgid ""
"This feature of the architecture of Internet radio means that there are "
"potentially an unlimited number of radio stations that a user could tune in "
#. PAGE BREAK 205
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10292
+#: freeculture.xml:10361
msgid ""
"Internet radio is thus to radio what FM was to AM. It is an improvement "
"potentially vastly more significant than the FM improvement over AM, since "
#. f12.
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:10316
+#: freeculture.xml:10385
msgid "Lessing, 239."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10302
+#: freeculture.xml:10371
msgid ""
"An almost unlimited number of FM stations was possible in the shortwaves, "
"thus ending the unnatural restrictions imposed on radio in the crowded "
#. f13.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10326
+#: freeculture.xml:10395
msgid "Ibid., 229."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10321
+#: freeculture.xml:10390
msgid ""
"This potential for FM radio was never realized—not because Armstrong "
"was wrong about the technology, but because he underestimated the power of "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10331
+#: freeculture.xml:10400
msgid ""
"Now the very same claim could be made about Internet radio. For again, there "
"is no technical limitation that could restrict the number of Internet radio "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10340
+#: freeculture.xml:10409
msgid "on radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10344
+#: freeculture.xml:10413
msgid "Internet radio hampered by"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10345 freeculture.xml:10498
+#: freeculture.xml:10414 freeculture.xml:10567
msgid "on Internet radio fees"
msgstr ""
#. PAGE BREAK 206
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10348
+#: freeculture.xml:10417
msgid ""
"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 powerful "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10387
+#: freeculture.xml:10456
msgid "CARP (Copyright Arbitration Royalty Panel)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10370
+#: freeculture.xml:10439
msgid ""
"This example was derived from fees set by the original Copyright Arbitration "
"Royalty Panel (CARP) proceedings, and is drawn from an example offered by "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10363
+#: freeculture.xml:10432
msgid ""
"This financial burden is not slight. As Harvard law professor William Fisher "
"estimates, if an Internet radio station distributed adfree popular music to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10399
+#: freeculture.xml:10468
msgid ""
"The burden is not financial only. Under the original rules that were "
"proposed, an Internet radio station (but not a terrestrial radio station) "
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10407
+#: freeculture.xml:10476
msgid "name of the service;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10410
+#: freeculture.xml:10479
msgid "channel of the program (AM/FM stations use station ID);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10413
+#: freeculture.xml:10482
msgid "type of program (archived/looped/live);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10416
+#: freeculture.xml:10485
msgid "date of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10419
+#: freeculture.xml:10488
msgid "time of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10422
+#: freeculture.xml:10491
msgid "time zone of origination of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10425
+#: freeculture.xml:10494
msgid "numeric designation of the place of the sound recording within the program;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10428
+#: freeculture.xml:10497
msgid "duration of transmission (to nearest second);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10431
+#: freeculture.xml:10500
msgid "sound recording title;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10434
+#: freeculture.xml:10503
msgid "ISRC code of the recording;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10437
+#: freeculture.xml:10506
msgid ""
"release year of the album per copyright notice and in the case of "
"compilation albums, the release year of the album and copy- right date of "
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10440
+#: freeculture.xml:10509
msgid "featured recording artist;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10443
+#: freeculture.xml:10512
msgid "retail album title;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10446
+#: freeculture.xml:10515
msgid "recording label;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10449
+#: freeculture.xml:10518
msgid "UPC code of the retail album;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10452
+#: freeculture.xml:10521
msgid "catalog number;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10455
+#: freeculture.xml:10524
msgid "copyright owner information;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10458
+#: freeculture.xml:10527
msgid "musical genre of the channel or program (station format);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10461
+#: freeculture.xml:10530
msgid "name of the service or entity;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10464
+#: freeculture.xml:10533
msgid "channel or program;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10467
+#: freeculture.xml:10536
msgid "date and time that the user logged in (in the user's time zone);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10470
+#: freeculture.xml:10539
msgid "date and time that the user logged out (in the user's time zone);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10473
+#: freeculture.xml:10542
msgid "time zone where the signal was received (user);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10476
+#: freeculture.xml:10545
msgid "unique user identifier;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10479
+#: freeculture.xml:10548
msgid "the country in which the user received the transmissions."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10484
+#: freeculture.xml:10553
msgid ""
"The Librarian of Congress eventually suspended these reporting requirements, "
"pending further study. And he also changed the original rates set by the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10492
+#: freeculture.xml:10561
msgid ""
"Why? What justifies this difference? Was there any study of the economic "
"consequences from Internet radio that would justify these differences? Was "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:10496 freeculture.xml:15302
+#: freeculture.xml:10565 freeculture.xml:15432
msgid "Real Networks"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10502
+#: freeculture.xml:10571
msgid ""
"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 Policy at "
#. PAGE BREAK 208
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10508
+#: freeculture.xml:10577
msgid ""
"The RIAA, which was representing the record labels, presented some testimony "
"about what they thought a willing buyer would pay to a willing seller, and "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10524
+#: freeculture.xml:10593
msgid ""
"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 an "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10536
+#: freeculture.xml:10605
msgid ""
"Translation: The aim is to use the law to eliminate competition, so that "
"this platform of potentially immense competition, which would cause the "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:10552
+#: freeculture.xml:10621
msgid "Corrupting Citizens"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10554
+#: freeculture.xml:10623
msgid ""
"Overregulation stifles creativity. It smothers innovation. It gives "
"dinosaurs a veto over the future. It wastes the extraordinary opportunity "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10560
+#: freeculture.xml:10629
msgid ""
"In addition to these important harms, there is one more that was important "
"to our forebears, but seems forgotten today. Overregulation corrupts "
#. f15.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10569
+#: freeculture.xml:10638
msgid ""
"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> "
"Pew Internet and American Life Project (24 April 2001), available at <ulink "
#. PAGE BREAK 209
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10565
+#: freeculture.xml:10634
msgid ""
"The war that is being waged today is a war of prohibition. As with every war "
"of prohibition, it is targeted against the behavior of a very large number "
#. f16.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10603
+#: freeculture.xml:10672
msgid ""
"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA "
"Case,</quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10590
+#: freeculture.xml:10659
msgid ""
"The content industry's tactics exploit the failings of the American legal "
"system. When the RIAA brought suit against Jesse Jordan, it knew that in "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:10614
+#: freeculture.xml:10683
msgid "alcohol prohibition"
msgstr ""
#. f17.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10626
+#: freeculture.xml:10695
msgid ""
"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During "
"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, "
#. f18.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10634
+#: freeculture.xml:10703
msgid ""
"National Drug Control Policy: Hearing Before the House Government Reform "
"Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John "
#. f19.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10644
+#: freeculture.xml:10713
msgid ""
"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax "
"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10616
+#: freeculture.xml:10685
msgid ""
"Wars of prohibition are nothing new in America. This one is just something "
"more extreme than anything we've seen before. We experimented with alcohol "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:10652
+#: freeculture.xml:10721
msgid "law schools"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10654
+#: freeculture.xml:10723
msgid ""
"This state of affairs is not without consequence. It is a particularly "
"salient issue for teachers like me, whose job it is to teach law students "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10671
+#: freeculture.xml:10740
msgid ""
"The response to this general illegality is either to enforce the law more "
"severely or to change the law. We, as a society, have to learn how to make "
#. PAGE BREAK 211
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10684
+#: freeculture.xml:10753
msgid ""
"My point is not the idiotic one: Just because people violate a law, we "
"should therefore repeal it. Obviously, we could reduce murder statistics "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10691
+#: freeculture.xml:10760
msgid ""
"My point is instead one that democracies understood for generations, but "
"that we recently have learned to forget. The rule of law depends upon people "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10705
+#: freeculture.xml:10774
msgid ""
"When at least forty-three million citizens download content from the "
"Internet, and when they use tools to combine that content in ways "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10717
+#: freeculture.xml:10786
msgid "This abstract point can be made more clear with a particular example."
msgstr ""
#. PAGE BREAK 212
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10720
+#: freeculture.xml:10789
msgid ""
"We all own CDs. Many of us still own phonograph records. These pieces of "
"plastic encode music that in a certain sense we have bought. The law "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10731
+#: freeculture.xml:10800
msgid ""
"But as the MP3 craze has demonstrated, there is another use of phonograph "
"records that is effectively free. Because these recordings were made without "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:10739
+#: freeculture.xml:10808
msgid "Andromeda"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10740
+#: freeculture.xml:10809
msgid "mix technology and"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10742
+#: freeculture.xml:10811
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10753
+#: freeculture.xml:10822
msgid ""
"This use is enabled by unprotected media—either CDs or records. But "
"unprotected media also enable file sharing. File sharing threatens (or so "
#. PAGE BREAK 213
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10763
+#: freeculture.xml:10832
msgid ""
"If these technologies took off, then the building of large archives of your "
"own music would become quite difficult. You might hang in hacker circles, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10778
+#: freeculture.xml:10847
msgid ""
"If the only way to assure that artists get paid were the elimination of the "
"ability to freely move content, then these technologies to interfere with "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10787
+#: freeculture.xml:10856
msgid ""
"My point just now is not to prove that there is such a system. I offer a "
"version of such a system in the last chapter of this book. For now, the only "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10798
+#: freeculture.xml:10867
msgid ""
"I believe there is a way to assure that artists are paid without turning "
"forty-three million Americans into felons. But the salient feature of this "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10807
+#: freeculture.xml:10876
msgid ""
"Except that this generation's buggy manufacturers have already saddled "
"Congress, and are riding the law to protect themselves against this new form "
#. PAGE BREAK 214
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10813
+#: freeculture.xml:10882
msgid ""
"It is understandable why they choose as they do. It is not understandable "
"why we as a democracy continue to choose as we do. Jack Valenti is charming; "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10824
+#: freeculture.xml:10893
msgid ""
"<emphasis role='strong'>There's one more</emphasis> aspect to this "
"corruption that is particularly important to civil liberties, and follows "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:10832 freeculture.xml:10932
+#: freeculture.xml:10901 freeculture.xml:11002
msgid "von Lohmann, Fred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10834
+#: freeculture.xml:10903
msgid ""
"<quote>If you can treat someone as a putative lawbreaker,</quote> von "
"Lohmann explains,"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10839
+#: freeculture.xml:10908
msgid ""
"then all of a sudden a lot of basic civil liberty protections evaporate to "
"one degree or another. … If you're a copyright infringer, how can you "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10851
+#: freeculture.xml:10920
msgid ""
"And the consequence of this transformation of the American public into "
"criminals is that it becomes trivial, as a matter of due process, to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10856
+#: freeculture.xml:10925
msgid ""
"Users of the Internet began to see this generally in 2003 as the RIAA "
"launched its campaign to force Internet service providers to turn over the "
#. f20.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10874
+#: freeculture.xml:10943
msgid ""
"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single "
"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> "
"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, "
-"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry "
-"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs "
-"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel "
+"<quote>Worried Parents Pull Plug on File <quote>Stealing</quote>; With the "
+"Music Industry Cracking Down on File Swapping, Parents are Yanking Software "
+"from Home PCs to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel "
"Tribune</citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording "
"Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 "
"September 2003, 4D; John Schwartz, <quote>She Says She's No Music Pirate. No "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10865
+#: freeculture.xml:10934
msgid ""
"The RIAA then expanded this campaign, by announcing a general strategy to "
"sue individual users of the Internet who are alleged to have downloaded "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
+#. type: Content of: <book><part><chapter><section><indexterm><secondary>
+#: freeculture.xml:10956
+msgid "recording industry tracking users of"
+msgstr ""
+
#. f21.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10892
+#: freeculture.xml:10962
msgid ""
"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses "
"Some Methods Used,</quote> CNN.com, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10888
+#: freeculture.xml:10958
msgid ""
"Even this understates the espionage that is being waged by the RIAA. A "
"report from CNN late last summer described a strategy the RIAA had adopted "
#. f22.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10913
+#: freeculture.xml:10983
msgid ""
"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not "
"Penitent,</quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City "
"Weekly, 1; Frank Ahrens, <quote>Four Students Sued over Music Sites; "
"Industry Group Targets File Sharing at Colleges,</quote> "
"<citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth "
-"Armstrong, <quote>Students `Rip, Mix, Burn' at Their Own Risk,</quote> "
-"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; "
-"Robert Becker and Angela Rozas, <quote>Music Pirate Hunt Turns to Loyola; "
-"Two Students Names Are Handed Over; Lawsuit Possible,</quote> "
+"Armstrong, <quote>Students <quote>Rip, Mix, Burn</quote> at Their Own "
+"Risk,</quote> <citetitle>Christian Science Monitor</citetitle>, 2 September "
+"2003, 20; Robert Becker and Angela Rozas, <quote>Music Pirate Hunt Turns to "
+"Loyola; Two Students Names Are Handed Over; Lawsuit Possible,</quote> "
"<citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, "
"<quote>RIAA Trains Antipiracy Guns on Universities,</quote> "
"<citetitle>Internet News</citetitle>, 30 January 2003, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10901
+#: freeculture.xml:10971
msgid ""
"So imagine the following not-implausible scenario: Imagine a friend gives a "
"CD to your daughter—a collection of songs just like the cassettes you "
#. PAGE BREAK 216
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10934
+#: freeculture.xml:11004
msgid ""
"Now, of course, she'll have the right to defend herself. You can hire a "
"lawyer for her (at $300 per hour, if you're lucky), and she can plead that "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10949
+#: freeculture.xml:11020
msgid ""
"So when we're talking about numbers like forty to sixty million Americans "
"that are essentially copyright infringers, you create a situation where the "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10969
+#: freeculture.xml:11040
msgid ""
"When forty to sixty million Americans are considered "
"<quote>criminals</quote> under the law, and when the law could achieve the "
msgstr ""
#. type: Content of: <book><part><title>
-#: freeculture.xml:10982
+#: freeculture.xml:11053
msgid "Balances"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:10987
+#: freeculture.xml:11058
msgid ""
"<emphasis role='strong'>So here's</emphasis> the picture: You're standing at "
"the side of the road. Your car is on fire. You are angry and upset because "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:10994
+#: freeculture.xml:11065
msgid ""
"As you ponder the mess, someone else comes along. In a panic, she grabs the "
"bucket. Before you have a chance to tell her to stop—or before she "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:11002
+#: freeculture.xml:11073
msgid ""
"<emphasis role='strong'>A war</emphasis> about copyright rages all "
"around—and we're all focusing on the wrong thing. No doubt, current "
#. PAGE BREAK 219
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:11012
+#: freeculture.xml:11083
msgid ""
"Yet policy makers are not willing to leave this fire to itself. Primed with "
"plenty of lobbyists' money, they are keen to intervene to eliminate the "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:11020
+#: freeculture.xml:11091
msgid ""
"Somehow we have to find a way to turn attention to this more important and "
"fundamental issue. Somehow we have to find a way to avoid pouring gasoline "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:11025
+#: freeculture.xml:11096
msgid ""
"We have not found that way yet. Instead, we seem trapped in a simpler, "
"binary view. However much many people push to frame this debate more "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:11031
+#: freeculture.xml:11102
msgid ""
"This challenge has been my life these last few years. It has also been my "
"failure. In the two chapters that follow, I describe one small brace of "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:11041
+#: freeculture.xml:11112
msgid "Chapter Thirteen: Eldred"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11042
+#: freeculture.xml:11113
msgid "Eldred, Eric"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11043
+#: freeculture.xml:11114
msgid "Hawthorne, Nathaniel"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11045
+#: freeculture.xml:11116
msgid ""
"<emphasis role='strong'>In 1995</emphasis>, a father was frustrated that his "
"daughters didn't seem to like Hawthorne. No doubt there was more than one "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11053
+#: freeculture.xml:11124
msgid "of public-domain literature"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11054
+#: freeculture.xml:11125
msgid "library of works derived from"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11056
+#: freeculture.xml:11127
msgid ""
"It didn't work—at least for his daughters. They didn't find Hawthorne "
"any more interesting than before. But Eldred's experiment gave birth to a "
#. PAGE BREAK 221
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11065
+#: freeculture.xml:11136
msgid ""
"Eldred's library was not simply a copy of certain public domain works, "
"though even a copy would have been of great value to people across the world "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11075
+#: freeculture.xml:11146
msgid "Scarlet Letter, The (Hawthorne)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11077
+#: freeculture.xml:11148
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11102 freeculture.xml:12149
+#: freeculture.xml:11173 freeculture.xml:12240
msgid "pornography"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11102
+#: freeculture.xml:11173
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> There's a parallel here with "
"pornography that is a bit hard to describe, but it's a strong one. One "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11091
+#: freeculture.xml:11162
msgid ""
"The Internet created the possibility of noncommercial publications of public "
"domain works. Eldred's is just one example. There are literally thousands of "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11122
+#: freeculture.xml:11193
msgid "Frost, Robert"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11123
+#: freeculture.xml:11194
msgid "New Hampshire (Frost)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11127
+#: freeculture.xml:11198
msgid ""
"As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection "
"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the "
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:11142 freeculture.xml:11154
+#: freeculture.xml:11213 freeculture.xml:11225
msgid "Bono, Mary"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:11143 freeculture.xml:11155
+#: freeculture.xml:11214 freeculture.xml:11226
msgid "Bono, Sonny"
msgstr ""
+#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
+#: freeculture.xml:11227
+msgid "perpetual copyright term proposed by"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11154
+#: freeculture.xml:11225
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of "
-"copyright protection to last forever. I am informed by staff that such a "
-"change would violate the Constitution. I invite all of you to work with me "
-"to strengthen our copyright laws in all of the ways available to us. As you "
-"know, there is also Jack Valenti's proposal for a term to last forever less "
-"one day. Perhaps the Committee may look at that next Congress,</quote> 144 "
+"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> The full text is: "
+"<quote>Sonny [Bono] wanted the term of copyright protection to last "
+"forever. I am informed by staff that such a change would violate the "
+"Constitution. I invite all of you to work with me to strengthen our "
+"copyright laws in all of the ways available to us. As you know, there is "
+"also Jack Valenti's proposal for a term to last forever less one "
+"day. Perhaps the Committee may look at that next Congress,</quote> 144 "
"Cong. Rec. H9946, 9951-2 (October 7, 1998)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11149
+#: freeculture.xml:11220
msgid ""
"This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in "
"memory of the congressman and former musician Sonny Bono, who, his widow, "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11166
+#: freeculture.xml:11238
msgid "felony punishment for infringement of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11167
+#: freeculture.xml:11239
msgid "NET (No Electronic Theft) Act (1998)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11168
+#: freeculture.xml:11240
msgid "No Electronic Theft (NET) Act (1998)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11169
+#: freeculture.xml:11241
msgid "felony punishments for"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11171
+#: freeculture.xml:11243
msgid ""
"Eldred decided to fight this law. He first resolved to fight it through "
"civil disobedience. In a series of interviews, Eldred announced that he "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11180 freeculture.xml:12117
+#: freeculture.xml:11252 freeculture.xml:11464 freeculture.xml:12208
msgid "constitutional powers of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11183 freeculture.xml:11229
+#: freeculture.xml:11255 freeculture.xml:11301
msgid "Eldred case involvement of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11185
+#: freeculture.xml:11257
msgid ""
"It was here that I became involved in Eldred's battle. I was a "
"constitutional scholar whose first passion was constitutional "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:11196
+#: freeculture.xml:11268
msgid ""
"Congress has the power to promote the Progress of Science … by "
"securing for limited Times to Authors … exclusive Right to their "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11203
+#: freeculture.xml:11275
msgid ""
"As I've described, this clause is unique within the power-granting clause of "
"Article I, section 8 of our Constitution. Every other clause granting power "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11215 freeculture.xml:12711
+#: freeculture.xml:11287 freeculture.xml:12826
msgid "Jaszi, Peter"
msgstr ""
#. PAGE BREAK 223
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11217
+#: freeculture.xml:11289
msgid ""
"In the past forty years, Congress has gotten into the practice of extending "
"existing terms of copyright protection. What puzzled me about this was, if "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11231
+#: freeculture.xml:11303
msgid ""
"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 consideration "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11242
+#: freeculture.xml:11314
msgid ""
"For this is the core of the corruption in our present system of "
"government. <quote>Corruption</quote> not in the sense that representatives "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11251
+#: freeculture.xml:11323
msgid ""
"If that's not obvious to you, consider the following: Say you're one of the "
"very few lucky copyright owners whose copyright continues to make money one "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11261
+#: freeculture.xml:11333
msgid ""
"So imagine the Robert Frost estate is earning $100,000 a year from three of "
"Frost's poems. And imagine the copyright for those poems is about to "
#. PAGE BREAK 224
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11268
+#: freeculture.xml:11340
msgid ""
"<quote>Next year,</quote> the adviser announces, <quote>our copyrights in "
"works A, B, and C will expire. That means that after next year, we will no "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11276
+#: freeculture.xml:11348
msgid ""
"<quote>There's a proposal in Congress, however,</quote> she continues, "
"<quote>that could change this. A few congressmen are floating a bill to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11282
+#: freeculture.xml:11354
msgid ""
"<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing "
"something about it?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11286
+#: freeculture.xml:11358
msgid ""
"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could "
"contribute to the campaigns of a number of representatives to try to assure "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11291
+#: freeculture.xml:11363
msgid ""
"You hate politics. You hate contributing to campaigns. So you want to know "
"whether this disgusting practice is worth it. <quote>How much would we get "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11297
+#: freeculture.xml:11369
msgid ""
"<quote>Well,</quote> the adviser says, <quote>if you're confident that you "
"will continue to get at least $100,000 a year from these copyrights, and you "
-"use the `discount rate' that we use to evaluate estate investments (6 "
-"percent), then this law would be worth $1,146,000 to the estate.</quote>"
+"use the <quote>discount rate</quote> that we use to evaluate estate "
+"investments (6 percent), then this law would be worth $1,146,000 to the "
+"estate.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11303
+#: freeculture.xml:11375
msgid ""
"You're a bit shocked by the number, but you quickly come to the correct "
"conclusion:"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11307
+#: freeculture.xml:11379
msgid ""
"<quote>So you're saying it would be worth it for us to pay more than "
"$1,000,000 in campaign contributions if we were confident those "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11313
+#: freeculture.xml:11385
msgid ""
"<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to "
-"you to contribute up to the `present value' of the income you expect from "
-"these copyrights. Which for us means over $1,000,000.</quote>"
+"you to contribute up to the <quote>present value</quote> of the income you "
+"expect from these copyrights. Which for us means over $1,000,000.</quote>"
msgstr ""
#. PAGE BREAK 225
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11319
+#: freeculture.xml:11391
msgid ""
"You quickly get the point—you as the member of the board and, I trust, "
"you the reader. Each time copyrights are about to expire, every beneficiary "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11330
+#: freeculture.xml:11402
msgid ""
"Thus a congressional perpetual motion machine: So long as legislation can be "
"bought (albeit indirectly), there will be all the incentive in the world to "
#. f3.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11342
+#: freeculture.xml:11414
msgid ""
"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey "
"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> "
#. f4.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11349
+#: freeculture.xml:11421
msgid ""
"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information "
"Age,</quote> available at <ulink url=\"http://free-culture.cc/notes/\">link "
#. f5.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11357
+#: freeculture.xml:11429
msgid ""
"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> "
"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11335
+#: freeculture.xml:11407
msgid ""
"In the lobbying that led to the passage of the Sonny Bono Copyright Term "
"Extension Act, this <quote>theory</quote> about incentives was proved "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11364
+#: freeculture.xml:11436
msgid ""
"<emphasis role='strong'>Constitutional law</emphasis> is not oblivious to "
"the obvious. Or at least, it need not be. So when I was considering Eldred's "
#. PAGE BREAK 226
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11379
+#: freeculture.xml:11451
msgid ""
"It was also my judgment that <emphasis>this</emphasis> Supreme Court would "
"not allow Congress to extend existing terms. As anyone close to the Supreme "
"strike down a law that banned the possession of guns near schools."
