Make TOC more compact + endnotes more pretty.
-<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 John A. Wilson Distinguished Faculty Scholar at Stanford 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="idp2366672"></a><p>
+<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 John A. Wilson Distinguished Faculty Scholar at Stanford 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="idp337216"></a><p>
<span class="inlinemediaobject"><img src="images/cc.png" align="middle" height="38" alt="Creative Commons, Some rights reserved"></span>
</p><p>
-This version of <em class="citetitle">Free Culture</em> is licensed under
-a Creative Commons license. This license permits non-commercial use of
-this work, so long as attribution is given. For more information
-about the license, click the icon above, or visit
+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">2004-03-25</p></div><div><div class="abstract"><p class="title"><b>A
BOUT THE AUTHOR</b></p><p>
-LAWRENCE LESSIG
+ </p></div></div><div><p class="pubdate">2004-03-25</p></div><div><div class="abstract"><p class="title"><b>A
bout 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 John A. Wilson Distinguished Faculty Scholar
at Stanford Law School, is founder of the Stanford Center for Internet
</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="idp
332480"></a></h1></div></div></div><p>
+</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp
5736736"></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">P
REFACE</a></span></dt><dt><span class="chapter">0. <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">Creators</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists"><span class="quote">«<span class="quote">Mere Copyists</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Catalogs</a></span></dt><dt><span class="chapter">4. <a href="#pirates"><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"><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">Founders</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Recorders</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Transformers</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Collectors</a></span></dt><dt><span class="chapter">10. <a href="#property-i"><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">Chimera</a></span></dt><dt><span class="chapter">12. <a href="#harms">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">Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Eldred II</a></span></dt></dl></dd><dt><span class="chapter">15. <a href="#c-conclusion">CONCLUSION</a></span></dt><dt><span class="chapter">16. <a href="#c-afterword">AFTERWORD</a></span></dt><dd><dl><dt><span class="section">16.1. <a href="#usnow">US, NOW</a></span></dt><dd><dl><dt><span class="section">16.1.1. <a href="#examples">Rebuilding Freedoms Previously Presumed: Examples</a></span></dt><dt><span class="section">16.1.2. <a href="#oneidea">Rebuilding Free Culture: One Idea</a></span></dt></dl></dd><dt><span class="section">16.2. <a href="#themsoon">THEM, SOON</a></span></dt><dd><dl><dt><span class="section">16.2.1. <a href="#formalities">1. More Formalities</a></span></dt><dd><dl><dt><span class="section">16.2.1.1. <a href="#registration">REGISTRATION AND RENEWAL</a></span></dt><dt><span class="section">16.2.1.2. <a href="#marking">MARKING</a></span></dt></dl></dd><dt><span class="section">16.2.2. <a href="#shortterms">2. Shorter Terms</a></span></dt><dt><span class="section">16.2.3. <a href="#freefairuse">3. Free Use Vs. Fair Use</a></span></dt><dt><span class="section">16.2.4. <a href="#liberatemusic">4. Liberate the Music—Again</a></span></dt><dt><span class="section">16.2.5. <a href="#firelawyers">5. Fire Lots of Lawyers</a></span></dt></dl></dd></dl></dd><dt><span class="chapter">17. <a href="#c-notes">NOTES</a></span></dt><dt><span class="chapter">18. <a href="#c-acknowledgments">ACKNOWLEDGMENTS</a></span></dt><dt><span class="index"><a href="#idp10779456">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">P
reface</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><dt><span class="chapter"><a href="#c-acknowledgments">Acknowledgments</a></span></dt><dt><span class="index"><a href="#idp10793056">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>
<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="idp1
60128"></a><p>
+</p><a class="indexterm" name="idp1
89728"></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.idp182480" class="footnote" name="idp182480"><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.idp6864992" class="footnote" name="idp6864992"><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="idp68
51440"></a><a class="indexterm" name="idp6852192"></a><a class="indexterm" name="idp6852944"></a><p>
+</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="idp68
72944"></a><a class="indexterm" name="idp6873696"></a><a class="indexterm" name="idp6874448"></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.idp187776" class="footnote" name="idp187776"><sup class="footnote">[3]</sup></a>
+the greatest expression of democracy.<a href="#ftn.idp6869824" class="footnote" name="idp6869824"><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="idp68
58848"></a><p>
+</p><a class="indexterm" name="idp68
80352"></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.idp182480" class="footnote"><p><a href="#idp182480" class="para"><sup class="para">[2] </sup></a>
+</p></div><div id="ftn.idp6864992" class="footnote"><p><a href="#idp6864992" 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.idp187776" class="footnote"><p><a href="#idp187776" class="para"><sup class="para">[3] </sup></a> William Safire,
+</p></div><div id="ftn.idp6869824" class="footnote"><p><a href="#idp6869824" 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="idp6857072"></a>
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-introduction"></a>Chapter
0. INTRODUCTION</h1></div></div></div><a class="indexterm" name="idxwrightbrothers"></a><p>
+<a class="indexterm" name="idp6878576"></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
heavier-than-air, self-propelled vehicle could fly. The moment was electric
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.idp6874288" class="footnote" name="idp6874288"><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.idp6895696" class="footnote" name="idp6895696"><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="idp68
75552"></a><p>
+</p><a class="indexterm" name="idp68
96960"></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="idp68
77408"></a><a class="indexterm" name="idp6878160"></a><p>
+</p><a class="indexterm" name="idp68
98816"></a><a class="indexterm" name="idp6899568"></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="idp6
880272"></a><a class="indexterm" name="idp6881024"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
+</p><a class="indexterm" name="idp6
901680"></a><a class="indexterm" name="idp6902432"></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.idp6887680" class="footnote" name="idp6887680"><sup class="footnote">[5]</sup></a>
+the public has a just claim.<a href="#ftn.idp6909088" class="footnote" name="idp6909088"><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="idp6
892928"></a><p>
+</p><a class="indexterm" name="idp6
914336"></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="idp6
895904"></a><a class="indexterm" name="idp6896688"></a><a class="indexterm" name="idp6897504"></a><p>
+</p><a class="indexterm" name="idp6
917216"></a><a class="indexterm" name="idp6918000"></a><a class="indexterm" name="idp6918816"></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="idp69
01392"></a><a class="indexterm" name="idp6902720"></a><a class="indexterm" name="idp6904064"></a><a class="indexterm" name="idp6905040"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp6907248"></a><a class="indexterm" name="idp6908000"></a><a class="indexterm" name="idp6908752"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
+</p><a class="indexterm" name="idp69
22704"></a><a class="indexterm" name="idp6924032"></a><a class="indexterm" name="idp6925376"></a><a class="indexterm" name="idp6926352"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp6928560"></a><a class="indexterm" name="idp6929312"></a><a class="indexterm" name="idp6930064"></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.idp6917280" class="footnote" name="idp6917280"><sup class="footnote">[6]</sup></a>
+box.</span>»</span><a href="#ftn.idp6938592" class="footnote" name="idp6938592"><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="idp69
23072"></a><p>
+</p><a class="indexterm" name="idp69
44384"></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.idp6913872" class="footnote" name="idp6913872"><sup class="footnote">[7]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp69
28912"></a><p>
+RCA.<a href="#ftn.idp6935184" class="footnote" name="idp6935184"><sup class="footnote">[7]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp69
50320"></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.idp6932432" class="footnote" name="idp6932432"><sup class="footnote">[8]</sup></a>
+on which RCA had grown to power.<a href="#ftn.idp6953856" class="footnote" name="idp6953856"><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.idp6936976" class="footnote" name="idp6936976"><sup class="footnote">[9]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp69
37744"></a><a class="indexterm" name="idp6938720"></a><p>
+deviousness.<a href="#ftn.idp6958400" class="footnote" name="idp6958400"><sup class="footnote">[9]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp69
59168"></a><a class="indexterm" name="idp6960144"></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="idp69
40496"></a><a class="indexterm" name="idp6941472"></a><p>
+</p><a class="indexterm" name="idp69
61920"></a><a class="indexterm" name="idp6962896"></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="idp69
42704"></a><a class="indexterm" name="idp6944560"></a><a class="indexterm" name="idp6945536"></a><a class="indexterm" name="idp6946288"></a><p>
+</p><a class="indexterm" name="idp69
64128"></a><a class="indexterm" name="idp6965984"></a><a class="indexterm" name="idp6966960"></a><a class="indexterm" name="idp6967712"></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="idp69
49152"></a><a class="indexterm" name="idp6950128"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
+</p><a class="indexterm" name="idp69
70576"></a><a class="indexterm" name="idp6971552"></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.idp6953808" class="footnote" name="idp6953808"><sup class="footnote">[10]</sup></a>
+before.<a href="#ftn.idp6975232" class="footnote" name="idp6975232"><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="idp69
57616"></a><a class="indexterm" name="idp6958592"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp6960832"></a><p>