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:11463 freeculture.xml:12365
+msgid "commerce, interstate"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:11465 freeculture.xml:12366
+msgid "interstate commerce"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11392
+#: freeculture.xml:11467
msgid ""
"Since 1937, the Supreme Court had interpreted Congress's granted powers very "
"broadly; so, while the Constitution grants Congress the power to regulate "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11402
+#: freeculture.xml:11477
msgid ""
"As the economy grew, this standard increasingly meant that there was no "
"limit to Congress's power to regulate, since just about every activity, when "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11408 freeculture.xml:12198
+#: freeculture.xml:11483 freeculture.xml:12291
msgid "Rehnquist, William H."
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:11484 freeculture.xml:11540 freeculture.xml:12294 freeculture.xml:12364 freeculture.xml:12558 freeculture.xml:12655 freeculture.xml:12725
+msgid "United States v. Lopez"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11410
+#: freeculture.xml:11486
msgid ""
"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The "
#. f6.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11425
+#: freeculture.xml:11501
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 "
"U.S. 549, 564 (1995)."
msgstr ""
-#. f7.
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:11509 freeculture.xml:12295
+msgid "United States v. Morrison"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11432
+#: freeculture.xml:11508
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
-"U.S. 598 (2000)."
+"U.S. 598 (2000). <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11423
+#: freeculture.xml:11499
msgid ""
"<quote>We pause to consider the implications of the government's "
"arguments,</quote> the Chief Justice wrote.<placeholder type=\"footnote\" "
#. f8.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11439
+#: freeculture.xml:11518
msgid ""
"If it is a principle about enumerated powers, then the principle carries "
"from one enumerated power to another. The animating point in the context of "
#. PAGE BREAK 227
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11436
+#: freeculture.xml:11515
msgid ""
"If a principle were at work here, then it should apply to the Progress "
"Clause as much as the Commerce Clause.<placeholder type=\"footnote\" "
"Congress is not allowed to extend the term of existing copyrights."
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:11539 freeculture.xml:12297
+msgid "Supreme Court restraint on"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11460
+#: freeculture.xml:11542
msgid ""
"<emphasis>If</emphasis>, that is, the principle announced in "
"<citetitle>Lopez</citetitle> stood for a principle. Many believed the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11477
+#: freeculture.xml:11560
msgid ""
"<emphasis role='strong'>Now let's pause</emphasis> for a moment to make sure "
"we understand what the argument in <citetitle>Eldred</citetitle> was not "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11494
+#: freeculture.xml:11577
msgid "Nashville Songwriters Association"
msgstr ""
#. f9.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11502
+#: freeculture.xml:11585
msgid ""
"Brief of the Nashville Songwriters Association, "
"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11496
+#: freeculture.xml:11579
msgid ""
"Some people view the public domain with contempt. In their brief before the "
"Supreme Court, the Nashville Songwriters Association wrote that the public "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11512
+#: freeculture.xml:11595
msgid ""
"As we've seen, our constitutional system requires limits on copyright as a "
"way to assure that copyright holders do not too heavily influence the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11524
+#: freeculture.xml:11609
msgid ""
"<emphasis role='strong'>It is valuable</emphasis> copyrights that are "
"responsible for terms being extended. Mickey Mouse and <quote>Rhapsody in "
#. f10.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11542
+#: freeculture.xml:11627
msgid ""
"The figure of 2 percent is an extrapolation from the study by the "
"Congressional Research Service, in light of the estimated renewal "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11536
+#: freeculture.xml:11621
msgid ""
"If you look at the work created in the first twenty years (1923 to 1942) "
"affected by the Sonny Bono Copyright Term Extension Act, 2 percent of that "
#. PAGE BREAK 229
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11551
+#: freeculture.xml:11637
msgid ""
"Think practically about the consequence of this extension—practically, "
"as a businessperson, and not as a lawyer eager for more legal work. In 1930, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11564
+#: freeculture.xml:11650
msgid ""
"Well, first, you'd have to determine which of the 9,873 books were still "
"under copyright. That requires going to a library (these data are not "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11572
+#: freeculture.xml:11658
msgid ""
"Then for the books still under copyright, you would need to locate the "
"current copyright owners. How would you do that?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11576
+#: freeculture.xml:11662
msgid ""
"Most people think that there must be a list of these copyright owners "
"somewhere. Practical people think this way. How could there be thousands and "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11583
+#: freeculture.xml:11669
msgid ""
"But there is no list. There may be a name from 1930, and then in 1959, of "
"the person who registered the copyright. But just think practically about "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11592
+#: freeculture.xml:11678
msgid ""
"<quote>But there isn't a list of who owns property generally,</quote> the "
"apologists for the system respond. <quote>Why should there be a list of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11597
+#: freeculture.xml:11683
msgid ""
"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty "
"of lists of who owns what property. Think about deeds on houses, or titles "
#. PAGE BREAK 230
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11606
+#: freeculture.xml:11692
msgid ""
"So: You walk down a street and see a house. You can know who owns the house "
"by looking it up in the courthouse registry. If you see a car, there is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11621
+#: freeculture.xml:11707
msgid ""
"Compare this story to intangible property. You go into a library. The "
"library owns the books. But who owns the copyrights? As I've already "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11633
+#: freeculture.xml:11719
msgid ""
"The consequence with respect to old books is that they won't be digitized, "
"and hence will simply rot away on shelves. But the consequence for other "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11638
+#: freeculture.xml:11724
msgid "Agee, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11639 freeculture.xml:12074
+#: freeculture.xml:11725 freeculture.xml:12164
msgid "Hal Roach Studios"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11640
+#: freeculture.xml:11726
msgid "Laurel and Hardy Films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11641
+#: freeculture.xml:11727
msgid "Lucky Dog, The"
msgstr ""
#. f11.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11654
+#: freeculture.xml:11740
msgid ""
"See David G. Savage, <quote>High Court Scene of Showdown on Copyright "
"Law,</quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11643
+#: freeculture.xml:11729
msgid ""
"Consider the story of Michael Agee, chairman of Hal Roach Studios, which "
"owns the copyrights for the Laurel and Hardy films. Agee is a direct "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11661
+#: freeculture.xml:11747
msgid ""
"Yet Agee opposed the CTEA. His reasons demonstrate a rare virtue in this "
"culture: selflessness. He argued in a brief before the Supreme Court that "
#. PAGE BREAK 231
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11667
+#: freeculture.xml:11753
msgid ""
"His argument is straightforward. A tiny fraction of this work has any "
"continuing commercial value. The rest—to the extent it survives at "
#. f12.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11685
+#: freeculture.xml:11771
msgid ""
"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
"Petitoners, <citetitle>Eldred</citetitle> "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11678
+#: freeculture.xml:11764
msgid ""
"We can't know the benefits, but we do know a lot about the costs. For most "
"of the history of film, the costs of restoring film were very high; digital "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11695
+#: freeculture.xml:11781
msgid ""
"Restoration technology is not the only cost, nor the most important. "
"Lawyers, too, are a cost, and increasingly, a very important one. In "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11703
+#: freeculture.xml:11789
msgid ""
"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't "
"only a single copyright associated with a film; there are many. There isn't "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11711
+#: freeculture.xml:11797
msgid ""
"<quote>But can't you just restore the film, distribute it, and then pay the "
"copyright owner when she shows up?</quote> Sure, if you want to commit a "
#. PAGE BREAK 232
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11722
+#: freeculture.xml:11808
msgid ""
"For some films, the benefit of releasing the film may well exceed these "
"costs. But for the vast majority of them, there is no way the benefit would "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11733
+#: freeculture.xml:11819
msgid ""
"But by the time the copyright for these films expires, the film will have "
"expired. These films were produced on nitrate-based stock, and nitrate stock "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11741
+#: freeculture.xml:11827
msgid ""
"<emphasis role='strong'>Of all the</emphasis> creative work produced by "
"humans anywhere, a tiny fraction has continuing commercial value. For that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11749
+#: freeculture.xml:11835
msgid ""
"But even for that tiny fraction, the actual time during which the creative "
"work has a commercial life is extremely short. As I've indicated, most books "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11759
+#: freeculture.xml:11845
msgid ""
"Yet that doesn't mean the life of the creative work ends. We don't keep "
"libraries of books in order to compete with Barnes & Noble, and we don't "
#. PAGE BREAK 233
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11772
+#: freeculture.xml:11858
msgid ""
"Copyrights in this context do not drive an engine of free expression. In "
"this context, there is no need for an exclusive right. Copyrights in this "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11779
+#: freeculture.xml:11865
msgid ""
"Yet, for most of our history, they also did little harm. For most of our "
"history, when a work ended its commercial life, there was no "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11790
+#: freeculture.xml:11876
msgid ""
"The same was effectively true of film. Because the costs of restoring a "
"film—the real economic costs, not the lawyer costs—were so high, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11799
+#: freeculture.xml:11885
msgid ""
"In other words, though copyright has been relatively short for most of our "
"history, long copyrights wouldn't have mattered for the works that lost "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11805
+#: freeculture.xml:11891
msgid "But this situation has now changed."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11809
+#: freeculture.xml:11896
msgid ""
"One crucially important consequence of the emergence of digital technologies "
"is to enable the archive that Brewster Kahle dreams of. Digital "
#. PAGE BREAK 234
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11822
+#: freeculture.xml:11909
msgid ""
"And now copyright law does get in the way. Every step of producing this "
"digital archive of our culture infringes on the exclusive right of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11832
+#: freeculture.xml:11919
msgid ""
"Here is the core of the harm that comes from extending terms: Now that "
"technology enables us to rebuild the library of Alexandria, the law gets in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11843
+#: freeculture.xml:11930
msgid ""
"You may well ask, <quote>But if digital technologies lower the costs for "
"Brewster Kahle, then they will lower the costs for Random House, too. So "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11849
+#: freeculture.xml:11937
msgid ""
"Maybe. Someday. But there is absolutely no evidence to suggest that "
"publishers would be as complete as libraries. If Barnes & Noble offered "
#. f13.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11873
+#: freeculture.xml:11961
msgid ""
-"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> "
-"20 December 2002, available at <ulink "
+"Jason Schultz, <quote>The Myth of the 1976 Copyright <quote>Chaos</quote> "
+"
Theory,</quote> 20 December 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #54</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11861
+#: freeculture.xml:11949
msgid ""
"I would be the first to agree that it should do as much as it can: We should "
"rely upon the market as much as possible to spread and enable culture. My "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11880
+#: freeculture.xml:11968
msgid ""
"<emphasis role='strong'>In January 1999</emphasis>, we filed a lawsuit on "
"Eric Eldred's behalf in federal district court in Washington, D.C., asking "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11889
+#: freeculture.xml:11977
msgid ""
"The district court dismissed our claims without even hearing an argument. A "
"panel of the Court of Appeals for the D.C. Circuit also dismissed our "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11896
+#: freeculture.xml:11984
msgid ""
"Judge David Sentelle said the CTEA violated the requirement that copyrights "
"be for <quote>limited Times</quote> only. His argument was as elegant as it "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11907
+#: freeculture.xml:11995
msgid ""
"We asked the Court of Appeals for the D.C. Circuit as a whole to hear the "
"case. Cases are ordinarily heard in panels of three, except for important "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11912
+#: freeculture.xml:12000
msgid "Tatel, David"
msgstr ""
#. PAGE BREAK 236
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11914
+#: freeculture.xml:12002
msgid ""
"The Court of Appeals rejected our request to hear the case en banc. This "
"time, Judge Sentelle was joined by the most liberal member of the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11923
+#: freeculture.xml:12011
msgid ""
"It was here that most expected Eldred v. Ashcroft would die, for the Supreme "
"Court rarely reviews any decision by a court of appeals. (It hears about one "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11930
+#: freeculture.xml:12018
msgid ""
"But in February 2002, the Supreme Court surprised the world by granting our "
"petition to review the D.C. Circuit opinion. Argument was set for October of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11936
+#: freeculture.xml:12024
msgid ""
"<emphasis role='strong'>It is over</emphasis> a year later as I write these "
"words. It is still astonishingly hard. If you know anything at all about "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11947
+#: freeculture.xml:12035
msgid ""
"But my client and these friends were wrong. This case could have been "
"won. It should have been won. And no matter how hard I try to retell this "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11952 freeculture.xml:11966
+#: freeculture.xml:12040 freeculture.xml:12055
msgid "Steward, Geoffrey"
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:12041 freeculture.xml:12192 freeculture.xml:12439
+msgid "Jones, Day, Reavis and Pogue (Jones Day)"
+msgstr ""
+
#. PAGE BREAK 237
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11954
+#: freeculture.xml:12043
msgid ""
"<emphasis role='strong'>The mistake</emphasis> was made early, though it "
"became obvious only at the very end. Our case had been supported from the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11964 freeculture.xml:12327 freeculture.xml:12343 freeculture.xml:12440 freeculture.xml:12660 freeculture.xml:12691 freeculture.xml:12790
+#: freeculture.xml:12053 freeculture.xml:12436 freeculture.xml:12453 freeculture.xml:12550 freeculture.xml:12775 freeculture.xml:12806 freeculture.xml:12905
msgid "Ayer, Don"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11965
+#: freeculture.xml:12054
msgid "Bromberg, Dan"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11968
+#: freeculture.xml:12057
msgid ""
"There were three key lawyers on the case from Jones Day. Geoff Stewart was "
"the first, but then Dan Bromberg and Don Ayer became quite "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11978
+#: freeculture.xml:12068
msgid ""
"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 think it "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11999
+#: freeculture.xml:12089
msgid ""
"In any case, I thought, the Court must already see the danger and the harm "
"caused by this sort of law. Why else would they grant review? There was no "
#. PAGE BREAK 238
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12007
+#: freeculture.xml:12097
msgid ""
"There was one way, however, in which I felt politics would matter and in "
"which I thought a response was appropriate. I was convinced that the Court "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12025 freeculture.xml:12052
+#: freeculture.xml:12115 freeculture.xml:12142
msgid "Eagle Forum"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12026
+#: freeculture.xml:12116
msgid "Schlafly, Phyllis"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12028
+#: freeculture.xml:12118
msgid ""
"The first step happened all by itself. Phyllis Schlafly's organization, "
"Eagle Forum, had been an opponent of the CTEA from the very beginning. "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12042
+#: freeculture.xml:12132
msgid ""
"In the Court of Appeals, Eagle Forum was eager to file a brief supporting "
"our position. Their brief made the argument that became the core claim in "
#. PAGE BREAK 239
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12054
+#: freeculture.xml:12144
msgid ""
"In the Supreme Court, the briefs on our side were about as diverse as it "
"gets. They included an extraordinary historical brief by the Free Software "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12066
+#: freeculture.xml:12156
msgid "American Association of Law Libraries"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12067
+#: freeculture.xml:12157
msgid "National Writers Union"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12069
+#: freeculture.xml:12159
msgid ""
"Those briefs framed a legal argument. Then to support the legal argument, "
"there were a number of powerful briefs by libraries and archives, including "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12076
+#: freeculture.xml:12166
msgid ""
"But two briefs captured the policy argument best. One made the argument I've "
"already described: A brief by Hal Roach Studios argued that unless the law "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12082
+#: freeculture.xml:12172
msgid "Akerlof, George"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12083
+#: freeculture.xml:12173
msgid "Arrow, Kenneth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12084
+#: freeculture.xml:12174
msgid "Buchanan, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12085
+#: freeculture.xml:12175
msgid "Coase, Ronald"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12086
+#: freeculture.xml:12176
msgid "Friedman, Milton"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12088
+#: freeculture.xml:12178
msgid ""
"This economists' brief was signed by seventeen economists, including five "
"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12098 freeculture.xml:12116 freeculture.xml:12329 freeculture.xml:12692
+#: freeculture.xml:12188 freeculture.xml:12207 freeculture.xml:12438 freeculture.xml:12807
msgid "Fried, Charles"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12099
+#: freeculture.xml:12189
msgid "Morrison, Alan"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12100
+#: freeculture.xml:12190
msgid "Public Citizen"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:12101 freeculture.xml:12328 freeculture.xml:13478
+#: freeculture.xml:12191 freeculture.xml:12437 freeculture.xml:13596
msgid "Reagan, Ronald"
msgstr ""
#. PAGE BREAK 240
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12103
+#: freeculture.xml:12194
msgid ""
"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 us from "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:12118
+#: freeculture.xml:12209
msgid "Commerce Clause of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12120
+#: freeculture.xml:12211
msgid ""
"Fried was a special victory for our side. Every other former solicitor "
"general was hired by the other side to defend Congress's power to give media "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12132
+#: freeculture.xml:12223
msgid ""
"The government, in defending the statute, had its collection of friends, as "
"well. Significantly, however, none of these <quote>friends</quote> included "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12139
+#: freeculture.xml:12230
msgid ""
"The media companies were not surprising. They had the most to gain from the "
"law. The congressmen were not surprising either—they were defending "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12147
+#: freeculture.xml:12238
msgid "Gershwin, George"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12148
+#: freeculture.xml:12239
msgid "Porgy and Bess"
msgstr ""
#. f14.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:12158
+#: freeculture.xml:12249
msgid ""
"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> "
"v. <citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19."
#. f15.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:12166
+#: freeculture.xml:12257
msgid ""
"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse "
"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March "
#. PAGE BREAK 241
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12151
+#: freeculture.xml:12242
msgid ""
"Dr. Seuss's representatives, for example, argued that it was better for the "
"Dr. Seuss estate to control what happened to Dr. Seuss's work— better "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12175
+#: freeculture.xml:12266
msgid ""
"This argument made clear a theme that is rarely noticed in this debate. "
"When Congress decides to extend the term of existing copyrights, Congress is "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12187
+#: freeculture.xml:12278
msgid ""
"We argued as much in a final brief. Not only would upholding the CTEA mean "
"that there was no limit to the power of Congress to extend "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12194
+#: freeculture.xml:12285
msgid ""
"<emphasis role='strong'>Between February</emphasis> and October, there was "
"little I did beyond preparing for this case. Early on, as I said, I set the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12199 freeculture.xml:12385
+#: freeculture.xml:12289
+msgid "Kennedy, Anthony"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:12290 freeculture.xml:12292 freeculture.xml:12495
msgid "O'Connor, Sandra Day"
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:12293
+msgid "Thomas, Clarence"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:12296
+msgid "Scalia, Antonin"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:12298
+msgid "congressional actions restrained by"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:12299
+msgid "factions of"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12201
+#: freeculture.xml:12301
msgid ""
"The Supreme Court was divided into two important camps. One camp we called "
"<quote>the Conservatives.</quote> The other we called <quote>the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12210 freeculture.xml:12235 freeculture.xml:12587 freeculture.xml:12599
+#: freeculture.xml:12310 freeculture.xml:12335 freeculture.xml:12700 freeculture.xml:12712
msgid "Breyer, Stephen"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12211 freeculture.xml:12551
+#: freeculture.xml:12311 freeculture.xml:12663
msgid "Ginsburg, Ruth Bader"
msgstr ""
#. PAGE BREAK 242
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12213
+#: freeculture.xml:12313
msgid ""
"The Rest were the four Justices who had strongly opposed limits on "
"Congress's power. These four—Justice Stevens, Justice Souter, Justice "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12225
+#: freeculture.xml:12325
msgid ""
"In particular, the least likely was Justice Ginsburg's. In addition to her "
"general view about deference to Congress (except where issues of gender are "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12237
+#: freeculture.xml:12337
msgid ""
"Close behind Justice Ginsburg were two justices whom we also viewed as "
"unlikely allies, though possible surprises. Justice Souter strongly favored "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12246
+#: freeculture.xml:12347
msgid ""
"The only vote we could be confident about was that of Justice "
"Stevens. History will record Justice Stevens as one of the greatest judges "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12254
+#: freeculture.xml:12355
msgid ""
"This analysis of <quote>the Rest</quote> showed most clearly where our focus "
"had to be: on the Conservatives. To win this case, we had to crack open "
#. PAGE BREAK 243
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12264
+#: freeculture.xml:12372
msgid ""
"This then was the core of our strategy—a strategy for which I am "
"responsible. We would get the Court to see that just as with the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12278
+#: freeculture.xml:12386
msgid ""
"<emphasis role='strong'>The argument</emphasis> on the government's side "
"came down to this: Congress has done it before. It should be allowed to do "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12286
+#: freeculture.xml:12395
msgid ""
"There was some truth to the government's claim, but not much. We certainly "
"agreed that Congress had extended existing terms in 1831 and in 1909. And of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12293
+#: freeculture.xml:12402
msgid ""
"But this <quote>consistency</quote> should be kept in perspective. Congress "
"extended existing terms once in the first hundred years of the Republic. It "
#. PAGE BREAK 244
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12308
+#: freeculture.xml:12417
msgid ""
"<emphasis role='strong'>Oral argument</emphasis> was scheduled for the first "
"week in October. I arrived in D.C. two weeks before the argument. During "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12318
+#: freeculture.xml:12427
msgid ""
"I was convinced that to win, I had to keep the Court focused on a single "
"point: that if this extension is permitted, then there is no limit to the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12331
+#: freeculture.xml:12441
msgid ""
"One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He "
"had served in the Reagan Justice Department with Solicitor General Charles "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12337
+#: freeculture.xml:12447
msgid ""
"<quote>I'm just afraid that unless they really see the harm, they won't be "
"willing to upset this practice that the government says has been a "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12345
+#: freeculture.xml:12455
msgid ""
"He may have argued many cases before this Court, I thought, but he didn't "
"understand its soul. As a clerk, I had seen the Justices do the right "
#. PAGE BREAK 245
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12355
+#: freeculture.xml:12465
msgid ""
"<emphasis role='strong'>The night before</emphasis> the argument, a line of "
"people began to form in front of the Supreme Court. The case had become a "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12365
+#: freeculture.xml:12475
msgid ""
"Not everyone has to wait in line. People who know the Justices can ask for "
"seats they control. (I asked Justice Scalia's chambers for seats for my "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12380
+#: freeculture.xml:12490
msgid ""
"When the Chief Justice called me to begin my argument, I began where I "
"intended to stay: on the question of the limits on Congress's power. This "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12387
+#: freeculture.xml:12497
msgid ""
"Justice O'Connor stopped me within one minute of my opening. The history "
"was bothering her."