+</p><a class="indexterm" name="idp69
79040"></a><a class="indexterm" name="idp6980016"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp6982256"></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.idp6967520" class="footnote" name="idp6967520"><sup class="footnote">[11]</sup></a>
+marketplace.<a href="#ftn.idp6988944" class="footnote" name="idp6988944"><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="idp69
70176"></a><a class="indexterm" name="idp6971184"></a><p>
+</p><a class="indexterm" name="idp69
91600"></a><a class="indexterm" name="idp6992608"></a><p>
This rough divide between the free and the controlled has now
-been erased.<a href="#ftn.idp6972448" class="footnote" name="idp6972448"><sup class="footnote">[12]</sup></a>
+been erased.<a href="#ftn.idp6993872" class="footnote" name="idp6993872"><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="idp69
74384"></a><a class="indexterm" name="idp6975952"></a><a class="indexterm" name="idp6976704"></a><p>
+</p><a class="indexterm" name="idp69
95808"></a><a class="indexterm" name="idp6997376"></a><a class="indexterm" name="idp6998128"></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="idp69
78528"></a><p>
+</p><a class="indexterm" name="idp69
99952"></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
6982128"></a><a class="indexterm" name="idp6982992"></a><p>
+</p><a class="indexterm" name="idp
7003552"></a><a class="indexterm" name="idp7004416"></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.idp6986304" class="footnote" name="idp6986304"><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.idp7007728" class="footnote" name="idp7007728"><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
6990880"></a><a class="indexterm" name="idp6991888"></a><a class="indexterm" name="idp6992896"></a><a class="indexterm" name="idp6993648"></a><p>
+</p><a class="indexterm" name="idp
7012304"></a><a class="indexterm" name="idp7013312"></a><a class="indexterm" name="idp7014320"></a><a class="indexterm" name="idp7015072"></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.idp6995008" class="footnote" name="idp6995008"><sup class="footnote">[14]</sup></a>
+And as Professor Neil Netanel powerfully argues,<a href="#ftn.idp7016432" class="footnote" name="idp7016432"><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="idp70
00912"></a><a class="indexterm" name="idp7001664"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
+</p><a class="indexterm" name="idp70
22336"></a><a class="indexterm" name="idp7023088"></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="idp70
07328"></a><a class="indexterm" name="idp7008080"></a><a class="indexterm" name="idp7008832"></a><p>
+</p><a class="indexterm" name="idp70
28752"></a><a class="indexterm" name="idp7029504"></a><a class="indexterm" name="idp7030256"></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="idp70
10608"></a><p>
+</p><a class="indexterm" name="idp70
32032"></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="idp70
16032"></a><a class="indexterm" name="idp7016784"></a><p>
+</p><a class="indexterm" name="idp70
37456"></a><a class="indexterm" name="idp7038208"></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="idp70
19024"></a><p>
+</p><a class="indexterm" name="idp70
40448"></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.idp6874288" class="footnote"><p><a href="#idp6874288" 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.idp6895696" class="footnote"><p><a href="#idp6895696" 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.idp6887680" class="footnote"><p><a href="#idp6887680" class="para"><sup class="para">[5] </sup></a>
+</p></div><div id="ftn.idp6909088" class="footnote"><p><a href="#idp6909088" 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="idp6891024"></a>
-<a class="indexterm" name="idp6890640"></a>
-</p></div><div id="ftn.idp6917280" class="footnote"><p><a href="#idp6917280" class="para"><sup class="para">[6] </sup></a>
+<a class="indexterm" name="idp6912432"></a>
+<a class="indexterm" name="idp6912048"></a>
+</p></div><div id="ftn.idp6938592" class="footnote"><p><a href="#idp6938592" 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.idp6913872" class="footnote"><p><a href="#idp6913872" 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.idp6935184" class="footnote"><p><a href="#idp6935184" 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.idp6932432" class="footnote"><p><a href="#idp6932432" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
-</p></div><div id="ftn.idp6936976" class="footnote"><p><a href="#idp6936976" class="para"><sup class="para">[9] </sup></a>
+</p></div><div id="ftn.idp6953856" class="footnote"><p><a href="#idp6953856" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
+</p></div><div id="ftn.idp6958400" class="footnote"><p><a href="#idp6958400" class="para"><sup class="para">[9] </sup></a>
Lessing, 256.
-</p></div><div id="ftn.idp6953808" class="footnote"><p><a href="#idp6953808" class="para"><sup class="para">[10] </sup></a>
+</p></div><div id="ftn.idp6975232" class="footnote"><p><a href="#idp6975232" 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.idp6967520" class="footnote"><p><a href="#idp6967520" class="para"><sup class="para">[11] </sup></a>
+</p></div><div id="ftn.idp6988944" class="footnote"><p><a href="#idp6988944" 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="idp6890896"></a>
-</p></div><div id="ftn.idp6972448" class="footnote"><p><a href="#idp6972448" class="para"><sup class="para">[12] </sup></a>
+<a class="indexterm" name="idp6912304"></a>
+</p></div><div id="ftn.idp6993872" class="footnote"><p><a href="#idp6993872" 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="idp6973216"></a>
-</p></div><div id="ftn.idp6986304" class="footnote"><p><a href="#idp6986304" class="para"><sup class="para">[13] </sup></a>
+<a class="indexterm" name="idp6994640"></a>
+</p></div><div id="ftn.idp7007728" class="footnote"><p><a href="#idp7007728" 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.idp6995008" class="footnote"><p><a href="#idp6995008" class="para"><sup class="para">[14] </sup></a>
+</p></div><div id="ftn.idp7016432" class="footnote"><p><a href="#idp7016432" 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="idp6996288"></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">P
IRACY</span>»</span></h1></div></div></div><div class="partintro"><div></div><a class="indexterm" name="idp7027184"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp7029424"></a><a class="indexterm" name="idp7030176"></a><p>
+<a class="indexterm" name="idp7017712"></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">P
iracy</span>»</span></h1></div></div></div><div class="partintro"><div></div><a class="indexterm" name="idp7048608"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp7050848"></a><a class="indexterm" name="idp7051600"></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.idp7033664" class="footnote" name="idp7033664"><sup class="footnote">[15]</sup></a>
-</p><a class="indexterm" name="idp70
35328"></a></blockquote></div><a class="indexterm" name="idp7036432"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
+of them for his own use.<a href="#ftn.idp7055088" class="footnote" name="idp7055088"><sup class="footnote">[15]</sup></a>
+</p><a class="indexterm" name="idp70
56752"></a></blockquote></div><a class="indexterm" name="idp7057856"></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="idp70
41792"></a><p>
+</p><a class="indexterm" name="idp70
63216"></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="idp70
48288"></a><a class="indexterm" name="idp7049040"></a><a class="indexterm" name="idp7049792"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp70
69712"></a><a class="indexterm" name="idp7070464"></a><a class="indexterm" name="idp7071216"></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.idp7054544" class="footnote" name="idp7054544"><sup class="footnote">[16]</sup></a>
+theory of creative property<a href="#ftn.idp7075968" class="footnote" name="idp7075968"><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.idp7044784" class="footnote" name="idp7044784"><sup class="footnote">[17]</sup></a>
+songs that girls sang around Girl Scout campfires.<a href="#ftn.idp7066208" class="footnote" name="idp7066208"><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="idp70
61168"></a><p>
+</p><a class="indexterm" name="idp70
82592"></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="idp70
63456"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
+</p><a class="indexterm" name="idp70
84880"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></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="idp70
69200"></a><p>
+</p><a class="indexterm" name="idp70
90624"></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="idp70
70480"></a><a class="indexterm" name="idp7072016"></a><a class="indexterm" name="idp7072768"></a><p>
+</p><a class="indexterm" name="idp70
91904"></a><a class="indexterm" name="idp7093440"></a><a class="indexterm" name="idp7094192"></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.idp7076416" class="footnote" name="idp7076416"><sup class="footnote">[18]</sup></a>
+Class.</span>»</span><a href="#ftn.idp7097840" class="footnote" name="idp7097840"><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="idp7
079856"></a><p>
+</p><a class="indexterm" name="idp7
101280"></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.idp7033664" class="footnote"><p><a href="#idp7033664" 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.idp7055088" class="footnote"><p><a href="#idp7055088" 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.idp7054544" class="footnote"><p><a href="#idp7054544" class="para"><sup class="para">[16] </sup></a>
+</p></div><div id="ftn.idp7075968" class="footnote"><p><a href="#idp7075968" 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.idp7044784" class="footnote"><p><a href="#idp7044784" class="para"><sup class="para">[17] </sup></a>
+</p></div><div id="ftn.idp7066208" class="footnote"><p><a href="#idp7066208" 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="idp7059392"></a>
-</p></div><div id="ftn.idp7076416" class="footnote"><p><a href="#idp7076416" class="para"><sup class="para">[18] </sup></a>
+<a class="indexterm" name="idp7080816"></a>
+</p></div><div id="ftn.idp7097840" class="footnote"><p><a href="#idp7097840" 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="idp7077984"></a>
-<a class="indexterm" name="idp7078736"></a>
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="creators"></a>Chapter 1. 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>
+<a class="indexterm" name="idp7099408"></a>
+<a class="indexterm" name="idp7100160"></a>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="creators"></a>Chapter 1. C
hapter 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>.