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12392
+#: freeculture.xml:12502
msgid ""
"justice o'connor: Congress has extended the term so often through the years, "
"and if you are right, don't we run the risk of upsetting previous extensions "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12399
+#: freeculture.xml:12509
msgid ""
"She was quite willing to concede <quote>that this flies directly in the face "
"of what the framers had in mind.</quote> But my response again and again was "
#. PAGE BREAK 246
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12405
+#: freeculture.xml:12515
msgid ""
"mr. lessig: Well, if it flies in the face of what the framers had in mind, "
"then the question is, is there a way of interpreting their words that gives "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12413
+#: freeculture.xml:12523
msgid ""
"There were two points in this argument when I should have seen where the "
"Court was going. The first was a question by Justice Kennedy, who observed,"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12419
+#: freeculture.xml:12529
msgid ""
"justice kennedy: Well, I suppose implicit in the argument that the '76 act, "
"too, should have been declared void, and that we might leave it alone "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12427
+#: freeculture.xml:12537
msgid ""
"Here follows my clear mistake. Like a professor correcting a student, I "
"answered,"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12433
+#: freeculture.xml:12543
msgid ""
"mr. lessig: Justice, we are not making an empirical claim at all. Nothing "
"in our Copyright Clause claim hangs upon the empirical assertion about "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12442
+#: freeculture.xml:12552
msgid ""
"That was a correct answer, but it wasn't the right answer. The right answer "
"was instead that there was an obvious and profound harm. Any number of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12449
+#: freeculture.xml:12560
msgid ""
"The second came from the Chief, for whom the whole case had been "
"crafted. For the Chief Justice had crafted the <citetitle>Lopez</citetitle> "
#. PAGE BREAK 247
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12454
+#: freeculture.xml:12565
msgid ""
"It was clear a second into his question that he wasn't at all sympathetic. "
"To him, we were a bunch of anarchists. As he asked:"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12461
+#: freeculture.xml:12572
msgid ""
"chief justice: Well, but you want more than that. You want the right to copy "
"verbatim other people's books, don't you?"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12465
+#: freeculture.xml:12576
msgid ""
"mr. lessig: We want the right to copy verbatim works that should be in the "
"public domain and would be in the public domain but for a statute that "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12473
+#: freeculture.xml:12584
msgid "Olson, Theodore B."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12475
+#: freeculture.xml:12586
msgid ""
"Things went better for us when the government gave its argument; for now the "
"Court picked up on the core of our claim. As Justice Scalia asked Solicitor "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12481
+#: freeculture.xml:12592
msgid ""
"justice scalia: You say that the functional equivalent of an unlimited time "
"would be a violation [of the Constitution], but that's precisely the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12489
+#: freeculture.xml:12600
msgid ""
"When Olson was finished, it was my turn to give a closing rebuttal. Olson's "
"flailing had revived my anger. But my anger still was directed to the "
#. PAGE BREAK 248
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12502
+#: freeculture.xml:12613
msgid ""
"<emphasis role='strong'>As I left</emphasis> the court that day, I knew "
"there were a hundred points I wished I could remake. There were a hundred "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12511
+#: freeculture.xml:12622
msgid ""
"The government had been asked over and over again, what is the limit? Over "
"and over again, it had answered there is no limit. This was precisely the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12526
+#: freeculture.xml:12637
msgid ""
"<emphasis role='strong'>The morning</emphasis> of January 15, 2003, I was "
"five minutes late to the office and missed the 7:00 A.M. call from the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12534
+#: freeculture.xml:12645
msgid ""
"A few seconds later, the opinions arrived by e-mail. I took the phone off "
"the hook, posted an announcement to our blog, and sat down to see where I "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12539
+#: freeculture.xml:12650
msgid ""
"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money "
"in the world against <emphasis>reasoning</emphasis>. And here was the last "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12545
+#: freeculture.xml:12657
msgid ""
"I first scoured the opinion, looking for how the Court would distinguish the "
"principle in this case from the principle in "
#. PAGE BREAK 249
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12555
+#: freeculture.xml:12667
msgid ""
"Justice Ginsburg simply ignored the enumerated powers argument. Consistent "
"with her view that Congress's power was not limited generally, she had found "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12560
+#: freeculture.xml:12672
msgid ""
"Her opinion was perfectly reasonable—for her, and for Justice "
"Souter. Neither believes in <citetitle>Lopez</citetitle>. It would be too "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12566
+#: freeculture.xml:12678
msgid ""
"But as I realized what had happened, I couldn't quite believe what I was "
"reading. I had said there was no way this Court could reconcile limited "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12577
+#: freeculture.xml:12690
msgid ""
"Yet by what right did they get to choose which of the framers' values they "
"would respect? By what right did they—the silent five—get to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12589
+#: freeculture.xml:12702
msgid ""
"Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion "
"was crafted internal to the law: He argued that the tradition of "
#. PAGE BREAK 250
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12602
+#: freeculture.xml:12715
msgid ""
"Justice Breyer's opinion, perhaps the best opinion he has ever written, was "
"external to the Constitution. He argued that the term of copyrights has "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12613
+#: freeculture.xml:12727
msgid ""
"These two justices understood all the arguments we had made. But because "
"neither believed in the <citetitle>Lopez</citetitle> case, neither was "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12620
+#: freeculture.xml:12734
msgid ""
"<emphasis role='strong'>Defeat brings depression</emphasis>. They say it is "
"a sign of health when depression gives way to anger. My anger came quickly, "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12625
+#: freeculture.xml:12739
msgid "originalism"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12627
+#: freeculture.xml:12741
msgid ""
"It was first anger with the five <quote>Conservatives.</quote> It would have "
"been one thing for them to have explained why the principle of "
#. PAGE BREAK 251
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12640
+#: freeculture.xml:12755
msgid ""
"Here, they had joined an opinion that never once tried to explain what the "
"framers had meant by crafting the Progress Clause as they did; they joined "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12655
+#: freeculture.xml:12770
msgid ""
"My anger with the Conservatives quickly yielded to anger with myself. For I "
"had let a view of the law that I liked interfere with a view of the law as "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12662
+#: freeculture.xml:12777
msgid ""
"Most lawyers, and most law professors, have little patience for idealism "
"about courts in general and this Supreme Court in particular. Most have a "
#. PAGE BREAK 252
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12673
+#: freeculture.xml:12788
msgid ""
"As I read back over the transcript from that argument in October, I can see "
"a hundred places where the answers could have taken the conversation in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12694
+#: freeculture.xml:12809
msgid ""
"Would it have been different if I had argued it differently? Would it have "
"been different if Don Ayer had argued it? Or Charles Fried? Or Kathleen "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12699
+#: freeculture.xml:12814
msgid ""
"My friends huddled around me to insist it would not. The Court was not "
"ready, my friends insisted. This was a loss that was destined. It would take "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12705
+#: freeculture.xml:12820
msgid ""
"Maybe, but I doubt it. These Justices have no financial interest in doing "
"anything except the right thing. They are not lobbied. They have little "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12713
+#: freeculture.xml:12828
msgid ""
"And even if I couldn't, then that doesn't excuse what happened in "
"January. For at the start of this case, one of America's leading "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12720
+#: freeculture.xml:12835
msgid ""
"After the argument and after the decision, Peter said to me, and publicly, "
"that he was wrong. But if indeed that Court could not have been persuaded, "
#. PAGE BREAK 253
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12729
+#: freeculture.xml:12844
msgid ""
"<emphasis role='strong'>While the reaction</emphasis> to the Sonny Bono Act "
"itself was almost unanimously negative, the reaction to the Court's decision "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:12744
+#: freeculture.xml:12859
msgid ""
"In effect, the Supreme Court's decision makes it likely that we are seeing "
"the beginning of the end of public domain and the birth of copyright "
msgstr ""
#. type: Content of: <book><part><chapter><figure><indexterm><primary>
-#: freeculture.xml:12759 freeculture.xml:12764
+#: freeculture.xml:12874 freeculture.xml:12879
msgid "Bolling, Ruben"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12753
+#: freeculture.xml:12868
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><figure>
-#: freeculture.xml:12763
+#: freeculture.xml:12878
msgid ""
"<graphic fileref=\"images/tom-the-dancing-bug.png\" align=\"center\" "
"width=\"100%\"></graphic> <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12767
+#: freeculture.xml:12882
msgid ""
"The image that will always stick in my head is that evoked by the quote from "
"<citetitle>The New York Times</citetitle>. That <quote>grand "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:12778
+#: freeculture.xml:12893
msgid "Chapter Fourteen: Eldred II"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12780
+#: freeculture.xml:12895
msgid ""
"<emphasis role='strong'>The day</emphasis> <citetitle>Eldred</citetitle> was "
"decided, fate would have it that I was to travel to Washington, D.C. (The "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12792
+#: freeculture.xml:12907
msgid ""
"It was an act of contrition. During the whole of the flight from San "
"Francisco to Washington, I had heard over and over again in my head the same "
#. PAGE BREAK 256
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12802
+#: freeculture.xml:12917
msgid ""
"<citetitle>The New York Times</citetitle> published the piece. In it, I "
"proposed a simple fix: Fifty years after a work has been published, the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12810
+#: freeculture.xml:12925
msgid ""
"We called this the Eldred Act, but that was just to give it a name. Eric "
"Eldred was kind enough to let his name be used once again, but as he said "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12815
+#: freeculture.xml:12930
msgid ""
"Or another two names. For depending upon your perspective, this is either "
"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12823 freeculture.xml:13024
+#: freeculture.xml:12938 freeculture.xml:13141
msgid "Forbes, Steve"
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:12939
+msgid "Democratic Party"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><indexterm><primary>
+#: freeculture.xml:12940
+msgid "Republican Party"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12825
+#: freeculture.xml:12942
msgid ""
"The reaction to this idea was amazingly strong. Steve Forbes endorsed it in "
"an editorial. I received an avalanche of e-mail and letters expressing "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12837
+#: freeculture.xml:12954
msgid ""
"Indeed, many recognized the obvious benefit of the registration "
"requirement. For one of the hardest things about the current system for "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12847
+#: freeculture.xml:12964
msgid "Berlin Act (1908)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12848 freeculture.xml:12889
+#: freeculture.xml:12965 freeculture.xml:13006
msgid "Berne Convention (1908)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:12856
+#: freeculture.xml:12973
msgid "German copyright law"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:12856
+#: freeculture.xml:12973
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> Until the 1908 Berlin Act of the "
"Berne Convention, national copyright legislation sometimes made protection "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12851
+#: freeculture.xml:12968
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, formalities in copyright law were removed in 1976, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12883
+#: freeculture.xml:13000
msgid ""
"That's great rhetoric. It sounds wonderfully romantic. But it is absurd "
"copyright policy. It is absurd especially for authors, because a world "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12891
+#: freeculture.xml:13008
msgid ""
"The fight against formalities achieved its first real victory in Berlin in "
"1908. International copyright lawyers amended the Berne Convention in 1908, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12901
+#: freeculture.xml:13018
msgid ""
"These complaints were real and sensible. And the strictness of the "
"formalities, especially in the United States, was absurd. The law should "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12909
+#: freeculture.xml:13026
msgid ""
"Even that would have been resisted, however, because registration in the "
"nineteenth and twentieth centuries was still expensive. It was also a "
#. PAGE BREAK 258
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12917
+#: freeculture.xml:13034
msgid ""
"In addition to the practical complaint of authors in 1908, there was a moral "
"claim as well. There was no reason that creative property should be a "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12929
+#: freeculture.xml:13046
msgid ""
"This argument is correct, but its implications are misleading. For the "
"argument in favor of formalities does not depend upon creative property "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12938
+#: freeculture.xml:13055
msgid ""
"No one thinks, for example, that land is second-class property just because "
"you have to register a deed with a court if your sale of land is to be "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12954
+#: freeculture.xml:13071
msgid ""
"It is similarly special physics that makes formalities important in "
"copyright law. Unlike a carpenter's table, there's nothing in nature that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12969
+#: freeculture.xml:13086
msgid ""
"This was the understanding of the problem with the Sonny Bono Act that we "
"tried to demonstrate to the Court. This was the part it didn't "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12979
+#: freeculture.xml:13096
msgid ""
"But now that copyrights can be just about a century long, the inability to "
"know what is protected and what is not protected becomes a huge and obvious "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12988
+#: freeculture.xml:13105
msgid ""
"The Eldred Act was designed to respond to exactly this problem. If it is "
"worth $1 to you, then register your work and you can get the longer "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12995
+#: freeculture.xml:13112
msgid ""
"If it isn't worth it to you to register to get the benefit of an extended "
"term, then it shouldn't be worth it for the government to defend your "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13002
+#: freeculture.xml:13119
msgid ""
"Some worry about the burden on authors. Won't the burden of registering the "
"work mean that the $1 is really misleading? Isn't the hassle worth more than "
#. PAGE BREAK 260
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13008
+#: freeculture.xml:13125
msgid ""
"It is. The hassle is terrible. The system that exists now is awful. I "
"completely agree that the Copyright Office has done a terrible job (no doubt "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13026
+#: freeculture.xml:13143
msgid ""
"<emphasis role='strong'>When Steve Forbes</emphasis> endorsed the idea, some "
"in Washington began to pay attention. Many people contacted me pointing to "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:13032
+#: freeculture.xml:13149
msgid "Lofgren, Zoe"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13034
+#: freeculture.xml:13151
msgid ""
"One representative, Zoe Lofgren of California, went so far as to get the "
"bill drafted. The draft solved any problem with international law. It "
"reaction in the blog community that something good might happen here."
msgstr ""
+#. type: Content of: <book><part><chapter><indexterm><secondary>
+#: freeculture.xml:13159
+msgid "Eldred Act opposed by"
+msgstr ""
+
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13043
+#: freeculture.xml:13161
msgid ""
"But at this stage, the lobbyists began to intervene. Jack Valenti and the "
"MPAA general counsel came to the congresswoman's office to give the view of "
#. PAGE BREAK 261
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13051
+#: freeculture.xml:13169
msgid ""
"The MPAA argued first that Congress had <quote>firmly rejected the central "
"concept in the proposed bill</quote>—that copyrights be renewed. That "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13072
+#: freeculture.xml:13190
msgid ""
"Finally, the MPAA argued that existing law enabled copyright owners to do "
"this if they wanted. But the whole point is that there are thousands of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13080
+#: freeculture.xml:13198
msgid ""
"<emphasis role='strong'>At the beginning</emphasis> of this book, I told two "
"stories about the law reacting to changes in technology. In the one, common "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13090
+#: freeculture.xml:13208
msgid ""
"I used these two cases as a way to frame the war that this book has been "
"about. For here, too, a new technology is forcing the law to react. And "
#. PAGE BREAK 262
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13099
+#: freeculture.xml:13217
msgid ""
"When the issue is piracy, it is right for the law to back the copyright "
"owners. The commercial piracy that I described is wrong and harmful, and the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:13109
+#: freeculture.xml:13227
msgid "Kelly, Kevin"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13111
+#: freeculture.xml:13229
msgid ""
"But when the copyright owners oppose a proposal such as the Eldred Act, "
"then, finally, there is an example that lays bare the naked selfinterest "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13121
+#: freeculture.xml:13239
msgid "What does this industry really want?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13124
+#: freeculture.xml:13242
msgid ""
"With very little effort, the warriors could protect their content. So the "
"effort to block something like the Eldred Act is not really about protecting "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13135
+#: freeculture.xml:13253
msgid ""
"The opposition to the Eldred Act reveals how extreme the other side is. The "
"most powerful and sexy and well loved of lobbies really has as its aim not "
#. PAGE BREAK 263
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13143
+#: freeculture.xml:13261
msgid ""
"It is not hard to understand why the warriors take this view. It is not hard "
"to see why it would benefit them if the competition of the public domain "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13155
+#: freeculture.xml:13273
msgid ""
"What is hard to understand is why the public takes this view. It is as if "
"the law made airplanes trespassers. The MPAA stands with the Causbys and "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13162
+#: freeculture.xml:13280
msgid ""
"All this seems to follow easily from this untroubled acceptance of the "
"<quote>property</quote> in intellectual property. Common sense supports it, "
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:13174
+#: freeculture.xml:13292
msgid "Conclusion"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13175
+#: freeculture.xml:13293
msgid "Africa, medications for HIV patients in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13176
+#: freeculture.xml:13294
msgid "AIDS medications"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13177
+#: freeculture.xml:13295
msgid "antiretroviral drugs"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13178
+#: freeculture.xml:13296
msgid "developing countries, foreign patent costs in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13179 freeculture.xml:13692
+#: freeculture.xml:13297 freeculture.xml:13811
msgid "drugs"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13179 freeculture.xml:13692
+#: freeculture.xml:13297 freeculture.xml:13811
msgid "pharmaceutical"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13180
+#: freeculture.xml:13298
msgid "HIV/AIDS therapies"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13182
+#: freeculture.xml:13300
msgid ""
"<emphasis role='strong'>There are more</emphasis> than 35 million people "
"with the AIDS virus worldwide. Twenty-five million of them live in "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13189
+#: freeculture.xml:13307
msgid ""
"There is no cure for AIDS, but there are drugs to slow its progression. "
"These antiretroviral therapies are still experimental, but they have already "
#. f1.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13204
+#: freeculture.xml:13322
msgid ""
"Commission on Intellectual Property Rights, <quote>Final Report: Integrating "
"Intellectual Property Rights and Development Policy</quote> (London, 2002), "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13197
+#: freeculture.xml:13315
msgid ""
"These drugs are expensive. When they were first introduced in the United "
"States, they cost between $10,000 and $15,000 per person per year. Today, "
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13213 freeculture.xml:13694
+#: freeculture.xml:13331 freeculture.xml:13813
msgid "on pharmaceuticals"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13214
+#: freeculture.xml:13332
msgid "pharmaceutical patents"
msgstr ""
#. PAGE BREAK 265
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13217
+#: freeculture.xml:13335
msgid ""
"These prices are not high because the ingredients of the drugs are "
"expensive. These prices are high because the drugs are protected by "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13225
+#: freeculture.xml:13343
msgid ""
"There are many who are skeptical of patents, especially drug patents. I am "
"not. Indeed, of all the areas of research that might be supported by "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13236
+#: freeculture.xml:13354
msgid ""
"But it is one thing to support patents, even drug patents. It is another "
"thing to determine how best to deal with a crisis. And as African leaders "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13242
+#: freeculture.xml:13360
msgid "international law"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13243
+#: freeculture.xml:13361
msgid "parallel importation"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13244
+#: freeculture.xml:13362
msgid "South Africa, Republic of, pharmaceutical imports by"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13257 freeculture.xml:13750
+#: freeculture.xml:13375 freeculture.xml:13869
msgid "Braithwaite, John"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13255
+#: freeculture.xml:13373
msgid ""
"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: "
"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13246
+#: freeculture.xml:13364
msgid ""
"In 1997, South Africa tried one tack. It passed a law to allow the "
"importation of patented medicines that had been produced or sold in another "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13261
+#: freeculture.xml:13379
msgid "United States Trade Representative (USTR)"
msgstr ""
#. f3.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13269
+#: freeculture.xml:13387
msgid ""
"International Intellectual Property Institute (IIPI), <citetitle>Patent "
"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
#. f4.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13296
+#: freeculture.xml:13414
msgid ""
"International Intellectual Property Institute (IIPI), <citetitle>Patent "
"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13263
+#: freeculture.xml:13381
msgid ""
"However, the United States government opposed the bill. Indeed, more than "
"opposed. As the International Intellectual Property Association "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13303
+#: freeculture.xml:13421
msgid ""
"We should place the intervention by the United States in context. No doubt "
"patents are not the most important reason that Africans don't have access to "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13313
+#: freeculture.xml:13431
msgid ""
"By stopping the flow of HIV treatment into Africa, the United States "
"government was not saving drugs for United States citizens. This is not "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13321
+#: freeculture.xml:13439
msgid ""
"Nor was the intervention by the United States going to protect the profits "
"of United States drug companies—at least, not substantially. It was "
#. f5.
#. PAGE BREAK 333
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13336
+#: freeculture.xml:13454
msgid ""
"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's "
"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13330
+#: freeculture.xml:13448
msgid ""
"Instead, the argument in favor of restricting this flow of information, "
"which was needed to save the lives of millions, was an argument about the "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13358
+#: freeculture.xml:13476
msgid ""
"Now just step back for a moment. There will be a time thirty years from now "
"when our children look back at us and ask, how could we have let this "
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13367
+#: freeculture.xml:13485
msgid "in pharmaceutical industry"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13369
+#: freeculture.xml:13487
msgid ""
"Some blame the drug companies. I don't. They are corporations. Their "
"managers are ordered by law to make money for the corporation. They push a "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13377
+#: freeculture.xml:13495
msgid ""
"The corruption is our own politicians' failure of integrity. For the drug "
"companies would love—they say, and I believe them—to sell their "
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13384
+#: freeculture.xml:13502
msgid "of drug patents"
msgstr ""
#. PAGE BREAK 268
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13386
+#: freeculture.xml:13504
msgid ""
"A different problem, however, could not be overcome. This is the fear of the "
"grandstanding politician who would call the presidents of the drug companies "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13408
+#: freeculture.xml:13526
msgid ""
"So when the common sense of your child confronts you, what will you say? "
"When the common sense of a generation finally revolts against what we have "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13414
+#: freeculture.xml:13532
msgid ""
"A sensible patent policy could endorse and strongly support the patent "
"system without having to reach everyone everywhere in exactly the same "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13429
+#: freeculture.xml:13547
msgid ""
"But we as a culture have lost this sense of balance. We have lost the "
"critical eye that helps us see the difference between truth and extremism. "
#. PAGE BREAK 269
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13438
+#: freeculture.xml:13556
msgid ""
"<emphasis role='strong'>A simple idea</emphasis> blinds us, and under the "
"cover of darkness, much happens that most of us would reject if any of us "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13452
+#: freeculture.xml:13570
msgid ""
"So far, common sense sleeps. There is no revolt. Common sense does not yet "
"see what there could be to revolt about. The extremism that now dominates "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13465 freeculture.xml:14235
+#: freeculture.xml:13583 freeculture.xml:14359
msgid "academic journals"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13466 freeculture.xml:13479
+#: freeculture.xml:13584 freeculture.xml:13597
msgid "biomedical research"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13467 freeculture.xml:13637
+#: freeculture.xml:13585 freeculture.xml:13755
msgid "international organization on issues of"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13469 freeculture.xml:13586 freeculture.xml:14154
+#: freeculture.xml:13587 freeculture.xml:13704 freeculture.xml:14278
msgid "IBM"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13470 freeculture.xml:14301
+#: freeculture.xml:13588 freeculture.xml:14425
msgid "PLoS (Public Library of Science)"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13471 freeculture.xml:14302
+#: freeculture.xml:13589 freeculture.xml:14426
msgid "Public Library of Science (PLoS)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13472
+#: freeculture.xml:13590
msgid "public projects in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13473
+#: freeculture.xml:13591
msgid "single nucleotied polymorphisms (SNPs)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13474
+#: freeculture.xml:13592
msgid "Wellcome Trust"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13475 freeculture.xml:13638
+#: freeculture.xml:13593 freeculture.xml:13756
msgid "World Intellectual Property Organization (WIPO)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13476
+#: freeculture.xml:13594
msgid "World Wide Web"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13477
+#: freeculture.xml:13595
msgid "Global Positioning System"
msgstr ""
#. f6.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13484
+#: freeculture.xml:13602
msgid ""
"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> "
"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, "
-"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> "
-"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; "
-"William New, <quote>U.S. Official Opposes `Open Source' Talks at "
-"WIPO,</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 "
+"<quote>Global Group's Shift on <quote>Open Source</quote> Meeting Spurs "
+"Stir,</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 "
"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#61</ulink>."
+"#60</ulink>; William New, <quote>U.S. Official Opposes <quote>Open "
+"Source</quote> Talks at WIPO,</quote> <citetitle>National Journal's "
+"Technology Daily</citetitle>, 19 August 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #61</ulink>."
msgstr ""
#. PAGE BREAK 270
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13481
+#: freeculture.xml:13599
msgid ""
"<emphasis role='strong'>In August 2003</emphasis>, a fight broke out in the "
"United States about a decision by the World Intellectual Property "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13517
+#: freeculture.xml:13635
msgid ""
"The aim of the meeting was to consider this wide range of projects from one "
"common perspective: that none of these projects relied upon intellectual "
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13523
+#: freeculture.xml:13641
msgid "in international debate on intellectual property"
msgstr ""
#. f7.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13526
+#: freeculture.xml:13644
msgid ""
"I should disclose that I was one of the people who asked WIPO for the "
"meeting."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13525
+#: freeculture.xml:13643
msgid ""
"From the perspective of this book, then, the conference was "
"ideal.<placeholder type=\"footnote\" id=\"0\"/> The projects within its "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13535 freeculture.xml:13691
+#: freeculture.xml:13653 freeculture.xml:13810
msgid "World Summit on the Information Society (WSIS)"
msgstr ""
#. PAGE BREAK 271
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13537
+#: freeculture.xml:13655
msgid ""
"Indeed, I was once publicly scolded for not recognizing this fact about "
"WIPO. In February 2003, I delivered a keynote address to a preparatory "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13561
+#: freeculture.xml:13679
msgid ""
"So whether or not WSIS can discuss balance in intellectual property, I had "
"thought it was taken for granted that WIPO could and should. And thus the "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13570 freeculture.xml:15300
+#: freeculture.xml:13688 freeculture.xml:15430
msgid "Apple Corporation"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13571
+#: freeculture.xml:13689
msgid "on free software"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13573
+#: freeculture.xml:13691
msgid ""
"But there is one project within that list that is highly controversial, at "
"least among lobbyists. That project is <quote>open source and free "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13583
+#: freeculture.xml:13701
msgid "<quote>copyleft</quote> licenses"
msgstr ""
#. f8.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13599
+#: freeculture.xml:13717
msgid ""
"Microsoft's position about free and open source software is more "
"sophisticated. As it has repeatedly asserted, it has no problem with "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13588
+#: freeculture.xml:13706
msgid ""
"I don't mean to enter that debate here. It is important only to make clear "
"that the distinction is not between commercial and noncommercial "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13617
+#: freeculture.xml:13735
msgid "General Public License (GPL)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13618
+#: freeculture.xml:13736
msgid "GPL (General Public License)"
msgstr ""
#. PAGE BREAK 272
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13620
+#: freeculture.xml:13738
msgid ""
"More important for our purposes, to support <quote>open source and free "
"software</quote> is not to oppose copyright. <quote>Open source and free "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13639
+#: freeculture.xml:13757
msgid "Krim, Jonathan"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13640
+#: freeculture.xml:13758
msgid "WIPO meeting opposed by"
msgstr ""
#. f9.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13650
+#: freeculture.xml:13768
msgid ""
"Krim, <quote>The Quiet War over Open-Source,</quote> available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #64</ulink>."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13642
+#: freeculture.xml:13760
msgid ""
"It is therefore understandable that as a proprietary software developer, "
"Microsoft would oppose this WIPO meeting, and understandable that it would "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13656
+#: freeculture.xml:13774
msgid ""
"I don't blame Microsoft for doing what it can to advance its own interests, "
"consistent with the law. And lobbying governments is plainly consistent with "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13664 freeculture.xml:13722
+#: freeculture.xml:13782 freeculture.xml:13841
msgid "Boland, Lois"
msgstr ""
+#. type: Content of: <book><chapter><indexterm><primary>
+#: freeculture.xml:13783
+msgid "Patent and Trademark Office, U.S."
+msgstr ""
+
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13666
+#: freeculture.xml:13785
msgid ""
"What was surprising was the United States government's reason for opposing "
"the meeting. Again, as reported by Krim, Lois Boland, acting director of "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13677
+#: freeculture.xml:13796
msgid "These statements are astonishing on a number of levels."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13682
+#: freeculture.xml:13801
msgid ""
"First, they are just flat wrong. As I described, most open source and free "
"software relies fundamentally upon the intellectual property right called "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13693
+#: freeculture.xml:13812
msgid "generic drugs"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13696
+#: freeculture.xml:13815
msgid ""
"Second, who ever said that WIPO's exclusive aim was to "
"<quote>promote</quote> intellectual property maximally? As I had been "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13710
+#: freeculture.xml:13829
msgid ""
"Third, even if one believed that the purpose of WIPO was to maximize "
"intellectual property rights, in our tradition, intellectual property rights "
#. PAGE BREAK 274
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13724
+#: freeculture.xml:13843
msgid ""
"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> "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13735
+#: freeculture.xml:13854
msgid "feudal system"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13736
+#: freeculture.xml:13855
msgid "feudal system of"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13738
+#: freeculture.xml:13857
msgid ""
"There is a history of just such a property system that is well known in the "
"Anglo-American tradition. It is called <quote>feudalism.</quote> Under "
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13755
+#: freeculture.xml:13874
msgid ""
"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
"210–20. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13752
+#: freeculture.xml:13871
msgid ""
"As Peter Drahos and John Braithwaite relate, this is precisely the choice we "
"are now making about intellectual property.<placeholder type=\"footnote\" "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13766
+#: freeculture.xml:13885
msgid ""
"When this battle broke, I blogged it. A spirited debate within the comment "
"section ensued. Ms. Boland had a number of supporters who tried to show why "
#. PAGE BREAK 275
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:13775
+#: freeculture.xml:13894
msgid ""
"George, you misunderstand Lessig: He's only talking about the world as it "
"should be (<quote>the goal of WIPO, and the goal of any government, should "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13787
+#: freeculture.xml:13906
msgid ""
"I missed the irony the first time I read it. I read it quickly and thought "
"the poster was supporting the idea that seeking balance was what our "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13798
+#: freeculture.xml:13917
msgid ""
"Obviously, however, the poster was not supporting that idea. Instead, the "
"poster was ridiculing the very idea that in the real world, the "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13806
+#: freeculture.xml:13925
msgid ""
"I understand criticism of academic utopianism. I think utopianism is silly, "
"too, and I'd be the first to poke fun at the absurdly unrealistic ideals of "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13812
+#: freeculture.xml:13931
msgid ""
"But when it has become silly to suppose that the role of our government "
"should be to <quote>seek balance,</quote> then count me with the silly, for "
#. PAGE BREAK 276
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13823
+#: freeculture.xml:13942
msgid ""
"It might be crazy to expect a high government official to speak the "
"truth. It might be crazy to believe that government policy will be something "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13831
+#: freeculture.xml:13951
msgid "If this is crazy, then let there be more crazies. Soon."
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13835
+#: freeculture.xml:13955
msgid "Turner, Ted"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13837
+#: freeculture.xml:13957
msgid ""
"<emphasis role='strong'>There are moments</emphasis> of hope in this "
"struggle. And moments that surprise. When the FCC was considering relaxing "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13848
+#: freeculture.xml:13968
msgid ""
"This activism did not stop the FCC, but soon after, a broad coalition in the "
"Senate voted to reverse the FCC decision. The hostile hearings leading up to "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13856
+#: freeculture.xml:13976
msgid ""
"But even this movement misses an important piece of the puzzle. Largeness "
"as such is not bad. Freedom is not threatened just because some become very "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13863
+#: freeculture.xml:13983
msgid ""
"The danger in media concentration comes not from the concentration, but "
"instead from the feudalism that this concentration, tied to the change in "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13873
+#: freeculture.xml:13993
msgid ""
"It is therefore significant that so many would rally to demand competition "
"and increased diversity. Still, if the rally is understood as being about "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13880
+#: freeculture.xml:14000
msgid ""
"It would be something new, and something very important, if an equal number "
"could be rallied to fight the increasing extremism built within the idea of "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13888
+#: freeculture.xml:14008
msgid ""
"If we were Achilles, this would be our heel. This would be the place of our "
"tragedy."
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13891
+#: freeculture.xml:14011
msgid "Dylan, Bob"
msgstr ""
#. f11.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13897
+#: freeculture.xml:14017
msgid ""
"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, "
"September 2003, available at <ulink "
#. f12.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13915
+#: freeculture.xml:14035
msgid ""
"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old "
"Lady,</quote> mtv.com, 17 September 2003, available at <ulink "
#. f13.
#. PAGE BREAK 334
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13922
+#: freeculture.xml:14042
msgid ""
"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for "
"Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13893
+#: freeculture.xml:14013
msgid ""
"<emphasis role='strong'>As I write</emphasis> these final words, the news is "
"filled with stories about the RIAA lawsuits against almost three hundred "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13939
+#: freeculture.xml:14059
msgid "BBC"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13940
+#: freeculture.xml:14060
msgid "Brazil, free culture in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13941 freeculture.xml:14332
+#: freeculture.xml:14061 freeculture.xml:14456
msgid "Creative Commons"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13942
+#: freeculture.xml:14062
msgid "Gil, Gilberto"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13943
+#: freeculture.xml:14063
msgid "public creative archive in"
msgstr ""
#. f14.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13948
+#: freeculture.xml:14068
msgid ""
"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press "
"release, 24 August 2003, available at <ulink "
#. f15.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13957
+#: freeculture.xml:14077
msgid ""
"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 "
"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
#. PAGE BREAK 278
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13945
+#: freeculture.xml:14065
msgid ""
"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 "
#. PAGE BREAK 279
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13971
+#: freeculture.xml:14091
msgid ""
"Common sense must revolt. It must act to free culture. Soon, if this "
"potential is ever to be realized."
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:13979
+#: freeculture.xml:14099
msgid "Afterword"
msgstr ""
+#. type: Content of: <book><chapter><section><indexterm><secondary>
+#: freeculture.xml:14100 freeculture.xml:14134
+msgid "voluntary reform efforts on"
+msgstr ""
+
#. PAGE BREAK 280
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13983
+#: freeculture.xml:14104
msgid ""
"<emphasis role='strong'>At least some</emphasis> who have read this far will "
"agree with me that something must be done to change where we are "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13988
+#: freeculture.xml:14109
msgid ""
"I divide this map into two parts: that which anyone can do now, and that "
"which requires the help of lawmakers. If there is one lesson that we can "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13994
+#: freeculture.xml:14115
msgid ""
"That means this movement must begin in the streets. It must recruit a "
"significant number of parents, teachers, librarians, creators, authors, "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:14001
+#: freeculture.xml:14124
msgid ""
"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 think "
msgstr ""
#. type: Content of: <book><chapter><section><title>
-#: freeculture.xml:14010
+#: freeculture.xml:14133
msgid "Us, now"
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14012
+#: freeculture.xml:14136
msgid ""
"<emphasis role='strong'>Common sense</emphasis> is with the copyright "
"warriors because the debate so far has been framed at the extremes—as "
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14019
+#: freeculture.xml:14143
msgid ""
"The mistake here is the error of the excluded middle. There are extremes in "
"this debate, but the extremes are not all that there is. There are those who "
msgstr ""
#. type: Content of: <book><chapter><section><indexterm><secondary>
-#: freeculture.xml:14029
+#: freeculture.xml:14153
msgid "initial free character of"
msgstr ""
#. PAGE BREAK 282
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14031
+#: freeculture.xml:14155
msgid ""
"When the Internet was first born, its initial architecture effectively "
"tilted in the <quote>no rights reserved</quote> direction. Content could be "
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14043
+#: freeculture.xml:14167
msgid ""
"This initial character produced a reaction (opposite, but not quite equal) "
"by copyright owners. That reaction has been the topic of this book. Through "
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14059
+#: freeculture.xml:14183
msgid ""
"What's needed is a way to say something in the middle—neither "
"<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:14067
+#: freeculture.xml:14191
msgid "Rebuilding Freedoms Previously Presumed: Examples"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14068
+#: freeculture.xml:14192
msgid "restoration efforts on previous aspects of"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14070
+#: freeculture.xml:14194
msgid "privacy rights"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14072
+#: freeculture.xml:14196
msgid ""
"If you step back from the battle I've been describing here, you will "
"recognize this problem from other contexts. Think about privacy. Before the "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14082
+#: freeculture.xml:14206
msgid "What made it assured?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14086
+#: freeculture.xml:14210
msgid ""
"Well, if we think in terms of the modalities I described in chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14101
+#: freeculture.xml:14225
msgid "Amazon"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14102
+#: freeculture.xml:14226
msgid "cookies, Internet"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14103
+#: freeculture.xml:14227
msgid "privacy protection on"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14105
+#: freeculture.xml:14229
msgid ""
"Enter the Internet, where the cost of tracking browsing in particular has "
"become quite tiny. If you're a customer at Amazon, then as you browse the "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14114
+#: freeculture.xml:14238
msgid "privacy rights in use of"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14116
+#: freeculture.xml:14240
msgid ""
"Amazon, of course, is not the problem. But we might begin to worry about "
"libraries. If you're one of those crazy lefties who thinks that people "
#. f1.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14134
+#: freeculture.xml:14258
msgid ""
"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the "
"Architecture of Privacy (What Larry Doesn't Get),</quote> "
#. PAGE BREAK 284
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14128
+#: freeculture.xml:14252
msgid ""
"It is this reality that explains the push of many to define "
"<quote>privacy</quote> on the Internet. It is the recognition that "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14153
+#: freeculture.xml:14277
msgid "Data General"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14157
+#: freeculture.xml:14281
msgid ""
"A similar story could be told about the birth of the free software "
"movement. When computers with software were first made available "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14164
+#: freeculture.xml:14288
msgid "Stallman, Richard"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14166
+#: freeculture.xml:14290
msgid ""
"That was the world Richard Stallman was born into, and while he was a "
"researcher at MIT, he grew to love the community that developed when one was "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14174
+#: freeculture.xml:14298
msgid ""
"In an academic setting, at least, that's not a terribly radical idea. In a "
"math department, anyone would be free to tinker with a proof that someone "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14185
+#: freeculture.xml:14309
msgid "proprietary code"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14187
+#: freeculture.xml:14311
msgid ""
"No one answered that question. Instead, the architecture of revenue for "
"computing changed. As it became possible to import programs from one system "
#. PAGE BREAK 285
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14196
+#: freeculture.xml:14320
msgid ""
"Thus, the practice of proprietary code began to spread, and by the early "
"1980s, Stallman found himself surrounded by proprietary code. The world of "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14205
+#: freeculture.xml:14329
msgid "Torvalds, Linus"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14207
+#: freeculture.xml:14331
msgid ""
"Therefore, in 1984, Stallman began a project to build a free operating "
"system, so that at least a strain of free software would survive. That was "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14215
+#: freeculture.xml:14339
msgid ""
"Stallman's technique was to use copyright law to build a world of software "
"that must be kept free. Software licensed under the Free Software "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14226
+#: freeculture.xml:14350
msgid ""
"Stallman was thus doing for software what privacy advocates now do for "
"privacy. He was seeking a way to rebuild a kind of freedom that was taken "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14236
+#: freeculture.xml:14360
msgid "scientific journals"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14238
+#: freeculture.xml:14362
msgid ""
"Finally, consider a very recent example that more directly resonates with "
"the story of this book. This is the shift in the way academic and scientific "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14242
+#: freeculture.xml:14366
msgid "Lexis and Westlaw"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14244 freeculture.xml:14280
+#: freeculture.xml:14368 freeculture.xml:14404
msgid "journals in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14245
+#: freeculture.xml:14369
msgid "access to opinions of"
msgstr ""
#. PAGE BREAK 286
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14247
+#: freeculture.xml:14371
msgid ""
"As digital technologies develop, it is becoming obvious to many that "
"printing thousands of copies of journals every month and sending them to "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14262
+#: freeculture.xml:14386
msgid "access fees for material in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14263
+#: freeculture.xml:14387
msgid "license system for rebuilding of"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14265
+#: freeculture.xml:14389
msgid ""
"There's nothing wrong in general with this, and indeed, the ability to "
"charge for access to even public domain materials is a good incentive for "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14276
+#: freeculture.xml:14400
msgid ""
"But what if the only way to get access to social and scientific data was "
"through proprietary services? What if no one had the ability to browse this "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14282
+#: freeculture.xml:14406
msgid ""
"As many are beginning to notice, this is increasingly the reality with "
"scientific journals. When these journals were distributed in paper form, "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14294
+#: freeculture.xml:14418
msgid ""
"As journals become electronic, however, the publishers are demanding that "
"libraries not give the general public access to the journals. This means "
#. PAGE BREAK 287
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14304
+#: freeculture.xml:14428
msgid ""
"This shrinking freedom has led many to take affirmative steps to restore the "
"freedom that has been lost. The Public Library of Science (PLoS), for "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14318
+#: freeculture.xml:14442
msgid ""
"This is one of many such efforts to restore a freedom taken for granted "
"before, but now threatened by changing technology and markets. There's no "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:14331
+#: freeculture.xml:14455
msgid "Rebuilding Free Culture: One Idea"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14334
+#: freeculture.xml:14458
msgid ""
"The same strategy could be applied to culture, as a response to the "
"increasing control effected through law and technology."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14337
+#: freeculture.xml:14461
msgid "Stanford University"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14339
+#: freeculture.xml:14463
msgid ""
"Enter the Creative Commons. The Creative Commons is a nonprofit corporation "
"established in Massachusetts, but with its home at Stanford University. Its "
#. PAGE BREAK 288
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14350
+#: freeculture.xml:14474
msgid ""
"<emphasis>Simple</emphasis>—which means without a middleman, or "
"without a lawyer. By developing a free set of licenses that people can "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14368
+#: freeculture.xml:14492
msgid ""
"These freedoms are beyond the freedoms promised by fair use. Their precise "
"contours depend upon the choices the creator makes. The creator can choose a "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14379
+#: freeculture.xml:14503
msgid ""
"These choices thus establish a range of freedoms beyond the default of "
"copyright law. They also enable freedoms that go beyond traditional fair "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14389
+#: freeculture.xml:14513
msgid "Garlick, Mia"
msgstr ""
#. PAGE BREAK 289
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14391
+#: freeculture.xml:14515
msgid ""
"This is just one project among many within the Creative Commons. And of "
"course, Creative Commons is not the only organization pursuing such "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14404
+#: freeculture.xml:14528
msgid ""
"The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The "
"aim is to complement them. The problems that the law creates for us as a "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14417
+#: freeculture.xml:14541
msgid ""
"Why would creators participate in giving up total control? Some participate "
"to better spread their content. Cory Doctorow, for example, is a science "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14424
+#: freeculture.xml:14548
msgid ""
"Why would a publisher ever agree to this? I suspect his publisher reasoned "
"like this: There are two groups of people out there: (1) those who will buy "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14436
+#: freeculture.xml:14560
msgid ""
"Indeed, the experience of his publisher clearly supports that conclusion. "
"The book's first printing was exhausted months before the publisher had "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14441
+#: freeculture.xml:14565
msgid "Free for All (Wayner)"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14442
+#: freeculture.xml:14566
msgid "Wayner, Peter"
msgstr ""
#. PAGE BREAK 290
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14444
+#: freeculture.xml:14568
msgid ""
"The idea that free content might increase the value of nonfree content was "
"confirmed by the experience of another author. Peter Wayner, who wrote a "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14455
-msgid "Public Enemy"
+#: freeculture.xml:14579
+msgid "Leaphart, Walter"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14456
-msgid "rap music"
+#: freeculture.xml:14580
+msgid "Public Enemy"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14457
-msgid "Leaphart, Walter"
+#: freeculture.xml:14582
+msgid "rap music"
msgstr ""
#. f2.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14474
+#: freeculture.xml:14599
msgid ""
"<citetitle>Willful Infringement: A Report from the Front Lines of the Real "
"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14459
+#: freeculture.xml:14584
msgid ""
"These are examples of using the Commons to better spread proprietary "
"content. I believe that is a wonderful and common use of the Commons. There "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14483
+#: freeculture.xml:14608
msgid ""
"Finally, there are many who mark their content with a Creative Commons "
"license just because they want to express to others the importance of "
#. PAGE BREAK 291
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14495
+#: freeculture.xml:14620
msgid ""
"In the first six months of the Creative Commons experiment, over 1 million "
"objects were licensed with these free-culture licenses. The next step is "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14505
+#: freeculture.xml:14630
msgid ""
"These are first steps to rebuilding a public domain. They are not mere "
"arguments; they are action. Building a public domain is the first step to "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14513
+#: freeculture.xml:14638
msgid ""
"Creative Commons is just one example of voluntary efforts by individuals and "
"creators to change the mix of rights that now govern the creative field. The "
msgstr ""
#. type: Content of: <book><chapter><section><title>
-#: freeculture.xml:14527
+#: freeculture.xml:14652
msgid "Them, soon"
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14529
+#: freeculture.xml:14654
msgid ""
"<emphasis role='strong'>We will</emphasis> not reclaim a free culture by "
"individual action alone. It will also take important reforms of laws. We "
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14536
+#: freeculture.xml:14661
msgid ""
"In this chapter, I outline five kinds of changes: four that are general, and "
"one that's specific to the most heated battle of the day, music. Each is a "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:14543
+#: freeculture.xml:14668
msgid "1. More Formalities"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14545
+#: freeculture.xml:14670
msgid ""
"If you buy a house, you have to record the sale in a deed. If you buy land "
"upon which to build a house, you have to record the purchase in a deed. If "
#. PAGE BREAK 293
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14552
+#: freeculture.xml:14677
msgid ""
"These are all formalities associated with property. They are requirements "
"that we all must bear if we want our property to be protected."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14557
+#: freeculture.xml:14682
msgid ""
"In contrast, under current copyright law, you automatically get a copyright, "
"regardless of whether you comply with any formality. You don't have to "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14563
+#: freeculture.xml:14688
msgid "Why?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14566
+#: freeculture.xml:14691
msgid ""
"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, the motivation to abolish formalities was a good "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14575
+#: freeculture.xml:14700
msgid ""
"But the Internet changes all this. Formalities today need not be a "
"burden. Rather, the world without formalities is the world that burdens "
#. f1.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14589
+#: freeculture.xml:14714
msgid ""
"The proposal I am advancing here would apply to American works only. "
"Obviously, I believe it would be beneficial for the same idea to be adopted "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14587
+#: freeculture.xml:14712
msgid ""
"The law should therefore change this requirement<placeholder "
"type=\"footnote\" id=\"0\"/>—but it should not change it by going back "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14597
+#: freeculture.xml:14722
msgid ""
"The important formalities are three: marking copyrighted work, registering "
"copyrights, and renewing the claim to copyright. Traditionally, the first of "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><title>
-#: freeculture.xml:14609
+#: freeculture.xml:14734
msgid "Registration and renewal"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14611
+#: freeculture.xml:14736
msgid ""
"Under the old system, a copyright owner had to file a registration with the "
"Copyright Office to register or renew a copyright. When filing that "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14624
+#: freeculture.xml:14749
msgid ""
"Yet it is always astonishing to me that we, who come from a tradition of "
"extraordinary innovation in governmental design, can no longer think "
"that the government sets."