In November, in New York City's Colony Theater, in the first widely
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.idp7096560" class="footnote" name="idp7096560"><sup class="footnote">[19]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp7
098048"></a><p>
+it was something new!<a href="#ftn.idp7117984" class="footnote" name="idp7117984"><sup class="footnote">[19]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp7
119472"></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="idp71
00048"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
+</p><a class="indexterm" name="idp71
21472"></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.idp7110288" class="footnote" name="idp7110288"><sup class="footnote">[20]</sup></a>
+direct cartoon parody of Steamboat Bill,<a href="#ftn.idp7131712" class="footnote" name="idp7131712"><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="idp71
16336"></a><a class="indexterm" name="idp7117312"></a><a class="indexterm" name="idp7118288"></a><a class="indexterm" name="idp7119264"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
+</p><a class="indexterm" name="idp71
37760"></a><a class="indexterm" name="idp7138736"></a><a class="indexterm" name="idp7139712"></a><a class="indexterm" name="idp7140688"></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.idp7123744" class="footnote" name="idp7123744"><sup class="footnote">[21]</sup></a>
+films of his day.<a href="#ftn.idp7145168" class="footnote" name="idp7145168"><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="idp71
36448"></a><p>
+</p><a class="indexterm" name="idp71
57872"></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="idp71
38960"></a><a class="indexterm" name="idp7139936"></a><a class="indexterm" name="idp7140912"></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="idp71
60384"></a><a class="indexterm" name="idp7161360"></a><a class="indexterm" name="idp7162336"></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.idp7138576" class="footnote" name="idp7138576"><sup class="footnote">[22]</sup></a>
+copyrighted.<a href="#ftn.idp7160000" class="footnote" name="idp7160000"><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="idp71
50928"></a><a class="indexterm" name="idp7152288"></a><p>
+</p><a class="indexterm" name="idp71
72352"></a><a class="indexterm" name="idp7173712"></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="idp71
54512"></a><a class="indexterm" name="idp7155488"></a><a class="indexterm" name="idp7156464"></a><a class="indexterm" name="idp7157440"></a><a class="indexterm" name="idp7158416"></a><a class="indexterm" name="idp7159392"></a><p>
+</p><a class="indexterm" name="idp71
75936"></a><a class="indexterm" name="idp7176912"></a><a class="indexterm" name="idp7177888"></a><a class="indexterm" name="idp7178864"></a><a class="indexterm" name="idp7179840"></a><a class="indexterm" name="idp7180816"></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="idp7
181248"></a><p>
+</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="idp7
202672"></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="idp7
184288"></a><a class="indexterm" name="idxwinickjudd"></a><p>
+</p><a class="indexterm" name="idp7
205712"></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.idp7188032" class="footnote" name="idp7188032"><sup class="footnote">[23]</sup></a>
-</p><a class="indexterm" name="idp7
189312"></a><a class="indexterm" name="idp7190288"></a><p>
+and building from them.<a href="#ftn.idp7209456" class="footnote" name="idp7209456"><sup class="footnote">[23]</sup></a>
+</p><a class="indexterm" name="idp7
210736"></a><a class="indexterm" name="idp7211712"></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="idp7
192896"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp7195360"></a><a class="indexterm" name="idxmehrasalil"></a><p>
+</p><a class="indexterm" name="idp7
214320"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp7216784"></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.idp7198064" class="footnote" name="idp7198064"><sup class="footnote">[24]</sup></a>
-</p><a class="indexterm" name="idp72
00592"></a><a class="indexterm" name="idp7201568"></a><a class="indexterm" name="idp7202544"></a><p>
+banned, so the law does not ban doujinshi.<a href="#ftn.idp7219488" class="footnote" name="idp7219488"><sup class="footnote">[24]</sup></a>
+</p><a class="indexterm" name="idp72
22016"></a><a class="indexterm" name="idp7222992"></a><a class="indexterm" name="idp7223968"></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="idp72
04816"></a><a class="indexterm" name="idp7205792"></a><p>
+</p><a class="indexterm" name="idp72
26240"></a><a class="indexterm" name="idp7227216"></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="idp72
09440"></a><p>
+</p><a class="indexterm" name="idp72
30864"></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.idp7213104" class="footnote" name="idp7213104"><sup class="footnote">[25]</sup></a>
+<span class="quote">«<span class="quote">intellectual property.</span>»</span><a href="#ftn.idp7234528" class="footnote" name="idp7234528"><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="idp72
19216"></a><p>
+</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="idp72
40640"></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="idp72
24752"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp7227216"></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="idp72
46176"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp7248640"></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="idp72
31920"></a><p>
+</p><a class="indexterm" name="idp72
53344"></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="idp72
34480"></a><a class="indexterm" name="idp7235456"></a><a class="indexterm" name="idp7236432"></a><a class="indexterm" name="idp7237408"></a><a class="indexterm" name="idp7238384"></a><a class="indexterm" name="idp7239360"></a><a class="indexterm" name="idp7240336"></a><p>
+</p><a class="indexterm" name="idp72
55904"></a><a class="indexterm" name="idp7256880"></a><a class="indexterm" name="idp7257856"></a><a class="indexterm" name="idp7258832"></a><a class="indexterm" name="idp7259808"></a><a class="indexterm" name="idp7260784"></a><a class="indexterm" name="idp7261760"></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="idp72
43568"></a><p>
+</p><a class="indexterm" name="idp72
64992"></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="idp7247824"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7096560" class="footnote"><p><a href="#idp7096560" class="para"><sup class="para">[19] </sup></a>
+</p><a class="indexterm" name="idp7269248"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7117984" class="footnote"><p><a href="#idp7117984" 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.idp7110288" class="footnote"><p><a href="#idp7110288" class="para"><sup class="para">[20] </sup></a>
+</p></div><div id="ftn.idp7131712" class="footnote"><p><a href="#idp7131712" 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.idp7123744" class="footnote"><p><a href="#idp7123744" class="para"><sup class="para">[21] </sup></a>
+</p></div><div id="ftn.idp7145168" class="footnote"><p><a href="#idp7145168" 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.idp7138576" class="footnote"><p><a href="#idp7138576" class="para"><sup class="para">[22] </sup></a>
+</p></div><div id="ftn.idp7160000" class="footnote"><p><a href="#idp7160000" 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.idp7188032" class="footnote"><p><a href="#idp7188032" class="para"><sup class="para">[23] </sup></a>
+</p></div><div id="ftn.idp7209456" class="footnote"><p><a href="#idp7209456" 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.idp7198064" class="footnote"><p><a href="#idp7198064" class="para"><sup class="para">[24] </sup></a>
+</p></div><div id="ftn.idp7219488" class="footnote"><p><a href="#idp7219488" 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.idp7213104" class="footnote"><p><a href="#idp7213104" class="para"><sup class="para">[25] </sup></a>
+</p></div><div id="ftn.idp7234528" class="footnote"><p><a href="#idp7234528" class="para"><sup class="para">[25] </sup></a>
-<a class="indexterm" name="idp7213744"></a>
+<a class="indexterm" name="idp7235168"></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.