msgstr ""
+#. type: Content of: <book><chapter><section><section><section><indexterm><primary>
+#: freeculture.xml:14757
+msgid "domain names"
+msgstr ""
+
+#. type: Content of: <book><chapter><section><section><section><indexterm><secondary>
+#: freeculture.xml:14758
+msgid "domain name registration on"
+msgstr ""
+
+#. type: Content of: <book><chapter><section><section><section><indexterm><primary>
+#: freeculture.xml:14759
+msgid "Web sites, domain name registration of"
+msgstr ""
+
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14633
+#: freeculture.xml:14761
msgid ""
"In the context of registration, one obvious model is the Internet. There "
"are at least 32 million Web sites registered around the world. Domain name "
#. PAGE BREAK 295
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14643
+#: freeculture.xml:14771
msgid ""
"We should adopt a similar model for the registration and renewal of "
"copyrights. The Copyright Office may well serve as the central registry, but "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><title>
-#: freeculture.xml:14658
+#: freeculture.xml:14786
msgid "Marking"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14660
+#: freeculture.xml:14788
msgid ""
"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 punishment for "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14670
+#: freeculture.xml:14798
msgid ""
"The aim of marking is to signal to the public that this work is copyrighted "
"and that the author wants to enforce his rights. The mark also makes it easy "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14676
+#: freeculture.xml:14804
msgid ""
"One of the problems the copyright system confronted early on was that "
"different copyrighted works had to be differently marked. It wasn't clear "
#. f2.
#. type: Content of: <book><chapter><section><section><section><para><footnote><para>
-#: freeculture.xml:14693
+#: freeculture.xml:14821
msgid ""
"There would be a complication with derivative works that I have not solved "
"here. In my view, the law of derivatives creates a more complicated system "
#. PAGE BREAK 296
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14686
+#: freeculture.xml:14814
msgid ""
"Let's start with the last point. If a copyright owner allows his work to be "
"published without a copyright notice, the consequence of that failure need "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14706
+#: freeculture.xml:14834
msgid ""
"That in turn raises the question about how work should best be marked. Here "
"again, the system needs to adjust as the technologies evolve. The best way "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><indexterm><secondary>
-#: freeculture.xml:14712
+#: freeculture.xml:14840
msgid "copyright marking of"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14714
+#: freeculture.xml:14842
msgid ""
"For example, if a recording industry association devises a method for "
"marking CDs, it would propose that to the Copyright Office. The Copyright "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14726
+#: freeculture.xml:14854
msgid ""
"Finally, marking content clearly would simplify registration requirements. "
"If photographs were marked by author and year, there would be little reason "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14734
+#: freeculture.xml:14862
msgid ""
"The objective of formalities is to make things clear. The existing system "
"does nothing to make things clear. Indeed, it seems designed to make things "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14739
+#: freeculture.xml:14867
msgid ""
"If formalities such as registration were reinstated, one of the most "
"difficult aspects of relying upon the public domain would be removed. It "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:14751
+#: freeculture.xml:14879
msgid "2. Shorter Terms"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14753
+#: freeculture.xml:14881
msgid ""
"The term of copyright has gone from fourteen years to ninety-five years for "
"corporate authors, and life of the author plus seventy years for natural "
#. f3.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14766
+#: freeculture.xml:14894
msgid ""
"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 "
"(25 January 2003): 15, available at <ulink "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14758
+#: freeculture.xml:14886
msgid ""
"In <citetitle>The Future of Ideas</citetitle>, I proposed a "
"seventy-five-year term, granted in five-year increments with a requirement "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14773
+#: freeculture.xml:14901
msgid ""
"I agree with those who believe that we need a radical change in copyright's "
"term. But whether fourteen years or seventy-five, there are four principles "
#. (1)
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:14781
+#: freeculture.xml:14909
msgid ""
"<emphasis>Keep it short:</emphasis> The term should be as long as necessary "
"to give incentives to create, but no longer. If it were tied to very strong "
#. (2)
#. PAGE BREAK 298
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:14790
+#: freeculture.xml:14918
msgid ""
"<emphasis>Keep it simple:</emphasis> The line between the public domain and "
"protected content must be kept clear. Lawyers like the fuzziness of "
msgstr ""
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:14802
+#: freeculture.xml:14930
msgid "veterans' pensions"
msgstr ""
#. f4.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><footnote><para>
-#: freeculture.xml:14813
+#: freeculture.xml:14941
msgid ""
"Department of Veterans Affairs, Veteran's Application for Compensation "
"and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at "
msgstr ""
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:14805
+#: freeculture.xml:14933
msgid ""
"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. "
"Especially if the maximum term is long, the copyright owner should be "
#. (4)
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:14824
+#: freeculture.xml:14952
msgid ""
"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright "
"should be, the clearest lesson that economists teach is that a term once "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14840
+#: freeculture.xml:14968
msgid ""
"These changes together should produce an <emphasis>average</emphasis> "
"copyright term that is much shorter than the current term. Until 1976, the "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14846
+#: freeculture.xml:14974
msgid ""
"No doubt the extremists will call these ideas <quote>radical.</quote> (After "
"all, I call them <quote>extremists.</quote>) But again, the term I "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:14856
+#: freeculture.xml:14984
msgid "3. Free Use Vs. Fair Use"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14860
+#: freeculture.xml:14988
msgid ""
"As I observed at the beginning of this book, property law originally granted "
"property owners the right to control their property from the ground to the "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14868
+#: freeculture.xml:14996
msgid ""
"Our Constitution gives Congress the power to give authors <quote>exclusive "
"right</quote> to <quote>their writings.</quote> Congress has given authors "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14876
+#: freeculture.xml:15004
msgid "Kaplan, Benjamin"
msgstr ""
#. f5.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14882
+#: freeculture.xml:15010
msgid ""
"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New "
"York: Columbia University Press, 1967), 32."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14878
+#: freeculture.xml:15006
msgid ""
"Congress granted the beginnings of this right in 1870, when it expanded the "
"exclusive right of copyright to include a right to control translations and "
#. f6.
#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para>
-#: freeculture.xml:14895
+#: freeculture.xml:15023
msgid "Ibid., 56."
msgstr ""
#. type: Content of: <book><chapter><section><section><blockquote><para>
-#: freeculture.xml:14891
+#: freeculture.xml:15019
msgid ""
"So inured have we become to the extension of the monopoly to a large range "
"of so-called derivative works, that we no longer sense the oddity of "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14900
+#: freeculture.xml:15028
msgid ""
"I think it's time to recognize that there are airplanes in this field and "
"the expansiveness of these rights of derivative use no longer make "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14907
+#: freeculture.xml:15035
msgid ""
"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, "
"then that right should be for a much shorter term. It makes sense to protect "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14920
+#: freeculture.xml:15048
msgid ""
"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights "
"be narrowed. Again, there are some cases in which derivative rights are "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14934
+#: freeculture.xml:15062
msgid ""
"This was the point that Alben made when describing the making of the Clint "
"Eastwood CD. While it makes sense to require negotiation for foreseeable "
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:14950
+#: freeculture.xml:15078
msgid "Goldstein, Paul"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14948
+#: freeculture.xml:15076
msgid ""
"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the "
"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14942
+#: freeculture.xml:15070
msgid ""
"In each of these cases, the law should mark the uses that are protected, and "
"the presumption should be that other uses are not protected. This is the "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14956
+#: freeculture.xml:15084
msgid ""
"Goldstein's analysis would make perfect sense if the cost of the legal "
"system were small. But as we are currently seeing in the context of the "
#. PAGE BREAK 301
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14963
+#: freeculture.xml:15091
msgid ""
"The law could remedy this problem either by removing protection beyond the "
"part explicitly drawn or by granting reuse rights upon certain statutory "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:14973
+#: freeculture.xml:15101
msgid "4. Liberate the Music—Again"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14975
+#: freeculture.xml:15103
msgid ""
"The battle that got this whole war going was about music, so it wouldn't be "
"fair to end this book without addressing the issue that is, to most people, "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14982
+#: freeculture.xml:15110
msgid ""
"The appeal of file-sharing music was the crack cocaine of the Internet's "
"growth. It drove demand for access to the Internet more powerfully than any "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14991
+#: freeculture.xml:15119
msgid ""
"The aim of copyright, with respect to content in general and music in "
"particular, is to create the incentives for music to be composed, performed, "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14998
+#: freeculture.xml:15126
msgid ""
"File-sharing networks complicate this model by enabling the spread of "
"content for which the performer has not been paid. But of course, that's not "
#. A.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15007
+#: freeculture.xml:15135
msgid ""
"There are some who are using sharing networks as substitutes for purchasing "
"CDs."
#. B.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15012
+#: freeculture.xml:15140
msgid ""
"There are also some who are using sharing networks to sample, on the way to "
"purchasing CDs."
#. PAGE BREAK 302
#. C.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15018
+#: freeculture.xml:15146
msgid ""
"There are many who are using file-sharing networks to get access to content "
"that is no longer sold but is still under copyright or that would have been "
#. D.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15024
+#: freeculture.xml:15152
msgid ""
"There are many who are using file-sharing networks to get access to content "
"that is not copyrighted or to get access that the copyright owner plainly "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15032
+#: freeculture.xml:15160
msgid ""
"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 eagerness "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15040
+#: freeculture.xml:15168
msgid ""
"As I said in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"piracy\"/>, the actual harm caused by sharing is controversial. "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15048
+#: freeculture.xml:15176
msgid ""
"Nonetheless, there is a crucial fact about the current technological context "
"that we must keep in mind if we are to understand how the law should "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15053
+#: freeculture.xml:15181
msgid ""
"Today, file sharing is addictive. In ten years, it won't be. It is addictive "
"today because it is the easiest way to gain access to a broad range of "
#. PAGE BREAK 303
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15065
+#: freeculture.xml:15193
msgid ""
"But it will become a reality, and that means the way we get access to the "
"Internet today is a technology in transition. Policy makers should not make "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:15079
+#: freeculture.xml:15207
msgid "cell phones, music streamed over"
msgstr ""
#. f8.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15099
+#: freeculture.xml:15227
msgid ""
"See, for example, <quote>Music Media Watch,</quote> The J@pan "
"Inc. Newsletter, 3 April 2002, available at <ulink "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15081
+#: freeculture.xml:15209
msgid ""
"In that world, it will be extremely easy to connect to services that give "
"you access to content on the fly—such as Internet radio, content that "
#. PAGE BREAK 304
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15106
+#: freeculture.xml:15234
msgid ""
"This point about the future is meant to suggest a perspective on the "
"present: It is emphatically temporary. The <quote>problem</quote> with file "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15122
+#: freeculture.xml:15250
msgid ""
"The answer begins with recognizing that there are different "
"<quote>problems</quote> here to solve. Let's start with type D "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15133
+#: freeculture.xml:15261
msgid ""
"Type C content raises a different <quote>problem.</quote> This is content "
"that was, at one time, published and is no longer available. It may be "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15144
+#: freeculture.xml:15272
msgid ""
"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 stores. But libraries "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15154
+#: freeculture.xml:15282
msgid ""
"The model of used book stores suggests that the law could simply deem "
"out-of-print music fair game. If the publisher does not make copies of the "
#. PAGE BREAK 305
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15165
+#: freeculture.xml:15293
msgid ""
"Alternatively, the law could create a statutory license that would ensure "
"that artists get something from the trade of their work. For example, if the "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15175
+#: freeculture.xml:15303
msgid ""
"This system would also create an incentive for publishers to keep works "
"available commercially. Works that are available commercially would not be "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15185
+#: freeculture.xml:15313
msgid ""
"The hard case is content of types A and B, and again, this case is hard only "
"because the extent of the problem will change over time, as the technologies "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15193
+#: freeculture.xml:15321
msgid ""
"So here's a solution that will at first seem very strange to both sides in "
"this war, but which upon reflection, I suggest, should make some sense."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15197
+#: freeculture.xml:15325
msgid ""
"Stripped of the rhetoric about the sanctity of property, the basic claim of "
"the content industry is this: A new technology (the Internet) has harmed a "
#. PAGE BREAK 306
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15208
+#: freeculture.xml:15336
msgid ""
"I love the Internet, and so I don't like likening it to tobacco or "
"asbestos. But the analogy is a fair one from the perspective of the law. "
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:15215 freeculture.xml:15257
+#: freeculture.xml:15343 freeculture.xml:15385
msgid "Promises to Keep (Fisher)"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:15255
+#: freeculture.xml:15383
msgid "Fisher, William"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15221
+#: freeculture.xml:15349
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> William Fisher, "
"<citetitle>Digital Music: Problems and Possibilities</citetitle> (last "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15217
+#: freeculture.xml:15345
msgid ""
"The idea would be a modification of a proposal that has been floated by "
"Harvard law professor William Fisher.<placeholder type=\"footnote\" "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15271
+#: freeculture.xml:15399
msgid ""
"Fisher's proposal is careful and comprehensive. It raises a million "
"questions, most of which he answers well in his upcoming book, "
"old system of controlling access."
msgstr ""
+#. type: Content of: <book><chapter><section><section><indexterm><primary>
+#: freeculture.xml:15415
+msgid "semiotic democracy"
+msgstr ""
+
+#. type: Content of: <book><chapter><section><section><indexterm><secondary>
+#: freeculture.xml:15416
+msgid "semiotic"
+msgstr ""
+
#. PAGE BREAK 307
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15288
+#: freeculture.xml:15418
msgid ""
"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 the system "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:15301
+#: freeculture.xml:15431
msgid "MusicStore"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15303
+#: freeculture.xml:15433
msgid "prices of"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15305
+#: freeculture.xml:15435
msgid ""
"No doubt it would be difficult to calculate the proper measure of "
"<quote>harm</quote> to an industry. But the difficulty of making that "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15320
+#: freeculture.xml:15450
msgid "cable vs. broadcast"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15323
+#: freeculture.xml:15453
msgid "luxury theatres vs. video piracy in"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15325
+#: freeculture.xml:15455
msgid ""
"This competition has already occurred against the background of "
"<quote>free</quote> music from p2p systems. As the sellers of cable "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15337
+#: freeculture.xml:15467
msgid ""
"This regime of competition, with a backstop to assure that artists don't "
"lose, would facilitate a great deal of innovation in the delivery of "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15346
+#: freeculture.xml:15476
msgid "In summary, then, my proposal is this:"
msgstr ""
#. PAGE BREAK 308
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15351
+#: freeculture.xml:15481
msgid ""
"The Internet is in transition. We should not be regulating a technology in "
"transition. We should instead be regulating to minimize the harm to "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15358
+#: freeculture.xml:15488
msgid "We can minimize that harm while maximizing the benefit to innovation by"
msgstr ""
#. 1.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15364
+#: freeculture.xml:15494
msgid "guaranteeing the right to engage in type D sharing;"
msgstr ""
#. 2.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15368
+#: freeculture.xml:15498
msgid ""
"permitting noncommercial type C sharing without liability, and commercial "
"type C sharing at a low and fixed rate set by statute;"
#. 3.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15374
+#: freeculture.xml:15504
msgid ""
"while in this transition, taxing and compensating for type A sharing, to the "
"extent actual harm is demonstrated."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15379
+#: freeculture.xml:15509
msgid ""
"But what if <quote>piracy</quote> doesn't disappear? What if there is a "
"competitive market providing content at a low cost, but a significant number "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15385
+#: freeculture.xml:15515
msgid ""
"Yes, it should. But, again, what it should do depends upon how the facts "
"develop. These changes may not eliminate type A sharing. But the real issue "
#. PAGE BREAK 309
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15399
+#: freeculture.xml:15529
msgid ""
"But we're a long way away from whittling the problem down to this subset of "
"type A sharers. And our focus until we're there should not be on finding "
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:15410
+#: freeculture.xml:15540
msgid "5. Fire Lots of Lawyers"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15412
+#: freeculture.xml:15542
msgid ""
"I'm a lawyer. I make lawyers for a living. I believe in the law. I believe "
"in the law of copyright. Indeed, I have devoted my life to working in law, "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15418
+#: freeculture.xml:15548
msgid ""
"Yet much of this book has been a criticism of lawyers, or the role lawyers "
"have played in this debate. The law speaks to ideals, but it is my view that "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:15425
+#: freeculture.xml:15555
msgid "Nimmer, Melville"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15426
+#: freeculture.xml:15556
msgid "Supreme Court challenge of"
msgstr ""
#. f10.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15437
+#: freeculture.xml:15567
msgid ""
"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville "
"B. Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15428
+#: freeculture.xml:15558
msgid ""
"The evidence of this bending is compelling. I'm attacked as a "
"<quote>radical</quote> by many within the profession, yet the positions that "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15443
+#: freeculture.xml:15573
msgid ""
"However, my criticism of the role that lawyers have played in this debate is "
"not just about a professional bias. It is more importantly about our failure "
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15453
+#: freeculture.xml:15583
msgid ""
"A good example is the work of Professor Stan Liebowitz. Liebowitz is to be "
"commended for his careful review of data about infringement, leading him to "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15448
+#: freeculture.xml:15578
msgid ""
"Economists are supposed to be good at reckoning costs and benefits. But "
"more often than not, economists, with no clue about how the legal system "
#. PAGE BREAK 310
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15477
+#: freeculture.xml:15607
msgid ""
"But the legal system doesn't work. Or more accurately, it doesn't work for "
"anyone except those with the most resources. Not because the system is "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15485
+#: freeculture.xml:15615
msgid ""
"These costs distort free culture in many ways. A lawyer's time is billed at "
"the largest firms at more than $400 per hour. How much time should such a "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15495
+#: freeculture.xml:15625
msgid ""
"The costliness and clumsiness and randomness of this system mock our "
"tradition. And lawyers, as well as academics, should consider it their duty "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15503
+#: freeculture.xml:15633
msgid ""
"But until that reform is complete, we as a society should keep the law away "
"from areas that we know it will only harm. And that is precisely what the "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15510
+#: freeculture.xml:15640
msgid ""
"Think about the amazing things your kid could do or make with digital "
"technology—the film, the music, the Web page, the blog. Or think about "
#. PAGE BREAK 311
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15519
+#: freeculture.xml:15649
msgid ""
"The law should regulate in certain areas of culture—but it should "
"regulate culture only where that regulation does good. Yet lawyers rarely "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15528
+#: freeculture.xml:15658
msgid ""
"We should ask, <quote>Why?</quote> Show me why your regulation of culture is "
"needed. Show me how it does good. And until you can show me both, keep your "
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:15537
+#: freeculture.xml:15667
msgid "Notes"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15539
+#: freeculture.xml:15669
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:15559
+#: freeculture.xml:15689
msgid "Acknowledgments"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15561
+#: freeculture.xml:15691
msgid ""
"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 work "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15568
+#: freeculture.xml:15698
msgid ""
"I received guidance in various places from friends and academics, including "
"Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose, and "
#. PAGE BREAK 337
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15581
+#: freeculture.xml:15711
msgid ""
"Yuko Noguchi helped me to understand the laws of Japan as well as its "
"culture. I am thankful to her, and to the many in Japan who helped me "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15592
+#: freeculture.xml:15722
msgid ""
"These are the traditional sorts of help that academics regularly draw "
"upon. But in addition to them, the Internet has made it possible to receive "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15612
+#: freeculture.xml:15742
msgid ""
"Richard Stallman and Michael Carroll each read the whole book in draft, and "
"each provided extremely helpful correction and advice. Michael helped me to "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15621
+#: freeculture.xml:15751
msgid ""
"Finally, and forever, I am thankful to Bettina, who has always insisted that "
"there would be unending happiness away from these battles, and who has "
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:15631
+#: freeculture.xml:15761
msgid "About this edition"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15633
+#: freeculture.xml:15763
msgid ""
"This edition of <citetitle>Free Culture</citetitle> is the result of three "
"years of volunteer work. The idea came from a discussion I had around ten "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15645
+#: freeculture.xml:15775
msgid ""
"Thanks to the Debian Edu / Skolelinux project, I already had experience "
"translating Docbook documents, and it seemed like a good format for this "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15657
-msgid ""
-"Several people joined, and Anders Hagen Jarmund, Kirill Miazine and Odd "
-"Kleiva 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 and Johannes Larsen did very valuable "
-"proofreading. Håkon Wium Lie helped me track down a good replacement font "
-"without usage restrictions instead of the one in the original PDF. The PDF "
-"typesetting is done using dblatex, which we selected over the alternatives "
-"thanks to the invaluable and quick help from Benoît Guillon and Andreas "
-"Hoenen. Thomas Gramstad donated ISBN numbers needed for distribution to "
-"book stores. 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."