<span class="quote">«<span class="quote">Mere Copyists</span>»</span></h2></div></div></div><a class="indexterm" name="idp7250432"></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="idp7271984"></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="idp72
55856"></a><p>
+</p><a class="indexterm" name="idp72
77408"></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.idp7263904" class="footnote" name="idp7263904"><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.idp7285456" class="footnote" name="idp7285456"><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.idp7187744" class="footnote" name="idp7187744"><sup class="footnote">[27]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp72
69056"></a><p>
+chemicals.<a href="#ftn.idp7209168" class="footnote" name="idp7209168"><sup class="footnote">[27]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp72
90608"></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.idp7270928" class="footnote" name="idp7270928"><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.idp7271824" class="footnote" name="idp7271824"><sup class="footnote">[29]</sup></a>
-</p><a class="indexterm" name="idp72
72720"></a><p>
+percent.<a href="#ftn.idp7292480" class="footnote" name="idp7292480"><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.idp7293376" class="footnote" name="idp7293376"><sup class="footnote">[29]</sup></a>
+</p><a class="indexterm" name="idp72
94272"></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.idp7266336" class="footnote" name="idp7266336"><sup class="footnote">[30]</sup></a>
-</p><a class="indexterm" name="idp72
75808"></a><a class="indexterm" name="idp7276816"></a><p>
+interpretation or bias.</span>»</span><a href="#ftn.idp7287888" class="footnote" name="idp7287888"><sup class="footnote">[30]</sup></a>
+</p><a class="indexterm" name="idp72
97360"></a><a class="indexterm" name="idp7298368"></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="idp7
279296"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
+</p><a class="indexterm" name="idp7
300848"></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.idp7282544" class="footnote" name="idp7282544"><sup class="footnote">[31]</sup></a>
-</p><a class="indexterm" name="idp7
285744"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
+he wanted. Their answer was no.<a href="#ftn.idp7304096" class="footnote" name="idp7304096"><sup class="footnote">[31]</sup></a>
+</p><a class="indexterm" name="idp7
307296"></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="idp7
290752"></a><a class="indexterm" name="idp7291504"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
+</p><a class="indexterm" name="idp7
312304"></a><a class="indexterm" name="idp7313056"></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.idp7294096" class="footnote" name="idp7294096"><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.idp7315648" class="footnote" name="idp7315648"><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="idp7
298048"></a><p>
+</p><a class="indexterm" name="idp7
319600"></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.idp7299872" class="footnote" name="idp7299872"><sup class="footnote">[33]</sup></a>)
-</p><a class="indexterm" name="idp73
03072"></a><a class="indexterm" name="idp7303824"></a><p>
+clearing the rights to do the capturing.<a href="#ftn.idp7321424" class="footnote" name="idp7321424"><sup class="footnote">[33]</sup></a>)
+</p><a class="indexterm" name="idp73
24624"></a><a class="indexterm" name="idp7325376"></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="idp73
06592"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp7308800"></a><a class="indexterm" name="idp7309808"></a><p>
+</p><a class="indexterm" name="idp73
28144"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp7330352"></a><a class="indexterm" name="idp7331360"></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="idp73
11328"></a><a class="indexterm" name="idp7313136"></a><a class="indexterm" name="idp7314112"></a><a class="indexterm" name="idp7315088"></a><a class="indexterm" name="idp7316064"></a><a class="indexterm" name="idxjustthink"></a><p>
+</p><a class="indexterm" name="idp73
32880"></a><a class="indexterm" name="idp7334688"></a><a class="indexterm" name="idp7335664"></a><a class="indexterm" name="idp7336640"></a><a class="indexterm" name="idp7337616"></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.idp7326112" class="footnote" name="idp7326112"><sup class="footnote">[34]</sup></a>
+professional quality for $595.</span>»</span><a href="#ftn.idp7347664" class="footnote" name="idp7347664"><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="idp73
28800"></a><p>
+</p><a class="indexterm" name="idp73
50352"></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="idp73
31264"></a><p>
+</p><a class="indexterm" name="idp73
52816"></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="idp73
33536"></a><a class="indexterm" name="idp7334288"></a><a class="indexterm" name="idp7335040"></a><p>
+</p><a class="indexterm" name="idp73
55088"></a><a class="indexterm" name="idp7355840"></a><a class="indexterm" name="idp7356592"></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.idp7336464" class="footnote" name="idp7336464"><sup class="footnote">[35]</sup></a>
+commercials generally,<a href="#ftn.idp7358016" class="footnote" name="idp7358016"><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="idp73
39424"></a><p>
+</p><a class="indexterm" name="idp73
60976"></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="idp73
43200"></a><p>
+</p><a class="indexterm" name="idxdaleyelizabeth"></a><a class="indexterm" name="idp73
64752"></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.idp7330784" class="footnote" name="idp7330784"><sup class="footnote">[36]</sup></a>
+texture.</span>»</span><a href="#ftn.idp7352336" class="footnote" name="idp7352336"><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.idp7348448" class="footnote" name="idp7348448"><sup class="footnote">[37]</sup></a>
-</p><a class="indexterm" name="idp73
51360"></a><p>
+to a wildly successful author.<a href="#ftn.idp7370000" class="footnote" name="idp7370000"><sup class="footnote">[37]</sup></a>
+</p><a class="indexterm" name="idp73
72912"></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.idp7357088" class="footnote" name="idp7357088"><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.idp7359072" class="footnote" name="idp7359072"><sup class="footnote">[39]</sup></a>
+express.</span>»</span><a href="#ftn.idp7378640" class="footnote" name="idp7378640"><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.idp7380624" class="footnote" name="idp7380624"><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="idp73
61456"></a><p>
+</p><a class="indexterm" name="idp73
83008"></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="idp73
68176"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
+</p><a class="indexterm" name="idp73
89728"></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="idp73
74640"></a><p>
+</p><a class="indexterm" name="idp73
96192"></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="idp73
78320"></a><a class="indexterm" name="idp7379296"></a><a class="indexterm" name="idp7380272"></a><a class="indexterm" name="idp7381248"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp7383456"></a><a class="indexterm" name="idxnewscoverage"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp73
99872"></a><a class="indexterm" name="idp7400848"></a><a class="indexterm" name="idp7401824"></a><a class="indexterm" name="idp7402800"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp7405008"></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="idp
77376"></a><a class="indexterm" name="idp78208"></a><p>
+</p><a class="indexterm" name="idp
4096"></a><a class="indexterm" name="idp4880"></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="idp
80944"></a><p>
+</p><a class="indexterm" name="idp
7616"></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="idp74
03552"></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="idp74
24976"></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="idp74
10176"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
+</p><a class="indexterm" name="idp74
31712"></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="idp74
19792"></a><a class="indexterm" name="idp7420768"></a><a class="indexterm" name="idp7421744"></a><a class="indexterm" name="idp7422720"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp7424960"></a><p>
+</p><a class="indexterm" name="idp74
41328"></a><a class="indexterm" name="idp7442304"></a><a class="indexterm" name="idp7443280"></a><a class="indexterm" name="idp7444256"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp7446496"></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.idp7427952" class="footnote" name="idp7427952"><sup class="footnote">[40]</sup></a>
-</p><a class="indexterm" name="idp74
29232"></a><p>
+come to an end.<a href="#ftn.idp7449488" class="footnote" name="idp7449488"><sup class="footnote">[40]</sup></a>
+</p><a class="indexterm" name="idp74
50768"></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.idp7430672" class="footnote" name="idp7430672"><sup class="footnote">[41]</sup></a>
+are pushing to create just such an institution.<a href="#ftn.idp7452208" class="footnote" name="idp7452208"><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.idp7434784" class="footnote" name="idp7434784"><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.idp7456320" class="footnote" name="idp7456320"><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="idp74
37408"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp7440880"></a><a class="indexterm" name="idp7441856"></a><a class="indexterm" name="idp7442832"></a><p>
+</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="idp74
58944"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp7462416"></a><a class="indexterm" name="idp7463392"></a><a class="indexterm" name="idp7464368"></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="idp74
45712"></a><p>
+</p><a class="indexterm" name="idp74
67248"></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="idp74
47088"></a><a class="indexterm" name="idp7447840"></a><a class="indexterm" name="idxmediablogpressureon"></a><a class="indexterm" name="idxinternetnewseventson2"></a><p>
+</p><a class="indexterm" name="idp74
68624"></a><a class="indexterm" name="idp7469376"></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.idp7453264" class="footnote" name="idp7453264"><sup class="footnote">[43]</sup></a>
+resign as senate majority leader.<a href="#ftn.idp7474800" class="footnote" name="idp7474800"><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="idp74
56704"></a><a class="indexterm" name="idp7457680"></a><p>
+</p><a class="indexterm" name="idp74
78240"></a><a class="indexterm" name="idp7479216"></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="idp74
59504"></a><a class="indexterm" name="idxjournalism"></a><a class="indexterm" name="idxwinerdave"></a><p>
+</p><a class="indexterm" name="idp74
81040"></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="idp74
65200"></a><a class="indexterm" name="idp7465952"></a><a class="indexterm" name="idp7466960"></a><a class="indexterm" name="idp7467712"></a><p>
+</p><a class="indexterm" name="idp74
86736"></a><a class="indexterm" name="idp7487488"></a><a class="indexterm" name="idp7488496"></a><a class="indexterm" name="idp7489248"></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.idp7426736" class="footnote" name="idp7426736"><sup class="footnote">[44]</sup></a>
+its own employees.<a href="#ftn.idp7448272" class="footnote" name="idp7448272"><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="idp74
71440"></a><p>
+</p><a class="indexterm" name="idp74
92976"></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.idp7473408" class="footnote" name="idp7473408"><sup class="footnote">[45]</sup></a>
+retell what they had seen.<a href="#ftn.idp7494944" class="footnote" name="idp7494944"><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.idp7476928" class="footnote" name="idp7476928"><sup class="footnote">[46]</sup></a>
+have been told to curtail their blogging.<a href="#ftn.idp7498464" class="footnote" name="idp7498464"><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="idp7
485856"></a><p>
+</p><a class="indexterm" name="idp7
507392"></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="idp7
488480"></a><a class="indexterm" name="idp7489456"></a><a class="indexterm" name="idp7490432"></a><a class="indexterm" name="idp7491408"></a><a class="indexterm" name="idp7492384"></a><a class="indexterm" name="idp7493360"></a><a class="indexterm" name="idp7494336"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
+</p><a class="indexterm" name="idp7
510016"></a><a class="indexterm" name="idp7510992"></a><a class="indexterm" name="idp7511968"></a><a class="indexterm" name="idp7512944"></a><a class="indexterm" name="idp7513920"></a><a class="indexterm" name="idp7514896"></a><a class="indexterm" name="idp7515872"></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="idp75
08304"></a><a class="indexterm" name="idp7509280"></a><p>
+</p><a class="indexterm" name="idp75
29840"></a><a class="indexterm" name="idp7530816"></a><p>
Brown is talking about what Elizabeth Daley, Stephanie Barish, and
Just Think! teach: that this tinkering with culture teaches as well
</p><p>
These restrictions have become the focus of researchers and scholars.