+#: freeculture.xml:15787
+msgid ""
+"Several people joined, and Anders Hagen Jarmund, Kirill Miazine, Odd Kleiva, "
+"Kjetil Kilhavn og Kjetil T. Homme assisted with the initial translation. "
+"Ralph Amissah and his SiSu version provided index entries. Morten Sickel "
+"and Alexander Alemayhu helped with the figures, redrawing some of the "
+"bitmaps as vector images. Wivi Reinholdtsen, Ingrid Yrvin, Johannes Larsen "
+"and Gisle Hannemyr did very valuable proofreading. Håkon Wium Lie helped me "
+"track down a good replacement font without usage restrictions instead of the "
+"one in the original PDF. The PDF typesetting is done using dblatex, which "
+"we selected over the alternatives thanks to the invaluable and quick help "
+"from Benoît Guillon and Andreas Hoenen. Thomas Gramstad donated ISBN "
+"numbers needed for distribution to book stores. Marc Jeanmougin from the "
+"inkscape community helped me replicate the original front cover. The "
+"support of Lawrence Lessig helped me to complete the project—I am very "
+"thankful he had the original screen shots still available after 11 years."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15674
+#: freeculture.xml:15806
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><chapter><para>
+#: freeculture.xml:15813
msgid ""
-"I am also very grateful for my family for their patience with me in this "
-"project."
+"In addition to these great contributors, I am very grateful to Mari and my "
+"family for their patience with me in this project."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15679
-msgid "— Petter Reinholdtsen, Oslo 2015-08-27"
+#: freeculture.xml:15818
+msgid "— Petter Reinholdtsen, Oslo 2015-09-07"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15694
+#: freeculture.xml:15828
msgid ""
"Free culture: How big media uses technology and the law to lock down culture "
"and control creativity / Lawrence Lessig."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15698
+#: freeculture.xml:15832
msgid "Copyright © 2004 Lawrence Lessig. Some rights reserved."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15702
+#: freeculture.xml:15836
msgid "<ulink url=\"http://free-culture.cc/\"/>"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15706
+#: freeculture.xml:15840
msgid ""
"Published in English and Norwegian Bokmål 2015 by Petter Reinholdtsen with "
"help from many volunteers. Typeset with dblatex using the font Crimson "
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15712
+#: freeculture.xml:15846
msgid "First published 2004 by The Penguin Press."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15716
+#: freeculture.xml:15850
msgid ""
"Excerpt from an editorial titled <quote>The Coming of Copyright "
"Perpetuity,</quote> <citetitle>The New York Times</citetitle>, January 16, "
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15722
+#: freeculture.xml:15856
msgid ""
"Cartoon in figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-1711-vcr-handgun-cartoonfig\"/> by Paul Conrad, copyright "
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15728
+#: freeculture.xml:15862
msgid ""
"Diagram in figure <xref xrefstyle=\"template:%n\" "
"linkend=\"fig-1761-pattern-modern-media-ownership\"/> courtesy of the office "
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15734
+#: freeculture.xml:15868
+msgid "Cover created by Petter Reinholdtsen using inkscape."
+msgstr ""
+
+#. type: Content of: <book><colophon><para>
+#: freeculture.xml:15872
msgid ""
-"The book cover was created by Petter Reinholdtsen using inkscape. Portrait "
-"on the back cover is copyright 2013 ActuaLitté and licensed under a Creative "
-"Commons Attribution-ShareAlike 2.0 license. It was downloaded from <ulink "
-"url=\"https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/>."
+"The quotes on the cover came from <ulink "
+"url=\"http://free-culture.cc/jacket/\"/>."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15742
-msgid "Includes index."
+#: freeculture.xml:15877
+msgid ""
+"Portrait on the cover was created 2013 by ActuaLitté and licensed under a "
+"Creative Commons Attribution-ShareAlike 2.0 license. It was downloaded from "
+"<ulink "
+"url=\"https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg\"/>."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15746
+#: freeculture.xml:15884
msgid "Classifications:"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15750
+#: freeculture.xml:15888
msgid "(Dewey) 306.4, 306.40973, 306.46, 341.7582, 343.7309/9"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15759
+#: freeculture.xml:15897
msgid "(UDK) 347.78"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15763
+#: freeculture.xml:15901
msgid "(US Library of Congress) KF2979.L47 2004"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15767
+#: freeculture.xml:15905
msgid "(ACM CRCS) K.4.1"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15771
+#: freeculture.xml:15909
msgid "Thomas Gramstad Forlag donated the ISBN numbers."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15778
+#: freeculture.xml:15913
+msgid ""
+"Printing was sponsed by NUUG Foundation, <ulink "
+"url=\"http://www.nuugfoundation.no/\"/>."
+msgstr ""
+
+#. type: Content of: <book><colophon><para>
+#: freeculture.xml:15918
+msgid "Includes index."
+msgstr ""
+
+#. type: Content of: <book><colophon><para>
+#: freeculture.xml:15925
msgid ""
"The Docbook source is available from <ulink "
"url=\"https://github.com/petterreinholdtsen/free-culture-lessig\"/>. Please "
"report any issues with the book there."
msgstr ""
+#. type: Attribute 'fileref' of: <book><colophon><para><informalfigure><graphic>
+#: freeculture.xml:15932
+msgid "images/cc.svg"
+msgstr ""
+
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15791
+#: freeculture.xml:15944
msgid ""
"This book is a proof reading draft. Please visit the github URL above to "
"get the latest version."
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:15800
-msgid "ISBN"
+#: freeculture.xml:15953
+msgid "Format / MIME-type"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:15801
-msgid "Format / MIME-type"
+#: freeculture.xml:15954
+msgid "ISBN"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15806
+#: freeculture.xml:15959
+msgid "US Trade edition from lulu.com"
+msgstr ""
+
+#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
+#: freeculture.xml:15960
msgid "978-82-8067-010-6"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15807
-msgid "US Trade size from lulu.com"
+#: freeculture.xml:15963
+msgid "application/pdf"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15810
+#: freeculture.xml:15964
msgid "978-82-8067-011-3"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15811
-msgid "application/pdf"
+#: freeculture.xml:15967
+msgid "application/epub+zip"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15814
+#: freeculture.xml:15968
msgid "978-82-8067-012-0"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15815
-msgid "application/epub+zip"
+#: freeculture.xml:15971
+msgid "application/x-mobipocket-ebook"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15818
+#: freeculture.xml:15972
msgid "978-82-8067-013-7"
msgstr ""
-#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15819
-msgid "application/x-mobipocket-ebook"
-msgstr ""
-
#. type: Content of: <chapter><para>
#: cover-text.xml:19
msgid "Lawrence Lessig"
#. type: Content of: <chapter><para>
#: cover-text.xml:35
msgid ""
+"<quote><citetitle>Free Culture</citetitle> goes beyond illuminating the "
+"catastrophe to our culture of increasing regulation to show examples of how "
+"we can make a different future. These new-style heroes and examples are "
+"rooted in the traditions of the founding fathers in ways that seem obvious "
+"after reading this book. Recommended reading to those trying to unravel the "
+"shrill hype around <quote>intellectual property.</quote></quote> — "
+"<emphasis>Brewster Kahle, founder of the Internet Archive</emphasis>"
+msgstr ""
+
+#. type: Content of: <chapter><para>
+#: cover-text.xml:46
+msgid ""
"<quote>America needs a national conversation about the way in which "
"so-called <quote>intellectual property rights</quote> have come to dominate "
"the rights of scholars, researchers, and everyday citizens. A copyright "
"<emphasis>Dan Gillmor, author of <citetitle>We the media</citetitle>, an "
"book on the collision of media and technology</emphasis>"
msgstr ""
-
-#. type: Content of: <chapter><para>
-#: cover-text.xml:54
-msgid ""
-"<quote><citetitle>Free Culture</citetitle> goes beyond illuminating the "
-"catastrophe to our culture of increasing regulation to show examples of how "
-"we can make a different future. These new-style heroes and examples are "
-"rooted in the traditions of the founding fathers in ways that seem obvious "
-"after reading this book. Recommended reading to those trying to unravel the "
-"shrill hype around <quote>intellectual property.</quote></quote> — "
-"<emphasis>Brewster Kahle, founder of the Internet Archive</emphasis>"
-msgstr ""
<?xml version='1.0' encoding='UTF-8' ?>
<?xml-stylesheet href="docbook-css-0.4/driver.css" type="text/css"?>
<!-- Converted to DocBook by Hans Schou 2004-03-29. Updated and improved
- by Petter Reinholdtsen 2012 with input from Martin Borg. -->
+ by Petter Reinholdtsen 2012-2015 with input from Martin Borg. -->
<!--
TODO
- * indexterm primary
+ * Add missing indexterm entries by comparing with the 2004 edition.
-->
<!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.5//EN"
"http://www.oasis-open.org/docbook/xml/4.5/docbookx.dtd"
<subtitle>How big media uses technology and the law to lock down
culture and control creativity</subtitle>
- <pubdate>2004-03-25</pubdate>
+ <pubdate>2015-09-04</pubdate>
<edition>1</edition>
<!-- testing different ways to tag the cover page -->
<mediaobject role="cover">
<imageobject remap="lrg" role="front-large">
- <imagedata fileref="images/cover.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-72dpi.png" format="PNG" width="444" />
</imageobject>
-<!--
<imageobject remap="s" role="front">
- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
<imageobject remap="xs" role="front-small">
- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
<imageobject remap="cs" role="thumbnail">
- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
--->
</mediaobject>
<biblioid class="isbn">978-82-8067-010-6</biblioid>
<itemizedlist>
<listitem><para>
-<!-- 2014 -->
-The USA is lesterland: The nature of congressional corruption
+The USA is lesterland: The nature of congressional corruption (2014)
</para></listitem>
<listitem><para>
-<!-- 2011, 2012 -->
-Republic, lost: How money corrupts Congress - and a plan to stop it
+Republic, lost: How money corrupts Congress - and a plan to stop it (2011)
</para></listitem>
<listitem><para>
-<!-- 2008 -->
-Remix: Making art and commerce thrive in the hybrid economy
+Remix: Making art and commerce thrive in the hybrid economy (2008)
</para></listitem>
<listitem><para>
-<!-- 2006 -->
-Code: Version 2.0
+Code: Version 2.0 (2006)
</para></listitem>
<listitem><para>
-<!-- 2001, 2002 -->
-The Future of Ideas: The Fate of the Commons in a Connected World
+The Future of Ideas: The Fate of the Commons in a Connected World (2001)
</para></listitem>
<listitem><para>
-<!-- 1999 -->
-Code: And Other Laws of Cyberspace
+Code: And Other Laws of Cyberspace (1999)
</para></listitem>
</itemizedlist>
</dedication>
<!-- PAGE BREAK 5 -->
<!-- PAGE BREAK 6 -->
<!-- PAGE BREAK 7 -->
-<dedication><title></title>
+<dedication id='dedication'><title></title>
<!-- FIXME figure out how to do this better in dblatex and docbook-xsl -->
<?latex {\Huge \centering
?>
<preface id="preface">
<title>Preface</title>
<indexterm id='idxpoguedavid' class='startofrange'><primary>Pogue, David</primary></indexterm>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
<para>
<emphasis role="bold">At the end</emphasis> of his review of my first
book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David
</para>
<indexterm startref='idxinternetdevelopmentof' class='endofrange'/>
<indexterm><primary>Barlow, Joel</primary></indexterm>
+<indexterm><primary>culture</primary><seealso>free culture</seealso></indexterm>
<indexterm id='idxculturecommercialvsnoncommercial' class='startofrange'><primary>culture</primary><secondary>commercial vs. noncommercial</secondary></indexterm>
<indexterm><primary>Webster, Noah</primary></indexterm>
<para>
the noble class live easily; those outside it don't. But it is
nobility of any form that is alien to our tradition.
</para>
-<!-- PAGE BREAK 26. FIXME: Ask author if "Is it" should be "It is" ? -->
+<!-- PAGE BREAK 26. -->
<para>
The story that follows is about this war. It is not about the
<quote>centrality of technology</quote> to ordinary life. I don't believe in gods,
<indexterm><primary>ASCAP</primary></indexterm>
<indexterm><primary>Dreyfuss, Rochelle</primary></indexterm>
<indexterm><primary>Girl Scouts</primary></indexterm>
+<indexterm><primary>creative property</primary><seealso>intellectual property rights</seealso></indexterm>
<indexterm id='idxcreativepropertyifvaluethenrighttheoryof' class='startofrange'><primary>creative property</primary><secondary><quote>if value, then right</quote> theory of</secondary></indexterm>
<indexterm id='idxifvaluethenrighttheory' class='startofrange'><primary><quote>if value, then right</quote> theory</primary></indexterm>
<para>
</para>
<indexterm startref='idxifvaluethenrighttheory' class='endofrange'/>
<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm><primary>creativity</primary><seealso>innovation</seealso></indexterm>
<indexterm id='idxcreativitylegalrestrictionson' class='startofrange'><primary>creativity</primary><secondary>legal restrictions on</secondary></indexterm>
<para>
Instead, in our tradition, intellectual property is an instrument. It
<indexterm startref='idxderivativeworkspiracyvs' class='endofrange'/>
<indexterm startref='idxpiracyderivativeworkvs' class='endofrange'/>
<indexterm startref='idxcreativitybytransformingpreviousworks' class='endofrange'/>
+<indexterm><primary>copyright</primary><seealso>copyright law</seealso></indexterm>
<indexterm id='idxcopyrightdurationof' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
<indexterm id='idxpublicdomaindefined' class='startofrange'><primary>public domain</primary><secondary>defined</secondary></indexterm>
<indexterm id='idxpublicdomaintraditionaltermforconversionto' class='startofrange'><primary>public domain</primary><secondary>traditional term for conversion to</secondary></indexterm>
and empowered them to be able to both understand it and talk about
it,</quote> Barish explained. That tool succeeded in creating
expression—far more successfully and powerfully than could have
-been created using only text. <quote>If you had said to these students, `you
-have to do it in text,' they would've just thrown their hands up and
+been created using only text. <quote>If you had said to these students, <quote>you
+have to do it in text,</quote> they would've just thrown their hands up and
gone and done something else,</quote> Barish described, in part, no doubt,
because expressing themselves in text is not something these students
can do well. Yet neither is text a form in which
didn't speak very well. But they had come to understand that they
had a lot of power with this language.
</para>
-<!-- FIXME removed a " from the end of the previous paragraph that did
- not match with any start quote. -->
</blockquote>
<indexterm startref='idxeducationinmedialiteracy' class='endofrange'/>
<indexterm startref='idxmedialiteracy' class='endofrange'/>
</para>
<indexterm><primary>ABC</primary></indexterm>
<indexterm><primary>CBS</primary></indexterm>
+<indexterm><primary>Cyber Rights (Godwin)</primary></indexterm>
+<indexterm><primary>Godwin, Mike</primary></indexterm>
+<indexterm id='idxinternetnewseventson' class='startofrange'><primary>Internet</primary><secondary>news events on</secondary></indexterm>
<para>
But in addition to this produced news about the <quote>tragedy of September
11,</quote> those of us tied to the Internet came to see a very different
cultures, it records private facts in a public way—it's a kind
of electronic <citetitle>Jerry Springer</citetitle>, available anywhere in the world.
</para>
+<indexterm startref='idxinternetnewseventson' class='endofrange'/>
<indexterm><primary>political discourse</primary></indexterm>
<indexterm id='idxinternetpublicdiscourseconductedon' class='startofrange'><primary>Internet</primary><secondary>public discourse conducted on</secondary></indexterm>
<para>
architecture that unleashes 60 percent of the brain [and] a legal
system that closes down that part of the brain.</quote>
</para>
-<indexterm startref='idxbrownjohnseely' class='endofrange'/>
<para>
We're building a technology that takes the magic of Kodak, mixes
moving images and sound, and adds a space for commentary and an
opportunity to spread that creativity everywhere. But we're building
the law to close down that technology.
</para>
+<indexterm><primary>Kahle, Brewster</primary></indexterm>
+<indexterm startref='idxbrownjohnseely' class='endofrange'/>
<para>
<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet in
chapter <xref xrefstyle="select: labelnumber" linkend="collectors"/>,
</para>
<section id="film">
<title>Film</title>
+<indexterm><primary>Hollywood film industry</primary><seealso>film industry</seealso></indexterm>
+<indexterm id='idxhollywoodfilmindustry' class='startofrange'><primary>Hollywood film industry</primary></indexterm>
+<indexterm id='idxpatentsonfilmtechnology' class='startofrange'><primary>patents</primary><secondary>on film technology</secondary></indexterm>
<para>
The film industry of Hollywood was built by fleeing pirates.<footnote><para>
<!-- f1 -->
</para>
</blockquote>
<para>
-The Napsters of those days, the <quote>independents,</quote> were companies like
-Fox. And no less than today, these independents were vigorously
-resisted. <quote>Shooting was disrupted by machinery stolen, and
-`accidents' resulting in loss of negatives, equipment, buildings and
-sometimes life and limb frequently occurred.</quote><footnote><para>
+The Napsters of those days, the <quote>independents,</quote> were
+companies like Fox. And no less than today, these independents were
+vigorously resisted. <quote>Shooting was disrupted by machinery
+stolen, and <quote>accidents</quote> resulting in loss of negatives,
+equipment, buildings and sometimes life and limb frequently
+occurred.</quote><footnote><para>
<!-- f3 -->
Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents Majority</citetitle>, archived at
<ulink url="http://free-culture.cc/notes/">link #12</ulink>.
law. And the leaders of Hollywood filmmaking, Fox most prominently,
did just that.
</para>
+<indexterm startref='idxhollywoodfilmindustry' class='endofrange'/>
<para>
Of course, California grew quickly, and the effective enforcement
of federal law eventually spread west. But because patents grant the
expired. A new industry had been born, in part from the piracy of
Edison's creative property.
</para>
+<indexterm startref='idxpatentsonfilmtechnology' class='endofrange'/>
</section>
<section id="recordedmusic">
<title>Recorded Music</title>
its composer anything.
</para>
<indexterm startref='idxfourneauxhenri' class='endofrange'/>
+<indexterm id='idxkittredgealfred' class='startofrange'><primary>Kittredge, Alfred</primary></indexterm>
+<indexterm id='idxmusicpublishing' class='startofrange'><primary>music publishing</primary></indexterm>
<para>
The composers (and publishers) were none too happy about
<!-- PAGE BREAK 69 -->
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxkittredgealfred' class='endofrange'/>
<indexterm><primary>Sousa, John Philip</primary></indexterm>
<para>
The innovators who developed the technology to record other
(statement of John Philip Sousa, composer).
</para></footnote>
</para>
+<indexterm startref='idxmusicpublishing' class='endofrange'/>
<indexterm><primary>American Graphophone Company</primary></indexterm>
<indexterm><primary>player pianos</primary></indexterm>
<indexterm><primary>sheet music</primary></indexterm>
</para></footnote> In any case, the innovators argued, the job of
Congress was <quote>to consider first the interest of [the public], whom
they represent, and whose servants they are.</quote> <quote>All talk about
-`theft,'</quote> the general counsel of the American Graphophone Company
+<quote>theft,</quote></quote> the general counsel of the American Graphophone Company
wrote, <quote>is the merest claptrap, for there exists no property in ideas
musical, literary or artistic, except as defined by
statute.</quote><footnote><para>
an exclusive right to public performances of his work. The radio
station thus owes the composer money for that performance.
</para>
+<indexterm id='idxradiomusicrecordingsplayedon' class='startofrange'><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
<para>
But when the radio station plays a record, it is not only performing a
copy of the <emphasis>composer's</emphasis> work. The radio station is
her anything.
</para>
<indexterm startref='idxartistsrecordingindustrypaymentsto' class='endofrange'/>
+<indexterm startref='idxradiomusicrecordingsplayedon' class='endofrange'/>
<indexterm startref='idxmadonna' class='endofrange'/>
<para>
No doubt, one might argue that, on balance, the recording artists
</para>
<indexterm><primary>Asia, commercial piracy in</primary></indexterm>
<indexterm><primary>piracy</primary><secondary>in Asia</secondary></indexterm>
+<indexterm><primary>open-source software</primary><see>free software/open-source software (FS/OSS)</see></indexterm>
<indexterm><primary>free software/open-source software (FS/OSS)</primary></indexterm>
<indexterm><primary>GNU/Linux operating system</primary></indexterm>
<indexterm><primary>Linux operating system</primary></indexterm>
</para>
<para>
<indexterm><primary>Fanning, Shawn</primary></indexterm>
+<indexterm><primary>innovation</primary><seealso>creativity</seealso></indexterm>
<indexterm><primary>innovation</primary></indexterm>
<indexterm id='idxnapster' class='startofrange'><primary>Napster</primary></indexterm>
Peer-to-peer sharing was made famous by Napster. But the inventors of
do—the kinds of sharing that file sharing enables, and the kinds
of harm it entails.
</para>
+<indexterm id='idxpeertopeerppfilesharingfourtypesof' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>four types of</secondary></indexterm>
+<indexterm><primary>Napster</primary><secondary>range of content on</secondary></indexterm>
<para>
<!-- PAGE BREAK 81 -->
File sharers share different kinds of content. We can divide these
wants to give away.
</para></listitem>
</orderedlist>
+<indexterm startref='idxpeertopeerppfilesharingfourtypesof' class='endofrange'/>
<para>
How do these different types of sharing balance out?
</para>
technology, the labels fought it.</quote><footnote><para>
<!-- f10 -->
<indexterm><primary>cassette recording</primary></indexterm>
+<indexterm><primary>DAT (digital audio tape)</primary></indexterm>
See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the
Music Industry's Business Model Crisis</citetitle> (2003), 3. This report
describes the music industry's effort to stigmatize the budding
</para>
<indexterm><primary>MTV</primary></indexterm>
<para>
-Yet soon thereafter, and before Congress was given an opportunity
-to enact regulation, MTV was launched, and the industry had a record
-turnaround. <quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' … was
-not the fault of the tapers—who did not [stop after MTV came into
+Yet soon thereafter, and before Congress was given an opportunity to
+enact regulation, MTV was launched, and the industry had a record
+turnaround. <quote>In the end,</quote> Cap Gemini concludes,
+<quote>the <quote>crisis</quote> … was not the fault of the
+tapers—who did not [stop after MTV came into
<!-- PAGE BREAK 83 -->
being]—but had to a large extent resulted from stagnation in musical
innovation at the major labels.</quote><footnote><para>
sense <emphasis>to the company</emphasis> to make it available.
</para>
<indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
+<indexterm><primary>used record sales</primary></indexterm>
<para>
In real space—long before the Internet—the market had a simple
<!-- PAGE BREAK 85 -->
<quote>But isn't the war just a war against illegal sharing? Isn't the target
just what you call type A sharing?</quote>
</para>
+<indexterm id='idxcopyrightinfringementlawsuitszerotolerancein' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>zero tolerance in</secondary></indexterm>
+<indexterm id='idxnapsterinfringingmaterialblockedby' class='startofrange'><primary>Napster</primary><secondary>infringing material blocked by</secondary></indexterm>
+<indexterm id='idxpeertopeerppfilesharinginfringementprotectionsin' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>infringement protections in</secondary></indexterm>
<para>
You would think. And we should hope. But so far, it is not. The effect
of the war purportedly on type A sharing alone has been felt far
York: Crown Business, 2003), 269–82.
</para></footnote>
</para>
+<indexterm startref='idxnapsterinfringingmaterialblockedby' class='endofrange'/>
+<indexterm startref='idxpeertopeerppfilesharinginfringementprotectionsin' class='endofrange'/>
<para>
If 99.4 percent is not good enough, then this is a war on file-sharing
technologies, not a war on copyright infringement. There is no way to
p2p, even for the totally legal and beneficial uses they serve, simply to
assure that there are zero copyright infringements caused by p2p.
</para>
+<indexterm startref='idxcopyrightinfringementlawsuitszerotolerancein' class='endofrange'/>
<para>
Zero tolerance has not been our history. It has not produced the
content industry that we know today. The history of American law has
price.
</para>
<indexterm startref='idxcongressusonrecordingindustry2' class='endofrange'/>
+<indexterm><primary>copyright law</primary><secondary>two central goals of</secondary></indexterm>
<para>
<!-- PAGE BREAK 88 -->
<indexterm startref='idxcabletv2' class='endofrange'/>
<indexterm id='idxbetamax' class='startofrange'><primary>Betamax</primary></indexterm>
<indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
+<indexterm id='idxsonybetamaxtechnologydevelopedby' class='startofrange'><primary>Sony</primary><secondary>Betamax technology developed by</secondary></indexterm>
<para>
In the same year that Congress struck this balance, two major
producers and distributors of film content filed a lawsuit against
</para>
<indexterm id='idxcongressusoncopyrightlaws3' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
<indexterm><primary>Congress, U.S.</primary><secondary>on VCR technology</secondary></indexterm>
+<indexterm id='idxvalentijackonvcrtechnology' class='startofrange'><primary>Valenti, Jack</primary><secondary>on VCR technology</secondary></indexterm>
<para>
MPAA president Jack Valenti became the studios' most vocal
-champion. Valenti called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are
-20, 30, 40 million of these VCRs in the land, we will be invaded by
-millions of `tapeworms,' eating away at the very heart and essence of
-the most precious asset the copyright owner has, his
-copyright.</quote><footnote><para>
+champion. Valenti called VCRs <quote>tapeworms.</quote> He warned,
+<quote>When there are 20, 30, 40 million of these VCRs in the land, we
+will be invaded by millions of <quote>tapeworms,</quote> eating away
+at the very heart and essence of the most precious asset the copyright
+
owner has, his copyright.</quote><footnote><para>
<!-- f18 -->
Copyright Infringements (Audio and Video Recorders): Hearing on
S. 1758 Before the Senate Committee on the Judiciary, 97th Cong., 1st
</para></footnote>
</para>
<indexterm startref='idxbetamax' class='endofrange'/>
+<indexterm startref='idxsonybetamaxtechnologydevelopedby' class='endofrange'/>
<para>
It took eight years for this case to be resolved by the Supreme
Court. In the interim, the Ninth Circuit Court of Appeals, which
</para></footnote>
<indexterm><primary>Kozinski, Alex</primary></indexterm>
</para>
+<indexterm startref='idxvalentijackonvcrtechnology' class='endofrange'/>
<para>
But the Supreme Court reversed the decision of the Ninth Circuit.
<para>
In each case throughout our history, a new technology changed the
way content was distributed.<footnote><para>
+<indexterm><primary>DAT (digital audio tape)</primary></indexterm>
<!-- f24 -->
These are the most important instances in our history, but there are other
cases as well. The technology of digital audio tape (DAT), for example,
incentives,</quote> they say, <quote>misses a fundamental point. Our
content,</quote> the warriors insist, <quote>is our
<emphasis>property</emphasis>. Why should we wait for Congress to
-`rebalance' our property rights? Do you have to wait before calling
-the police when your car has been stolen? And why should Congress
-deliberate at all about the merits of this theft? Do we ask whether
-the car thief had a good use for the car before we arrest him?</quote>
+<quote>rebalance</quote> our property rights? Do you have to wait
+before calling the police when your car has been stolen? And why
+should Congress deliberate at all about the merits of this theft? Do
+we ask whether the car thief had a good use for the car before we
+arrest him?</quote>
</para>
<para>
<quote>It is <emphasis>our property</emphasis>,</quote> the warriors
to use this four-point-five seconds of … entirely unsolicited
<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
</para>
-<indexterm startref='idxgroeningmatt' class='endofrange'/>
-<indexterm startref='idxfoxfilmcompany' class='endofrange'/>
<indexterm id='idxherrerarebecca' class='startofrange'><primary>Herrera, Rebecca</primary></indexterm>
<para>
Else was certain there was a mistake. He worked his way up to someone
replaced the shot with a clip from another film that he had worked on,
<citetitle>The Day After Trinity</citetitle>, from ten years before.
</para>
-<indexterm id='idxfoxfilmcompany2' class='startofrange'><primary>Fox (film company)</primary></indexterm>
-<indexterm id='idxgroeningmatt2' class='startofrange'><primary>Groening, Matt</primary></indexterm>
<para>
There's no doubt that someone, whether Matt Groening or Fox, owns the
copyright to <citetitle>The Simpsons</citetitle>. That copyright is their property. To use
episode is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair use does
not require the permission of anyone.
</para>
-<indexterm startref='idxfoxfilmcompany2' class='endofrange'/>
-<indexterm startref='idxgroeningmatt2' class='endofrange'/>
+<indexterm startref='idxfoxfilmcompany' class='endofrange'/>
+<indexterm startref='idxgroeningmatt' class='endofrange'/>
<para>
<!-- PAGE BREAK 109 -->
So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's his reply:
what others might prefer you forget.<footnote><para>
<!-- f1 -->
<indexterm><primary>Iraq war</primary></indexterm>
+<indexterm><primary>Kahle, Brewster</primary></indexterm>
<indexterm><primary>White House press releases</primary></indexterm>
The temptations remain, however. Brewster Kahle reports that the White
House changes its own press releases without notice. A May 13, 2003,
around the world, yet there is but one copy of the Internet—the
one kept by the Internet Archive.
</para>
+<indexterm id='idxkahlebrewster' class='startofrange'><primary>Kahle, Brewster</primary></indexterm>
<para>
Brewster Kahle is the founder of the Internet Archive. He was a very
successful Internet entrepreneur after he was a successful computer
</para>
<blockquote>
<indexterm><primary>books</primary><secondary>total number of</secondary></indexterm>
+<indexterm><primary>films</primary><secondary>total number of</secondary></indexterm>
+<indexterm><primary>music recordings</primary><see>peer-to-peer (p2p) file sharing</see></indexterm>
+<indexterm><primary>music recordings</primary><see>recording industry</see></indexterm>
+<indexterm><primary>music recordings</primary><secondary>total number of</secondary></indexterm>
<para>
It looks like there's about two to three million recordings of music.
Ever. There are about a hundred thousand theatrical releases of
that Kahle and others would exercise.
</para>
<indexterm startref='idxarchivesdigital1' class='endofrange'/>
+<indexterm startref='idxkahlebrewster' class='endofrange'/>
<!-- PAGE BREAK 127 -->
</chapter>
<chapter label="10" id="property-i">
<title>Chapter Ten: <quote>Property</quote></title>
<indexterm><primary>Johnson, Lyndon</primary></indexterm>
<indexterm><primary>Kennedy, John F.</primary></indexterm>
+<indexterm id='idxvalentijackbackgroundof' class='startofrange'><primary>Valenti, Jack</primary><secondary>background of</secondary></indexterm>
<para>
<emphasis role='strong'>Jack Valenti</emphasis> has been the president
of the Motion Picture Association of America since 1966. He first came
prominent and effective lobbyist in Washington.
</para>
<indexterm><primary>Disney, Inc.</primary></indexterm>
-<indexterm><primary>Sony Pictures Entertainment</primary></indexterm>
<indexterm><primary>MGM</primary></indexterm>
<indexterm><primary>Paramount Pictures</primary></indexterm>
<indexterm><primary>Twentieth Century Fox</primary></indexterm>
+<indexterm><primary>Sony Pictures Entertainment</primary></indexterm>
<indexterm><primary>Universal Pictures</primary></indexterm>
<indexterm><primary>Warner Brothers</primary></indexterm>
<para>
tradition, even if the subtle pull of his Texan charm has slowly
redefined that tradition, at least in Washington.
</para>
+<indexterm startref='idxvalentijackbackgroundof' class='endofrange'/>
<para>
While <quote>creative property</quote> is certainly <quote>property</quote> in a nerdy and
precise sense that lawyers are trained to understand,<footnote><para>
but whether institutions designed to assure that artists get paid need
also control how culture develops.
</para>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
<indexterm id='idxfreeculturefourmodalitiesofconstrainton' class='startofrange'><primary>free culture</primary><secondary>four modalities of constraint on</secondary></indexterm>
<indexterm id='idxregulationfourmodalitiesof' class='startofrange'><primary>regulation</primary><secondary>four modalities of</secondary></indexterm>
<indexterm id='idxcopyrightlawasexpostregulationmodality' class='startofrange'><primary>copyright law</primary><secondary>as ex post regulation modality</secondary></indexterm>
</para>
<figure id="fig-1331">
<title></title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
<indexterm><primary>Madonna</primary></indexterm>
<para>
Other Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95;
Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal Studies</citetitle>,
June 1998.
+<indexterm><primary>Code (Lessig)</primary></indexterm>
</para></footnote>
The law, in other words, sometimes operates to increase or decrease
the constraint of a particular modality. Thus, the law might be used
<indexterm startref='idxspeedingconstraintson' class='endofrange'/>
<figure id="fig-1361">
<title></title>
-<graphic fileref="images/1361.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1361.svg" align="center" width="45%"></graphic>
</figure>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
<indexterm><primary>Commons, John R.</primary></indexterm>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
<indexterm><primary>market constraints</primary></indexterm>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
</para></footnote>
</para>
<indexterm startref='idxlawasconstraintmodality2' class='endofrange'/>
</para>
<figure id="fig-1371">
<title></title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
<indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
</para>
<figure id="fig-1381">
<title></title>
-<graphic fileref="images/1381.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1381.svg" align="center" width="45%"></graphic>
</figure>
<indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
Congress in a way that, for our Constitution, at least, is very
odd. Article I, section 8, clause 8 of our Constitution states that:
</para>
+<blockquote>
<para>
Congress has the power to promote the Progress of Science and
useful Arts, by securing for limited Times to Authors and Inventors
the exclusive Right to their respective Writings and Discoveries.
+</para>
+</blockquote>
<!-- PAGE BREAK 142 -->
+<para>
We can call this the <quote>Progress Clause,</quote> for notice what this clause
does not say. It does not say Congress has the power to grant
<quote>creative property rights.</quote> It says that Congress has the power
</para>
<figure id="fig-1441">
<title></title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
<para>
We will end here:
</para>
<figure id="fig-1442">
<title></title>
-<graphic fileref="images/1442.svg" align="center" width="50%"></graphic>
+<graphic fileref="images/1442.svg" align="center" width="45%"></graphic>
</figure>
<para>
Let me explain how.
authorship.<footnote>
<para>
<!-- f8 -->
-William W. Crosskey, <citetitle>Politics and the Constitution in the History of
-the United States</citetitle> (London: Cambridge University Press, 1953), vol. 1,
-485–86: <quote>extinguish[ing], by plain implication of `the supreme
-Law of the Land,' <emphasis>the perpetual rights which authors had, or
-were supposed by some to have, under the Common Law</emphasis></quote>
-(emphasis added).
+William W. Crosskey, <citetitle>Politics and the Constitution in the
+History of the United States</citetitle> (London: Cambridge University
+Press, 1953), vol. 1, 485–86: <quote>extinguish[ing], by plain
+implication of <quote>the supreme Law of the Land,</quote>
+<emphasis>the perpetual rights which authors had, or were supposed by
+some to have, under the Common Law</emphasis></quote> (emphasis
+added).
<indexterm><primary>Crosskey, William W.</primary></indexterm>
</para></footnote>
This meant that there was no guaranteed public domain in the United
the term increased once again. In 1909, Congress extended the renewal
term of 14 years to 28 years, setting a maximum term of 56 years.
</para>
+<indexterm><primary>CTEA</primary><seealso>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</seealso></indexterm>
<indexterm id='idxsonnybonocopyrighttermextensionactctea' class='startofrange'><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>
<indexterm id='idxpublicdomainfuturepatentsvsfuturecopyrightsin' class='startofrange'><primary>public domain</primary><secondary>future patents vs. future copyrights in</secondary></indexterm>
<para>
(including Warner Brothers) enjoyed.
</para>
<indexterm id='idxbooksoninternet2' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxinternetbookson3' class='startofrange'><primary>Internet</primary><secondary>books on</secondary></indexterm>
<para>
On the Internet, however, there is no check on silly rules, because on
the Internet, increasingly, rules are enforced not by a human but by a
obligation) would come from the contract, not from copyright law, and
the obligations of contract would not necessarily pass to anyone who
subsequently acquired the book.
+<indexterm><primary>contracts</primary></indexterm>
</para></footnote>
When my e-book of <citetitle>Middlemarch</citetitle> says I have the
permission to copy only ten text selections into the memory every ten
often crazy.
</para>
<indexterm startref='idxadobeebookreader' class='endofrange'/>
+<indexterm startref='idxinternetbookson3' class='endofrange'/>
<indexterm startref='idxbooksoninternet2' class='endofrange'/>
<para>
To see the point in a particularly absurd context, consider a favorite
<title>— On which item have the courts ruled that manufacturers and
retailers be held responsible for having supplied the
equipment?</title>
-<graphic fileref="images/vcr-comic.png" align="center" width="65%"></graphic>
+<graphic fileref="images/vcr-comic.png" align="center" width="55%"></graphic>
</figure>
<para>
The anticircumvention provisions of the DMCA target copyright
31 May 2003.
</para></footnote>
</para>
+<indexterm id='idxradioownershipconsolidationin' class='startofrange'><primary>radio</primary><secondary>ownership consolidation in</secondary></indexterm>
<para>
The story with radio is even more dramatic. Before deregulation,
the nation's largest radio broadcasting conglomerate owned fewer than
the nation's radio advertising revenues.
</para>
<indexterm><primary>cable television</primary></indexterm>
+<indexterm id='idxnewspapersownershipconsolidationof' class='startofrange'><primary>newspapers</primary><secondary>ownership consolidation of</secondary></indexterm>
<para>
Newspaper ownership is becoming more concentrated as well. Today,
there are six hundred fewer daily newspapers in the United States than
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxnewspapersownershipconsolidationof' class='endofrange'/>
+<indexterm startref='idxradioownershipconsolidationin' class='endofrange'/>
<para>
The pattern with Murdoch is the pattern of modern media. Not
just large companies owning many radio stations, but a few companies
</para></footnote>
</para>
</blockquote>
+<indexterm><primary>democracy</primary><secondary>media concentration and</secondary></indexterm>
<para>
This narrowing has an effect on what is produced. The product of such
large and concentrated networks is increasingly homogenous.
wars. Government policy is strongly directed against the drug cartels;
criminal and civil courts are filled with the consequences of this battle.
</para>
+<indexterm><primary>criminal justice system</primary></indexterm>
<para>
Let me hereby disqualify myself from any possible appointment to
any position in government by saying I believe this war is a profound
<quote>blind.</quote> They don't have the word <citetitle>blind</citetitle>. They think he's just thick.
Indeed, as they increasingly notice the things he can't do (hear the
sound of grass being stepped on, for example), they increasingly try
-to control him. He, in turn, becomes increasingly frustrated. <quote>`You
-don't understand,' he cried, in a voice that was meant to be great and
-resolute, and which broke. `You are blind and I can see. Leave me
-alone!'</quote>
+to control him. He, in turn, becomes increasingly frustrated. <quote><quote>You
+don't understand,</quote> he cried, in a voice that was meant to be great and
+resolute, and which broke. <quote>You are blind and I can see. Leave me
+alone!</quote></quote>
</para>
<para>
<!-- PAGE BREAK 187 -->
weave together a string—a mash-up— of songs from your
favorite artists in a collage and make it available on the Net.
</para>
+<indexterm><primary>democracy</primary><secondary>digital sharing within</secondary></indexterm>
+<indexterm><primary>Kodak cameras</primary></indexterm>
<para>
This digital <quote>capturing and sharing</quote> is in part an extension of the
capturing and sharing that has always been integral to our culture,
no more than $250,000 in damages for pain and
suffering.<footnote>
<para>
-<!-- f2. --> The bill, modeled after California's tort reform model, was passed in the
+<!-- f2. -->
+The bill, modeled after California's tort reform model, was passed in the
House of Representatives but defeated in a Senate vote in July 2003. For
-an overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,'
+an overview, see Tanya Albert, <quote>Measure Stalls in Senate: <quote>We'll Be Back,</quote>
Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at
<ulink url="http://free-culture.cc/notes/">link #38</ulink>,
and <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003,
available at
<ulink url="http://free-culture.cc/notes/">link #39</ulink>. President Bush has continued to urge tort reform in
recent months.
+<indexterm><primary>tort reform</primary></indexterm>
<indexterm><primary>Bush, George W.</primary></indexterm>
</para></footnote>
Can common sense recognize the absurdity in a world where
enough to start a company. It is impossibly hard if that company is
constantly threatened by litigation.
</para>
+<indexterm id='idxmarketconstraints3' class='startofrange'><primary>market constraints</primary></indexterm>
+<indexterm id='idxpermissionculturetransactioncostof' class='startofrange'><primary>permission culture</primary><secondary>transaction cost of</secondary></indexterm>
+<indexterm><primary>regulation</primary><secondary>outsize penalties of</secondary></indexterm>
+<indexterm><primary>technology</primary><secondary>legal murkiness on</secondary></indexterm>
<para>
<!-- PAGE BREAK 201 -->
unlimited liability, we will have much less vibrant innovation and
much less creativity.
</para>
-<indexterm><primary>market constraints</primary></indexterm>
<para>
The point is directly parallel to the crunchy-lefty point about fair
use. Whatever the <quote>real</quote> law is, realism about the effect of law in
creativity. Someone needs to do a lot of justifying to justify that
result.
</para>
+<indexterm startref='idxmarketconstraints3' class='endofrange'/>
+<indexterm startref='idxpermissionculturetransactioncostof' class='endofrange'/>
<para>
<emphasis role='strong'>The uncertainty</emphasis> of the law is one
burden on innovation. There is a second burden that operates more
</para>
<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<indexterm><primary>Kennedy, John F.</primary></indexterm>
+<indexterm><primary>Monroe, Marilyn</primary></indexterm>
+<indexterm id='idxradiomusicrecordingsplayedon2' class='startofrange'><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
<para>
<!-- PAGE BREAK 204 -->
at stopping any efforts to get Congress to require compensation to the
recording artists.