Professor Ed Felten of Princeton (whom we'll see more of in chapter
-<a class="xref" href="#property-i" title="Chapter 10. «Property»">10</a>)
+<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.idp7513440" class="footnote" name="idp7513440"><sup class="footnote">[47]</sup></a>
+general.<a href="#ftn.idp7534976" class="footnote" name="idp7534976"><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="idp75
18224"></a><p>
+</p><a class="indexterm" name="idp75
39760"></a><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>
<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. Collectors">9</a>,
+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.idp7263904" class="footnote"><p><a href="#idp7263904" 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.idp7285456" class="footnote"><p><a href="#idp7285456" 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.idp7187744" class="footnote"><p><a href="#idp7187744" class="para"><sup class="para">[27] </sup></a>
+</p></div><div id="ftn.idp7209168" class="footnote"><p><a href="#idp7209168" class="para"><sup class="para">[27] </sup></a>
-<a class="indexterm" name="idp7267536"></a>
+<a class="indexterm" name="idp7289088"></a>
Brian Coe, <em class="citetitle">The Birth of Photography</em> (New York: Taplinger Publishing,
1977), 53.
-</p></div><div id="ftn.idp7270928" class="footnote"><p><a href="#idp7270928" class="para"><sup class="para">[28] </sup></a>
+</p></div><div id="ftn.idp7292480" class="footnote"><p><a href="#idp7292480" class="para"><sup class="para">[28] </sup></a>
Jenkins, 177.
-</p></div><div id="ftn.idp7271824" class="footnote"><p><a href="#idp7271824" class="para"><sup class="para">[29] </sup></a>
+</p></div><div id="ftn.idp7293376" class="footnote"><p><a href="#idp7293376" class="para"><sup class="para">[29] </sup></a>
Based on a chart in Jenkins, p. 178.
-</p></div><div id="ftn.idp7266336" class="footnote"><p><a href="#idp7266336" class="para"><sup class="para">[30] </sup></a>
+</p></div><div id="ftn.idp7287888" class="footnote"><p><a href="#idp7287888" class="para"><sup class="para">[30] </sup></a>
Coe, 58.
-</p></div><div id="ftn.idp7282544" class="footnote"><p><a href="#idp7282544" class="para"><sup class="para">[31] </sup></a>
+</p></div><div id="ftn.idp7304096" class="footnote"><p><a href="#idp7304096" 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.idp7294096" class="footnote"><p><a href="#idp7294096" class="para"><sup class="para">[32] </sup></a>
+</p></div><div id="ftn.idp7315648" class="footnote"><p><a href="#idp7315648" 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="idp7295632"></a>
-<a class="indexterm" name="idp7296384"></a>
-</p></div><div id="ftn.idp7299872" class="footnote"><p><a href="#idp7299872" class="para"><sup class="para">[33] </sup></a>
+<a class="indexterm" name="idp7317184"></a>
+<a class="indexterm" name="idp7317936"></a>
+</p></div><div id="ftn.idp7321424" class="footnote"><p><a href="#idp7321424" 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.idp7326112" class="footnote"><p><a href="#idp7326112" class="para"><sup class="para">[34] </sup></a>
+</p></div><div id="ftn.idp7347664" class="footnote"><p><a href="#idp7347664" 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.idp7336464" class="footnote"><p><a href="#idp7336464" class="para"><sup class="para">[35] </sup></a>
+</p></div><div id="ftn.idp7358016" class="footnote"><p><a href="#idp7358016" 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.idp7330784" class="footnote"><p><a href="#idp7330784" class="para"><sup class="para">[36] </sup></a>
+</p></div><div id="ftn.idp7352336" class="footnote"><p><a href="#idp7352336" class="para"><sup class="para">[36] </sup></a>
Interview with Elizabeth Daley and Stephanie Barish, 13 December
2002.
-<a class="indexterm" name="idp7345904"></a>
-<a class="indexterm" name="idp7346656"></a>
-</p></div><div id="ftn.idp7348448" class="footnote"><p><a href="#idp7348448" class="para"><sup class="para">[37] </sup></a>
+<a class="indexterm" name="idp7367456"></a>
+<a class="indexterm" name="idp7368208"></a>
+</p></div><div id="ftn.idp7370000" class="footnote"><p><a href="#idp7370000" 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.idp7357088" class="footnote"><p><a href="#idp7357088" class="para"><sup class="para">[38] </sup></a>
+</p></div><div id="ftn.idp7378640" class="footnote"><p><a href="#idp7378640" class="para"><sup class="para">[38] </sup></a>
Interview with Daley and Barish.
-<a class="indexterm" name="idp7357856"></a>
-</p></div><div id="ftn.idp7359072" class="footnote"><p><a href="#idp7359072" class="para"><sup class="para">[39] </sup></a>
+<a class="indexterm" name="idp7379408"></a>
+</p></div><div id="ftn.idp7380624" class="footnote"><p><a href="#idp7380624" class="para"><sup class="para">[39] </sup></a>
Ibid.
-</p></div><div id="ftn.idp7427952" class="footnote"><p><a href="#idp7427952" class="para"><sup class="para">[40] </sup></a>
+</p></div><div id="ftn.idp7449488" class="footnote"><p><a href="#idp7449488" 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.idp7430672" class="footnote"><p><a href="#idp7430672" class="para"><sup class="para">[41] </sup></a>
+</p></div><div id="ftn.idp7452208" class="footnote"><p><a href="#idp7452208" 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.idp7434784" class="footnote"><p><a href="#idp7434784" class="para"><sup class="para">[42] </sup></a>
+</p></div><div id="ftn.idp7456320" class="footnote"><p><a href="#idp7456320" 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.idp7453264" class="footnote"><p><a href="#idp7453264" class="para"><sup class="para">[43] </sup></a>
+</p></div><div id="ftn.idp7474800" class="footnote"><p><a href="#idp7474800" 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.idp7426736" class="footnote"><p><a href="#idp7426736" class="para"><sup class="para">[44] </sup></a>
+</p></div><div id="ftn.idp7448272" class="footnote"><p><a href="#idp7448272" class="para"><sup class="para">[44] </sup></a>
Telephone interview with David Winer, 16 April 2003.
-</p></div><div id="ftn.idp7473408" class="footnote"><p><a href="#idp7473408" class="para"><sup class="para">[45] </sup></a>
+</p></div><div id="ftn.idp7494944" class="footnote"><p><a href="#idp7494944" 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.idp7476928" class="footnote"><p><a href="#idp7476928" class="para"><sup class="para">[46] </sup></a>
+</p></div><div id="ftn.idp7498464" class="footnote"><p><a href="#idp7498464" class="para"><sup class="para">[46] </sup></a>
-<a class="indexterm" name="idp7479360"></a>
-<a class="indexterm" name="idp7480112"></a>
-<a class="indexterm" name="idp7480864"></a>
-<a class="indexterm" name="idp7481616"></a>
+<a class="indexterm" name="idp7500896"></a>
+<a class="indexterm" name="idp7501648"></a>
+<a class="indexterm" name="idp7502400"></a>
+<a class="indexterm" name="idp7503152"></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.idp7513440" class="footnote"><p><a href="#idp7513440" class="para"><sup class="para">[47] </sup></a>
+</p></div><div id="ftn.idp7534976" class="footnote"><p><a href="#idp7534976" 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. C
atalogs</h2></div></div></div><a class="indexterm" name="idp7522848"></a><a class="indexterm" name="idp7523600"></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. C
hapter Three: Catalogs</h2></div></div></div><a class="indexterm" name="idp7544384"></a><a class="indexterm" name="idp7545136"></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="idp75
41232"></a><p>
+</p><a class="indexterm" name="idp75
62304"></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="idp75
43232"></a><p>
+</p><a class="indexterm" name="idp75
64304"></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="idp75
44912"></a><p>
+</p><a class="indexterm" name="idp75
65984"></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="idp75
46944"></a><a class="indexterm" name="idp7547696"></a><p>
+</p><a class="indexterm" name="idp75
68016"></a><a class="indexterm" name="idp7568768"></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="idp75
56400"></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="idp75
77472"></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="idp75
60976"></a><a class="indexterm" name="idp7561952"></a><a class="indexterm" name="idp7562960"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp7565616"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaintimidationtacticsof"></a><p>
+</p><a class="indexterm" name="idp75
81616"></a><a class="indexterm" name="idp7582592"></a><a class="indexterm" name="idp7583600"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp7586256"></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="idp75
70160"></a><a class="indexterm" name="idp7570912"></a><p>
+</p><a class="indexterm" name="idp75
90800"></a><a class="indexterm" name="idp7591552"></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.idp7573568" class="footnote" name="idp7573568"><sup class="footnote">[48]</sup></a>
-</p><a class="indexterm" name="idp75
75344"></a><p>
+2001.<a href="#ftn.idp7594208" class="footnote" name="idp7594208"><sup class="footnote">[48]</sup></a>
+</p><a class="indexterm" name="idp75
95984"></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="idp75
77008"></a><p>
+</p><a class="indexterm" name="idp75
97648"></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="idp75
79600"></a><p>
+</p><a class="indexterm" name="idp75
99808"></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="idp7
581984"></a><a class="indexterm" name="idp7582992"></a><a class="indexterm" name="idp7584000"></a><p>
+</p><a class="indexterm" name="idp7
602192"></a><a class="indexterm" name="idp7603200"></a><a class="indexterm" name="idp7604208"></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.idp7585712" class="footnote" name="idp7585712"><sup class="footnote">[49]</sup></a>
+artist makes $45,900.<a href="#ftn.idp7605984" class="footnote" name="idp7605984"><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.idp7587280" class="footnote" name="idp7587280"><sup class="footnote">[50]</sup></a>
-</p><a class="indexterm" name="idp7
588944"></a><a class="indexterm" name="idp7590080"></a><p>
+student for running a search engine?<a href="#ftn.idp7607472" class="footnote" name="idp7607472"><sup class="footnote">[50]</sup></a>
+</p><a class="indexterm" name="idp7
609136"></a><a class="indexterm" name="idp7610352"></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="idp7593984"></a><a class="indexterm" name="idp7594960"></a><a class="indexterm" name="idp7595936"></a><a class="indexterm" name="idp7596912"></a><a class="indexterm" name="idp7598048"></a><a class="indexterm" name="idp7599024"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7573568" class="footnote"><p><a href="#idp7573568" class="para"><sup class="para">[48] </sup></a>
+</p><a class="indexterm" name="idp7614256"></a><a class="indexterm" name="idp7615232"></a><a class="indexterm" name="idp7616208"></a><a class="indexterm" name="idp7617184"></a><a class="indexterm" name="idp7618320"></a><a class="indexterm" name="idp7619296"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7594208" class="footnote"><p><a href="#idp7594208" 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.idp7585712" class="footnote"><p><a href="#idp7585712" class="para"><sup class="para">[49] </sup></a>
+</p></div><div id="ftn.idp7605984" class="footnote"><p><a href="#idp7605984" 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.idp7587280" class="footnote"><p><a href="#idp7587280" class="para"><sup class="para">[50] </sup></a>
+</p></div><div id="ftn.idp7607472" class="footnote"><p><a href="#idp7607472" 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.
<span class="quote">«<span class="quote">Pirates</span>»</span></h2></div></div></div><a class="indexterm" name="idxpiracyindevelopmentofcontentindustry"></a><a class="indexterm" name="idp7603312"></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="idp7623712"></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
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.idp7608016" class="footnote" name="idp7608016"><sup class="footnote">[51]</sup></a>
+The film industry of Hollywood was built by fleeing pirates.<a href="#ftn.idp7628416" class="footnote" name="idp7628416"><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="idp76
13312"></a><a class="indexterm" name="idp7613952"></a><a class="indexterm" name="idp7614704"></a><p>
+</p><a class="indexterm" name="idp76
33712"></a><a class="indexterm" name="idp7634352"></a><a class="indexterm" name="idp7635104"></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.idp7616352" class="footnote" name="idp7616352"><sup class="footnote">[52]</sup></a>
+license was revoked.<a href="#ftn.idp7636752" class="footnote" name="idp7636752"><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.idp7621808" class="footnote" name="idp7621808"><sup class="footnote">[53]</sup></a>
+sometimes life and limb frequently occurred.</span>»</span><a href="#ftn.idp7642208" class="footnote" name="idp7642208"><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
</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>
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="idp76
30016"></a><p>
+</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="idp76
50416"></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="idp76
32064"></a><p>
+</p><a class="indexterm" name="idp76
52464"></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="idp76
34224"></a><p>
+</p><a class="indexterm" name="idp76
54624"></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="idp7636640"></a>
+<a class="indexterm" name="idp7657040"></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.idp7638384" class="footnote" name="idp7638384"><sup class="footnote">[54]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp76
40928"></a><p>
+rights.<a href="#ftn.idp7658784" class="footnote" name="idp7658784"><sup class="footnote">[54]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp76
61328"></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.idp7642384" class="footnote" name="idp7642384"><sup class="footnote">[55]</sup></a>
+genius of American composers,</span>»</span><a href="#ftn.idp7662784" class="footnote" name="idp7662784"><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.idp7643952" class="footnote" name="idp7643952"><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.idp7664352" class="footnote" name="idp7664352"><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.idp7645296" class="footnote" name="idp7645296"><sup class="footnote">[57]</sup></a>
-</p><a class="indexterm" name="idp76
46320"></a><a class="indexterm" name="idp7647072"></a><a class="indexterm" name="idp7647824"></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.idp7665696" class="footnote" name="idp7665696"><sup class="footnote">[57]</sup></a>
+</p><a class="indexterm" name="idp76
66720"></a><a class="indexterm" name="idp7667472"></a><a class="indexterm" name="idp7668224"></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.idp7655600" class="footnote" name="idp7655600"><sup class="footnote">[58]</sup></a> In any case, the innovators argued, the job of
+increased the sales of sheet music.<a href="#ftn.idp7676000" class="footnote" name="idp7676000"><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.idp7657984" class="footnote" name="idp7657984"><sup class="footnote">[59]</sup></a>
-</p><a class="indexterm" name="idp76
59072"></a><p>
+statute.</span>»</span><a href="#ftn.idp7678384" class="footnote" name="idp7678384"><sup class="footnote">[59]</sup></a>
+</p><a class="indexterm" name="idp76
79472"></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="idp76
67904"></a><a class="indexterm" name="idp7668880"></a><p>
+</p><a class="indexterm" name="idp76
88304"></a><a class="indexterm" name="idp7689280"></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.idp7611184" class="footnote" name="idp7611184"><sup class="footnote">[60]</sup></a>
-</p><a class="indexterm" name="idp76
72656"></a><a class="indexterm" name="idp7673632"></a><a class="indexterm" name="idp7674608"></a><p>
+creativity.<a href="#ftn.idp7631584" class="footnote" name="idp7631584"><sup class="footnote">[60]</sup></a>
+</p><a class="indexterm" name="idp76
93056"></a><a class="indexterm" name="idp7694032"></a><a class="indexterm" name="idp7695008"></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.idp7678528" class="footnote" name="idp7678528"><sup class="footnote">[61]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp76
79792"></a><a class="indexterm" name="idp7680768"></a><a class="indexterm" name="idp7681744"></a><a class="indexterm" name="idp7682720"></a><p>
+choice.<a href="#ftn.idp7698208" class="footnote" name="idp7698208"><sup class="footnote">[61]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp76
99472"></a><a class="indexterm" name="idp7700448"></a><a class="indexterm" name="idp7701424"></a><a class="indexterm" name="idp7702400"></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.idp7689312" class="footnote" name="idp7689312"><sup class="footnote">[62]</sup></a>
+<span class="quote">«<span class="quote">public performance</span>»</span> of the composer's work.<a href="#ftn.idp7708992" class="footnote" name="idp7708992"><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.