</para>
+<indexterm startref='idxradiomusicrecordingsplayedon2' class='endofrange'/>
<para>
Enter Internet radio. Like regular radio, Internet radio is a
technology to stream content from a broadcaster to a listener. The
See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single
Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote>
<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, <quote>Worried Parents
-Pull Plug on File `Stealing'; With the Music Industry Cracking Down on
+Pull Plug on File <quote>Stealing</quote>; With the Music Industry Cracking Down on
File Swapping, Parents are Yanking Software from Home PCs to Avoid
Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; Jefferson
Graham, <quote>Recording Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September
</para></footnote>
</para>
+<indexterm id='idxnapsterrecordingindustrytrackingusersof' class='startofrange'><primary>Napster</primary><secondary>recording industry tracking users of</secondary></indexterm>
<para>
Even this understates the espionage that is being waged by the
RIAA. A report from CNN late last summer described a strategy the
<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank Ahrens, <quote>Four
Students Sued over Music Sites; Industry Group Targets File Sharing at
Colleges,</quote> <citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth Armstrong,
-<quote>Students `Rip, Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science
+<quote>Students <quote>Rip, Mix, Burn</quote> at Their Own Risk,</quote> <citetitle>Christian Science
Monitor</citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, <quote>Music
Pirate Hunt Turns to Loyola; Two Students Names Are Handed Over;
Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, <quote>RIAA
the middle of wars of prohibition. This war is no different.
Says von Lohmann,
</para>
+<indexterm startref='idxnapsterrecordingindustrytrackingusersof' class='endofrange'/>
<blockquote>
<para>
So when we're talking about numbers like forty to sixty million
<!-- f2. -->
<indexterm><primary>Bono, Mary</primary></indexterm>
<indexterm><primary>Bono, Sonny</primary></indexterm>
+<indexterm><primary>Valenti, Jack</primary><secondary>perpetual copyright term proposed by</secondary></indexterm>
The full text is: <quote>Sonny [Bono] wanted the term of copyright
protection to last forever. I am informed by staff that such a change
would violate the Constitution. I invite all of you to work with me to
<para>
<quote>Well,</quote> the adviser says, <quote>if you're confident that you will continue
to get at least $100,000 a year from these copyrights, and you use the
-`discount rate' that we use to evaluate estate investments (6 percent),
+<quote>discount rate</quote> that we use to evaluate estate investments (6 percent),
then this law would be worth $1,146,000 to the estate.</quote>
</para>
<para>
<para>
<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to you to
contribute
-up to the `present value' of the income you expect from these
+up to the <quote>present value</quote> of the income you expect from these
copyrights. Which for us means over $1,000,000.</quote>
</para>
<para>
decision in 1995 to strike down a law that banned the possession of
guns near schools.
</para>
+<indexterm id='idxcommerceinterstate' class='startofrange'><primary>commerce, interstate</primary></indexterm>
+<indexterm id='idxcongressusconstitutionalpowersof2' class='startofrange'><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm id='idxinterstatecommerce' class='startofrange'><primary>interstate commerce</primary></indexterm>
<para>
Since 1937, the Supreme Court had interpreted Congress's granted
powers very broadly; so, while the Constitution grants Congress the
instead interpreted to impose no limit.
</para>
<indexterm><primary>Rehnquist, William H.</primary></indexterm>
+<indexterm id='idxunitedstatesvlopez' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
<para>
The Supreme Court, under Chief Justice Rehnquist's command, changed
that in <citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The government had
later in <citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>.<footnote><para>
<!-- f7. -->
<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 U.S. 598 (2000).
+<indexterm><primary>United States v. Morrison</primary></indexterm>
</para></footnote>
</para>
+<indexterm startref='idxcommerceinterstate' class='endofrange'/>
+<indexterm startref='idxunitedstatesvlopez' class='endofrange'/>
<para>
If a principle were at work here, then it should apply to the Progress
Clause as much as the Commerce Clause.<footnote><para>
copyrights should entail that Congress is not allowed to extend the
term of existing copyrights.
</para>
+<indexterm startref='idxinterstatecommerce' class='endofrange'/>
+<indexterm id='idxcongressussupremecourtrestrainton2' class='startofrange'><primary>Congress, U.S.</primary><secondary>Supreme Court restraint on</secondary></indexterm>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
<para>
<emphasis>If</emphasis>, that is, the principle announced in <citetitle>Lopez</citetitle>
stood for a principle. Many believed the decision in <citetitle>Lopez</citetitle> stood for
devote my life to teaching constitutional law if these nine Justices
were going to be petty politicians.
</para>
+<indexterm startref='idxcongressusconstitutionalpowersof2' class='endofrange'/>
<indexterm><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
<indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
not expired, and will not expire, so long as Congress is free to be
bought to extend them again.
</para>
+<indexterm startref='idxcongressussupremecourtrestrainton2' class='endofrange'/>
+
<para>
<emphasis role='strong'>It is valuable</emphasis> copyrights that are
responsible for terms being extended. Mickey Mouse and
</para></footnote>
</para>
+<indexterm><primary>Kahle, Brewster</primary></indexterm>
<para>
Think practically about the consequence of this
extension—practically,
<para>
But this situation has now changed.
</para>
+<indexterm id='idxkahlebrewster2' class='startofrange'><primary>Kahle, Brewster</primary></indexterm>
<indexterm id='idxarchivesdigital2' class='startofrange'><primary>archives, digital</primary></indexterm>
<para>
One crucially important consequence of the emergence of digital
So won't Random House do as well as Brewster Kahle in spreading
culture widely?</quote>
</para>
+<indexterm startref='idxkahlebrewster2' class='endofrange'/>
<para>
Maybe. Someday. But there is absolutely no evidence to suggest that
publishers would be as complete as libraries. If Barnes & Noble
commercial market, if access is a value, then 6 percent is a failure
to provide that value.<footnote><para>
<!-- f13. -->
-Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> 20
-December 2002, available at
+Jason Schultz, <quote>The Myth of the 1976 Copyright
+<quote>Chaos</quote> Theory,</quote> 20 December 2002, available at
<ulink url="http://free-culture.cc/notes/">link #54</ulink>.
</para></footnote>
mistake lost it.
</para>
<indexterm><primary>Steward, Geoffrey</primary></indexterm>
+<indexterm id='idxjonesdayreavisandpoguejonesday' class='startofrange'><primary>Jones, Day, Reavis and Pogue (Jones Day)</primary></indexterm>
<para>
<emphasis role='strong'>The mistake</emphasis> was made early, though
it became obvious only at the very end. Our case had been supported
speech and free culture; otherwise, they would never vote against <quote>the
most powerful media companies in the world.</quote>
</para>
+<indexterm startref='idxjonesdayreavisandpoguejonesday' class='endofrange'/>
<para>
I hate this view of the law. Of course I thought the Sonny Bono Act
was a dramatic harm to free speech and free culture. Of course I still
<indexterm><primary>Morrison, Alan</primary></indexterm>
<indexterm><primary>Public Citizen</primary></indexterm>
<indexterm><primary>Reagan, Ronald</primary></indexterm>
+<indexterm><primary>Jones, Day, Reavis and Pogue (Jones Day)</primary></indexterm>
<para>
The same effort at balance was reflected in the legal team we gathered
to write our briefs in the case. The Jones Day lawyers had been with
was little I did beyond preparing for this case. Early on, as I said,
I set the strategy.
</para>
+<indexterm><primary>Kennedy, Anthony</primary></indexterm>
+<indexterm><primary>O'Connor, Sandra Day</primary></indexterm>
<indexterm><primary>Rehnquist, William H.</primary></indexterm>
<indexterm><primary>O'Connor, Sandra Day</primary></indexterm>
+<indexterm><primary>Thomas, Clarence</primary></indexterm>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
+<indexterm><primary>United States v. Morrison</primary></indexterm>
+<indexterm><primary>Scalia, Antonin</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>Supreme Court restraint on</secondary></indexterm>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>congressional actions restrained by</secondary></indexterm>
+<indexterm id='idxsupremecourtusfactionsof' class='startofrange'><primary>Supreme Court, U.S.</primary><secondary>factions of</secondary></indexterm>
<para>
The Supreme Court was divided into two important camps. One camp we
called <quote>the Conservatives.</quote> The other we called <quote>the Rest.</quote> The
believed, there was a very important free speech argument against
these retrospective extensions.
</para>
+<indexterm startref='idxsupremecourtusfactionsof' class='endofrange'/>
<indexterm startref='idxginsburg' class='endofrange'/>
<para>
The only vote we could be confident about was that of Justice
that Congress's power must be interpreted so that its enumerated
powers have limits.
</para>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
+<indexterm><primary>commerce, interstate</primary></indexterm>
+<indexterm><primary>interstate commerce</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>in constitutional Progress Clause</secondary></indexterm>
+<indexterm><primary>Progress Clause</primary></indexterm>
+<indexterm id='idxcongressuscopyrighttermsextendedby5' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
<para>
This then was the core of our strategy—a strategy for which I am
responsible. We would get the Court to see that just as with the
copyrights. So, the government argued, the Court should not now say
that practice is unconstitutional.
</para>
+<indexterm startref='idxcongressuscopyrighttermsextendedby5' class='endofrange'/>
<para>
There was some truth to the government's claim, but not much. We
certainly agreed that Congress had extended existing terms in 1831
<indexterm><primary>Ayer, Don</primary></indexterm>
<indexterm><primary>Reagan, Ronald</primary></indexterm>
<indexterm><primary>Fried, Charles</primary></indexterm>
+<indexterm><primary>Jones, Day, Reavis and Pogue (Jones Day)</primary></indexterm>
<para>
One moot was before the lawyers at Jones Day. Don Ayer was the
skeptic. He had served in the Reagan Justice Department with Solicitor
here was the place Don Ayer's advice should have mattered. This was a
softball; my answer was a swing and a miss.
</para>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
<para>
The second came from the Chief, for whom the whole case had been
crafted. For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling,
was the last naïve law professor, scouring the pages, looking for
reasoning.
</para>
+<indexterm id='idxunitedstatesvlopez2' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
<para>
I first scoured the opinion, looking for how the Court would
distinguish the principle in this case from the principle in
followed from the <citetitle>Lopez</citetitle> case: In that context, Congress's power would
be limited, but in this context it would not.
</para>
+<indexterm startref='idxunitedstatesvlopez2' class='endofrange'/>
<para>
Yet by what right did they get to choose which of the framers' values
they would respect? By what right did they—the silent
<quote>limited,</quote> and the existing term was so long as to be effectively
unlimited, then it was unconstitutional.
</para>
+<indexterm id='idxunitedstatesvlopez3' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
<para>
These two justices understood all the arguments we had made. But
because neither believed in the <citetitle>Lopez</citetitle> case, neither was willing to push
<citetitle>Lopez</citetitle> and many other <quote>originalist</quote> rulings. Where was their
<quote>originalism</quote> now?
</para>
+<indexterm startref='idxunitedstatesvlopez3' class='endofrange'/>
<para>
Here, they had joined an opinion that never once tried to explain
what the framers had meant by crafting the Progress Clause as they
everything else, let the content go.
</para>
<indexterm><primary>Forbes, Steve</primary></indexterm>
+<indexterm><primary>Democratic Party</primary></indexterm>
+<indexterm><primary>Republican Party</primary></indexterm>
<para>
The reaction to this idea was amazingly strong. Steve Forbes endorsed
it in an editorial. I received an avalanche of e-mail and letters
close.</quote> There was a general reaction in the blog community that
something good might happen here.
</para>
+<indexterm><primary>Valenti, Jack</primary><secondary>Eldred Act opposed by</secondary></indexterm>
<para>
But at this stage, the lobbyists began to intervene. Jack Valenti and
the MPAA general counsel came to the congresswoman's office to give
<!-- f6. --> Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> <citetitle>Washington Post</citetitle>,
August 2003, E1, available at
<ulink url="http://free-culture.cc/notes/">link #59</ulink>; William New, <quote>Global Group's
-Shift on `Open Source' Meeting Spurs Stir,</quote> <citetitle>National Journal's Technology
+Shift on <quote>Open Source</quote> Meeting Spurs Stir,</quote> <citetitle>National Journal's Technology
Daily</citetitle>, 19 August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #60</ulink>; William New, <quote>U.S. Official
-Opposes `Open Source' Talks at WIPO,</quote> <citetitle>National Journal's Technology
+Opposes <quote>Open Source</quote> Talks at WIPO,</quote> <citetitle>National Journal's Technology
Daily</citetitle>, 19 August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #61</ulink>.
</para></footnote>
</para>
<indexterm startref='idxmicrosoftonfreesoftware' class='endofrange'/>
<indexterm><primary>Boland, Lois</primary></indexterm>
+<indexterm id='idxpatentandtrademarkofficeus' class='startofrange'><primary>Patent and Trademark Office, U.S.</primary></indexterm>
<para>
What was surprising was the United States government's reason for
opposing the meeting. Again, as reported by Krim, Lois Boland, acting
is supposed to be about: giving individuals the right to decide what
to do with <emphasis>their</emphasis> property.
</para>
-<indexterm id='idxboland' class='startofrange'><primary>Boland, Lois</primary></indexterm>
+<indexterm id='idxboland
lois' class='startofrange'><primary>Boland, Lois</primary></indexterm>
<para>
When Ms. Boland says that there is something wrong with a meeting
<quote>which has as its purpose to disclaim or waive such rights,</quote> she's
whether Republican or Democrat. My only illusion apparently is about
whether our government should speak the truth or not.)
</para>
-<indexterm startref='idxboland' class='endofrange'/>
+<indexterm startref='idxbolandlois' class='endofrange'/>
<para>
Obviously, however, the poster was not supporting that idea. Instead,
the poster was ridiculing the very idea that in the real world, the
It might be crazy to argue that we should preserve a tradition that has
been part of our tradition for most of our history—free culture.
</para>
+<indexterm startref='idxpatentandtrademarkofficeus' class='endofrange'/>
<para>
If this is crazy, then let there be more crazies. Soon.
</para>
</chapter>
<chapter label="" id="c-afterword">
<title>Afterword</title>
+<indexterm id='idxcopyrightvoluntaryreformeffortson' class='startofrange'><primary>copyright</primary><secondary>voluntary reform efforts on</secondary></indexterm>
<para>
<!-- PAGE BREAK 280 -->
story in their own words, and to tell their neighbors why this battle
is so important.
</para>
+<indexterm><primary>RCA</primary></indexterm>
+<indexterm startref='idxcopyrightvoluntaryreformeffortson' class='endofrange'/>
<para>
Once this movement has its effect in the streets, it has some hope of
having an effect in Washington. We are still a democracy. What people
<section id="usnow">
<title>Us, now</title>
+<indexterm id='idxcopyrightvoluntaryreformeffortson2' class='startofrange'><primary>copyright</primary><secondary>voluntary reform efforts on</secondary></indexterm>
<para>
<emphasis role='strong'>Common sense</emphasis> is with the copyright
warriors because the debate so far has been framed at the
well.
</para>
<indexterm startref='idxbooksfreeonline2' class='endofrange'/>
+<indexterm><primary>Leaphart, Walter</primary></indexterm>
<indexterm><primary>Public Enemy</primary></indexterm>
+<indexterm startref='idxcopyrightvoluntaryreformeffortson2' class='endofrange'/>
<indexterm><primary>rap music</primary></indexterm>
-<indexterm><primary>Leaphart, Walter</primary></indexterm>
<para>
These are examples of using the Commons to better spread proprietary
content. I believe that is a wonderful and common use of the
role. Instead, we should be creating incentives for private parties to
serve the public, subject to standards that the government sets.
</para>
+<indexterm><primary>domain names</primary></indexterm>
+<indexterm><primary>Internet</primary><secondary>domain name registration on</secondary></indexterm>
+<indexterm><primary>Web sites, domain name registration of</primary></indexterm>
<para>
In the context of registration, one obvious model is the Internet.
There are at least 32 million Web sites registered around the world.
</para>
<indexterm startref='idxpromisestokeepfisher' class='endofrange'/>
<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>semiotic democracy</primary></indexterm>
+<indexterm><primary>democracy</primary><secondary>semiotic</secondary></indexterm>
<para>
Fisher would balk at the idea of allowing the system to lapse. His aim
is not just to ensure that artists are paid, but also to ensure that
</para>
<para>
-Several people joined, and Anders Hagen Jarmund, Kirill Miazine and
-Odd Kleiva 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 and Johannes Larsen
-did very valuable proofreading. Håkon Wium Lie helped me track down a
+Several people joined, and Anders Hagen Jarmund, Kirill Miazine, Odd
+Kleiva, Kjetil Kilhavn og Kjetil T. Homme assisted with the initial
+translation. Ralph Amissah and his SiSu version provided index
+entries. Morten Sickel and Alexander Alemayhu helped with the
+figures, redrawing some of the bitmaps as vector images. Wivi
+Reinholdtsen, Ingrid Yrvin, Johannes Larsen and Gisle Hannemyr did
+very valuable proofreading. Håkon Wium Lie helped me track down a
good replacement font without usage restrictions instead of the one in
the original PDF. The PDF typesetting is done using dblatex, which we
selected over the alternatives thanks to the invaluable and quick help
from Benoît Guillon and Andreas Hoenen. Thomas Gramstad donated ISBN
-numbers needed for distribution to book stores. 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.
+numbers needed for distribution to book stores. Marc Jeanmougin from
+the inkscape community helped me replicate the original front cover.
+The support of Lawrence Lessig helped me to complete the
+project—I am very thankful he had the original screen shots
+still available after 11 years.
+ </para>
+
+ <para>
+At the end of the project, when the translation was done and it was
+time to publish, NUUG Foundation was asked and was willing to sponsor
+books to members of the Norwegian parliament and other decision
+makers.
</para>
<para>
-I am also very grateful for my family for their patience with me in
-this project.
+In addition to these great contributors, I am very grateful to Mari
+and my family for their patience with me in this project.
</para>
<para>
-— Petter Reinholdtsen, Oslo 2015-08-27
+— Petter Reinholdtsen, Oslo 2015-09-07
</para>
</chapter>
<index></index>
<colophon>
-<!--
-Hack to get rid of chapter heading on colophon page and provide a more
-conventional Colophon page. The disadvantage is a useless blank page
-where the empty chapter title is printed.
--->
<title></title>
<?latex {\centering
?>
</para>
<para>
-Portrait of the author used on the back cover is copyright 2013
-ActuaLitté and licensed using Creative Commons Attribution-ShareAlike
-2.0, fetched from
-<ulink url="https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg"/>
-.
+Cover created by Petter Reinholdtsen using inkscape.
</para>
<para>
-Includes index.
+The quotes on the cover came from
+<ulink url="http://free-culture.cc/jacket/"/>.
+</para>
+
+<para>
+Portrait on the cover was created 2013 by ActuaLitté and licensed
+under a Creative Commons Attribution-ShareAlike 2.0 license. It was
+downloaded from
+<ulink url="https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg"/>.
</para>
<para>
Thomas Gramstad Forlag donated the ISBN numbers.
</para>
+<para>
+Printing was sponsed by NUUG Foundation,
+<ulink url="http://www.nuugfoundation.no/"/>.
+</para>
+
+<para>
+Includes index.
+</para>
+
<?latex } %\centering
?>
Please report any issues with the book there.
</para>
+<para>
+ <informalfigure id="cc-logo">
+ <graphic fileref="images/cc.svg" align="center" width="11%"></graphic>
+ </informalfigure>
+</para>
+
<para>
This book is licensed under a Creative Commons license. This license
permits non-commercial use of this work, so long as attribution is
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+ <entry>978-82-8067-012-0</entry>
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+
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+ id="path3052"
+ inkscape:connector-curvature="0" />
+ </g>
+ </g>
+</svg>
\newenvironment{colophon}{
\pagebreak %
-% FIXME change when page size changes
+% FIXME change when page size changes, use {x}{x*1.2}
+
+% Note, these numbers are not correct any more for the sizes mentioned:
% \fontsize{6.5}{7.8}\selectfont % fits in one 4.25x6.875" pocket size page
% \fontsize{7.5}{9}\selectfont % fits in one 5.06x7.71" size page
% \fontsize{9.1}{10.92}\selectfont % fits in one 5.5x8.5" digest size page
- \fontsize{9.9}{11.88}\selectfont % fits in one 6x9'' size page
+
+ \fontsize{8.2}{9.84}\selectfont % fits in one 6x9'' size page
\setlength{\parskip}{0.5em} %
\setlength{\parindent}{0pt} %
}{}
--- /dev/null
+#!/usr/bin/env ruby
+
+REPLACE_WITH = " – "
+
+is_translation = false
+
+lines = ARGF.readlines
+lines.each_with_index do |line, i|
+ case line
+ when /^msgid/ then is_translation = false
+ when /^msgstr/ then is_translation = true
+ end
+
+ unless is_translation
+ next
+ end
+
+ if line =~ /^"—/
+ lines[i-1].sub!(/ *"$/, "\"")
+ end
+ if line =~ /—"$/
+ lines[i+1].sub!(/^" */, "\"")
+ end
+
+ line.gsub!(/ *— */, REPLACE_WITH)
+end
+puts lines
2015-08-17T2247 2310 oversatte meldinger, 8 oversatte meldinger.
2015-08-23T2258 2316 oversatte meldinger, 7 oversatte meldinger.
2015-08-31T2318 2327 oversatte meldinger, 7 oversatte meldinger.
+2015-09-05T1242 2334 oversatte meldinger, 3 oversatte meldinger.
+2015-09-05T2358 2337 oversatte meldinger.
+2015-09-13T1155 2341 oversatte meldinger, 13 oversatte meldinger.
+2015-09-15T1118 2365 oversatte meldinger, 25 oversatte meldinger.
+2015-09-19T0044 2393 oversatte meldinger.
unconstitutional = forfatningsstridig / i strid med grunnloven
compliance = i henhold til loven
the law = rettsvesenet, lovverket, loven
-common law = sedvanerett
+common law = (sedvanerett,) rettspraksis, prejudikat
positive law = positiv lov
Solicitor General = regjeringsadvokat
-Supreme Court = domstol, rettsal
+Supreme Court = høyesterett, (domstol, rettsal)
Judge Xs opinion = dommer Xs betenkning
Court opinion = domstolavgjørelse
en banc = i plenum
projects / text-free-culture-lessig.git / commitdiff