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="idp7696736"></a>
+<a class="indexterm" name="idp7716416"></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="idp77
02128"></a><a class="indexterm" name="idp7703104"></a><p>
+</p><a class="indexterm" name="idp77
22176"></a><a class="indexterm" name="idp7723152"></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="idp77
04848"></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="idp77
24896"></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="idp77
09248"></a><a class="indexterm" name="idp7710368"></a><a class="indexterm" name="idp7711120"></a><p>
+</p><a class="indexterm" name="idp77
29296"></a><a class="indexterm" name="idp7730416"></a><a class="indexterm" name="idp7731168"></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.idp7712528" class="footnote" name="idp7712528"><sup class="footnote">[63]</sup></a>
+<span class="quote">«<span class="quote">unfair and potentially destructive competition.</span>»</span><a href="#ftn.idp7732576" class="footnote" name="idp7732576"><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.idp7715248" class="footnote" name="idp7715248"><sup class="footnote">[64]</sup></a>
+interest dictate that you use somebody else's property?</span>»</span><a href="#ftn.idp7735296" class="footnote" name="idp7735296"><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.idp7716960" class="footnote" name="idp7716960"><sup class="footnote">[65]</sup></a>
+paid for.<a href="#ftn.idp7737008" class="footnote" name="idp7737008"><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.idp7719392" class="footnote" name="idp7719392"><sup class="footnote">[66]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp77
20608"></a><p>
+think there are harsher words which would fit it.<a href="#ftn.idp7739440" class="footnote" name="idp7739440"><sup class="footnote">[66]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp77
40656"></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.idp7722336" class="footnote" name="idp7722336"><sup class="footnote">[67]</sup></a>
+compensation.</span>»</span><a href="#ftn.idp7742384" class="footnote" name="idp7742384"><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.idp7725392" class="footnote" name="idp7725392"><sup class="footnote">[68]</sup></a>
-<a class="indexterm" name="idp7727584"></a>
+how far back they should carry their right to compensation.<a href="#ftn.idp7745440" class="footnote" name="idp7745440"><sup class="footnote">[68]</sup></a>
+<a class="indexterm" name="idp7747632"></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="idp77
30912"></a><a class="indexterm" name="idp7731888"></a><p>
+</p><a class="indexterm" name="idp77
50960"></a><a class="indexterm" name="idp7751936"></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.idp7726576" class="footnote" name="idp7726576"><sup class="footnote">[69]</sup></a>
+it is increasingly described today<a href="#ftn.idp7746624" class="footnote" name="idp7746624"><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.idp7608016" class="footnote"><p><a href="#idp7608016" 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.idp7628416" class="footnote"><p><a href="#idp7628416" class="para"><sup class="para">[51] </sup></a>
-<a class="indexterm" name="idp7608656"></a>
+<a class="indexterm" name="idp7629056"></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.idp7616352" class="footnote"><p><a href="#idp7616352" class="para"><sup class="para">[52] </sup></a>
+</p></div><div id="ftn.idp7636752" class="footnote"><p><a href="#idp7636752" 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="idp7619392"></a>
-</p></div><div id="ftn.idp7621808" class="footnote"><p><a href="#idp7621808" class="para"><sup class="para">[53] </sup></a>
+<a class="indexterm" name="idp7639792"></a>
+</p></div><div id="ftn.idp7642208" class="footnote"><p><a href="#idp7642208" 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.idp7638384" class="footnote"><p><a href="#idp7638384" class="para"><sup class="para">[54] </sup></a>
+</p></div><div id="ftn.idp7658784" class="footnote"><p><a href="#idp7658784" 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="idp7639792"></a>
-</p></div><div id="ftn.idp7642384" class="footnote"><p><a href="#idp7642384" class="para"><sup class="para">[55] </sup></a>
+<a class="indexterm" name="idp7660192"></a>
+</p></div><div id="ftn.idp7662784" class="footnote"><p><a href="#idp7662784" 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.idp7643952" class="footnote"><p><a href="#idp7643952" class="para"><sup class="para">[56] </sup></a>
+</p></div><div id="ftn.idp7664352" class="footnote"><p><a href="#idp7664352" 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.idp7645296" class="footnote"><p><a href="#idp7645296" class="para"><sup class="para">[57] </sup></a>
+</p></div><div id="ftn.idp7665696" class="footnote"><p><a href="#idp7665696" 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.idp7655600" class="footnote"><p><a href="#idp7655600" class="para"><sup class="para">[58] </sup></a>
+</p></div><div id="ftn.idp7676000" class="footnote"><p><a href="#idp7676000" 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.idp7657984" class="footnote"><p><a href="#idp7657984" class="para"><sup class="para">[59] </sup></a>
+</p></div><div id="ftn.idp7678384" class="footnote"><p><a href="#idp7678384" 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.idp7611184" class="footnote"><p><a href="#idp7611184" class="para"><sup class="para">[60] </sup></a>
+</p></div><div id="ftn.idp7631584" class="footnote"><p><a href="#idp7631584" 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.idp7678528" class="footnote"><p><a href="#idp7678528" class="para"><sup class="para">[61] </sup></a>
+</p></div><div id="ftn.idp7698208" class="footnote"><p><a href="#idp7698208" 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.idp7689312" class="footnote"><p><a href="#idp7689312" class="para"><sup class="para">[62] </sup></a>
+this report.</p></div><div id="ftn.idp7708992" class="footnote"><p><a href="#idp7708992" 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="idp7692784"></a>
-<a class="indexterm" name="idp7693536"></a>
-</p></div><div id="ftn.idp7712528" class="footnote"><p><a href="#idp7712528" class="para"><sup class="para">[63] </sup></a>
+<a class="indexterm" name="idp7712464"></a>
+<a class="indexterm" name="idp7713216"></a>
+</p></div><div id="ftn.idp7732576" class="footnote"><p><a href="#idp7732576" 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="idp7709392"></a>
-</p></div><div id="ftn.idp7715248" class="footnote"><p><a href="#idp7715248" class="para"><sup class="para">[64] </sup></a>
+<a class="indexterm" name="idp7729440"></a>
+</p></div><div id="ftn.idp7735296" class="footnote"><p><a href="#idp7735296" 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.idp7716960" class="footnote"><p><a href="#idp7716960" class="para"><sup class="para">[65] </sup></a>
+</p></div><div id="ftn.idp7737008" class="footnote"><p><a href="#idp7737008" 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.idp7719392" class="footnote"><p><a href="#idp7719392" class="para"><sup class="para">[66] </sup></a>
+</p></div><div id="ftn.idp7739440" class="footnote"><p><a href="#idp7739440" 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.idp7722336" class="footnote"><p><a href="#idp7722336" class="para"><sup class="para">[67] </sup></a>
+</p></div><div id="ftn.idp7742384" class="footnote"><p><a href="#idp7742384" 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="idp7723104"></a>
-</p></div><div id="ftn.idp7725392" class="footnote"><p><a href="#idp7725392" class="para"><sup class="para">[68] </sup></a>
+<a class="indexterm" name="idp7743152"></a>
+</p></div><div id="ftn.idp7745440" class="footnote"><p><a href="#idp7745440" 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="idp7726704"></a>
-</p></div><div id="ftn.idp7726576" class="footnote"><p><a href="#idp7726576" class="para"><sup class="para">[69] </sup></a>
+<a class="indexterm" name="idp7746752"></a>
+</p></div><div id="ftn.idp7746624" class="footnote"><p><a href="#idp7746624" 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
<a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #13</a>. <span class="quote">«<span class="quote">The
threat of piracy—the use of someone else's creative work without
permission or compensation—has grown with the Internet.</span>»</span>
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="piracy"></a>Chapter 5. <span class="quote">«<span class="quote">Piracy</span>»</span></h2></div></div></div><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="piracy"></a>Chapter 5.
Chapter Five: <span class="quote">«<span class="quote">Piracy</span>»</span></h2></div></div></div><p>
<span class="strong"><strong>There is piracy</strong></span> of copyrighted
material. Lots of it. This piracy comes in many forms. The most
significant is commercial piracy, the unauthorized taking of other
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="idp77
43440"></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="idp77
63616"></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.idp7725520" class="footnote" name="idp7725520"><sup class="footnote">[70]</sup></a>
+every year to physical piracy<a href="#ftn.idp7745568" class="footnote" name="idp7745568"><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.idp7753168" class="footnote" name="idp7753168"><sup class="footnote">[71]</sup></a> In my view, more developing nations should take
+of intellectual property law.<a href="#ftn.idp7773344" class="footnote" name="idp7773344"><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="idp77
57088"></a><p>
+</p><a class="indexterm" name="idp77
77264"></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.idp7758432" class="footnote" name="idp7758432"><sup class="footnote">[72]</sup></a>
+less money than they otherwise would have had.<a href="#ftn.idp7778608" class="footnote" name="idp7778608"><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="idp77
63424"></a><p>
+</p><a class="indexterm" name="idp77
83600"></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="idp77
67136"></a><a class="indexterm" name="idp7767888"></a><a class="indexterm" name="idp7768896"></a><a class="indexterm" name="idp7769648"></a><a class="indexterm" name="idp7770400"></a><a class="indexterm" name="idp7771152"></a><a class="indexterm" name="idp7772160"></a><a class="indexterm" name="idp7772912"></a><a class="indexterm" name="idp7773920"></a><p>
+</p><a class="indexterm" name="idp77
87312"></a><a class="indexterm" name="idp7788064"></a><a class="indexterm" name="idp7789072"></a><a class="indexterm" name="idp7789824"></a><a class="indexterm" name="idp7790576"></a><a class="indexterm" name="idp7791328"></a><a class="indexterm" name="idp7792336"></a><a class="indexterm" name="idp7793088"></a><a class="indexterm" name="idp7794096"></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="idp77
76448"></a><p>
+</p><a class="indexterm" name="idp77
96624"></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="idp77
78272"></a><a class="indexterm" name="idp7779024"></a><a class="indexterm" name="idp7779776"></a><a class="indexterm" name="idp7780528"></a><p>
+</p><a class="indexterm" name="idp77
98448"></a><a class="indexterm" name="idp7799200"></a><a class="indexterm" name="idp7799952"></a><a class="indexterm" name="idp7800704"></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.idp7789744" class="footnote" name="idp7789744"><sup class="footnote">[73]</sup></a>
+the author of [his] profit.</span>»</span><a href="#ftn.idp7809920" class="footnote" name="idp7809920"><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="idp7792144"></a>
-<a class="indexterm" name="idp7792896"></a>
+<a class="indexterm" name="idp7812320"></a>
+<a class="indexterm" name="idp7813072"></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.idp7795136" class="footnote" name="idp7795136"><sup class="footnote">[74]</sup></a>), Shawn Fanning and crew had simply
+(and, arguably, off the Internet as well<a href="#ftn.idp7815312" class="footnote" name="idp7815312"><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="idp7799200"></a>
-<a class="indexterm" name="idp7799952"></a>
-<a class="indexterm" name="idp7800960"></a>
+<a class="indexterm" name="idp7819376"></a>
+<a class="indexterm" name="idp7820128"></a>
+<a class="indexterm" name="idp7821136"></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.idp7802192" class="footnote" name="idp7802192"><sup class="footnote">[75]</sup></a>
+system.<a href="#ftn.idp7822368" class="footnote" name="idp7822368"><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="idp78
06800"></a><p>
+</p><a class="indexterm" name="idp78
27440"></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.idp7807232" class="footnote" name="idp7807232"><sup class="footnote">[76]</sup></a>
+music—28 percent of Americans older than 12.<a href="#ftn.idp7827808" class="footnote" name="idp7827808"><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.idp7810912" class="footnote" name="idp7810912"><sup class="footnote">[77]</sup></a>
+exchange content in May 2003.<a href="#ftn.idp7831024" class="footnote" name="idp7831024"><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
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="idp78
16048"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="idp78
36160"></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
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.idp7823376" class="footnote" name="idp7823376"><sup class="footnote">[78]</sup></a>
+harmful.<a href="#ftn.idp7843488" class="footnote" name="idp7843488"><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.idp7829856" class="footnote" name="idp7829856"><sup class="footnote">[79]</sup></a>
+technology, the labels fought it.</span>»</span><a href="#ftn.idp7849968" class="footnote" name="idp7849968"><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="idp78
33776"></a><p>
+</p><a class="indexterm" name="idp78
53888"></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.idp7759808" class="footnote" name="idp7759808"><sup class="footnote">[80]</sup></a>
-</p><a class="indexterm" name="idp78
37344"></a><p>
+innovation at the major labels.</span>»</span><a href="#ftn.idp7779984" class="footnote" name="idp7779984"><sup class="footnote">[80]</sup></a>
+</p><a class="indexterm" name="idp78
57456"></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.idp7843680" class="footnote" name="idp7843680"><sup class="footnote">[81]</sup></a>
+percent.<a href="#ftn.idp7863792" class="footnote" name="idp7863792"><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.idp7848208" class="footnote" name="idp7848208"><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.idp7868320" class="footnote" name="idp7868320"><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.idp7852224" class="footnote" name="idp7852224"><sup class="footnote">[83]</sup></a>
+$19.99.</span>»</span><a href="#ftn.idp7872336" class="footnote" name="idp7872336"><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="idp78
56640"></a><p>
+</p><a class="indexterm" name="idp78
76752"></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.idp7857760" class="footnote" name="idp7857760"><sup class="footnote">[84]</sup></a>
+available.<a href="#ftn.idp7877872" class="footnote" name="idp7877872"><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="idp78
61248"></a><p>
+</p><a class="indexterm" name="idp78
81360"></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.idp7862992" class="footnote" name="idp7862992"><sup class="footnote">[85]</sup></a>
+today.<a href="#ftn.idp7883104" class="footnote" name="idp7883104"><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="idp78
68176"></a><a class="indexterm" name="idp7869184"></a><a class="indexterm" name="idxinternetbookson"></a><p>
+</p><a class="indexterm" name="idp78
88288"></a><a class="indexterm" name="idp7889296"></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="idp78
75200"></a><a class="indexterm" name="idp7875952"></a><p>
+</p><a class="indexterm" name="idxbooksfreeonline1"></a><a class="indexterm" name="idp78
95312"></a><a class="indexterm" name="idp7896064"></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="idp78
79040"></a><p>
+</p><a class="indexterm" name="idp78
99152"></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="idp7
881968"></a><p>
+</p><a class="indexterm" name="idp7
902080"></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
-<a class="xref" href="#pirates" title="Chapter 4. «Pirates»">4</a>, much of
+<a class="xref" href="#pirates" title="Chapter 4. Chapter Four: «Pirates»">4</a>, much of
this piracy is motivated by a new way of spreading content caused by
changes in the technology of distribution. Thus, consistent with the
tradition that gave us Hollywood, radio, the recording industry, and
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.idp7887376" class="footnote" name="idp7887376"><sup class="footnote">[86]</sup></a>
+<span class="quote">«<span class="quote">down to zero.</span>»</span><a href="#ftn.idp7907488" class="footnote" name="idp7907488"><sup class="footnote">[86]</sup></a>
</p><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
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="idp7
891520"></a><a class="indexterm" name="idp7892528"></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="idp7899232"></a><a class="indexterm" name="idp7900240"></a><a class="indexterm" name="idp7901248"></a><a class="indexterm" name="idp7902256"></a><a class="indexterm" name="idp7903264"></a><a class="indexterm" name="idp7904016"></a><p>
+</p><a class="indexterm" name="idp7
911632"></a><a class="indexterm" name="idp7912640"></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="idp7919344"></a><a class="indexterm" name="idp7920352"></a><a class="indexterm" name="idp7921360"></a><a class="indexterm" name="idp7922368"></a><a class="indexterm" name="idp7923376"></a><a class="indexterm" name="idp7924128"></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="idp79
08496"></a><p>
+</p><a class="indexterm" name="idp79
28608"></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="idp79
11488"></a><a class="indexterm" name="idp7912352"></a><a class="indexterm" name="idp7913328"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></a><p>
+</p><a class="indexterm" name="idp79
31600"></a><a class="indexterm" name="idp7932464"></a><a class="indexterm" name="idp7933440"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></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="idp79
18560"></a><p>
+</p><a class="indexterm" name="idp79
38672"></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="idp79
22976"></a><p>
+</p><a class="indexterm" name="idxcongressusoncopyrightlaws3"></a><a class="indexterm" name="idp79
42992"></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.idp7925232" class="footnote" name="idp7925232"><sup class="footnote">[87]</sup></a>
+copyright.</span>»</span><a href="#ftn.idp7945248" class="footnote" name="idp7945248"><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.idp7927264" class="footnote" name="idp7927264"><sup class="footnote">[88]</sup></a>
+and plain common sense.</span>»</span><a href="#ftn.idp7947280" class="footnote" name="idp7947280"><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.idp7928240" class="footnote" name="idp7928240"><sup class="footnote">[89]</sup></a>
+percent of VCR owners had movie libraries of ten videos or more<a href="#ftn.idp7948256" class="footnote" name="idp7948256"><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.idp7931168" class="footnote" name="idp7931168"><sup class="footnote">[90]</sup></a>
-</p><a class="indexterm" name="idp79
32160"></a><p>
+profit from its reproduction.</span>»</span><a href="#ftn.idp7951184" class="footnote" name="idp7951184"><sup class="footnote">[90]</sup></a>
+</p><a class="indexterm" name="idp79
52176"></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.idp7934272" class="footnote" name="idp7934272"><sup class="footnote">[91]</sup></a>
-<a class="indexterm" name="idp7936752"></a>
+technology.<a href="#ftn.idp7954288" class="footnote" name="idp7954288"><sup class="footnote">[91]</sup></a>
+<a class="indexterm" name="idp7956768"></a>
</p><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.idp7939424" class="footnote" name="idp7939424"><sup class="footnote">[92]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp79
41216"></a><p>
+by such new technology.<a href="#ftn.idp7959440" class="footnote" name="idp7959440"><sup class="footnote">[92]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp79
61232"></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="idp79
55392"></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="idp79
75408"></a><p>
In each case throughout our history, a new technology changed the
-way content was distributed.<a href="#ftn.idp7956736" class="footnote" name="idp7956736"><sup class="footnote">[93]</sup></a>
+way content was distributed.<a href="#ftn.idp7976752" class="footnote" name="idp7976752"><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="idp79
64672"></a><p>
+</p><a class="indexterm" name="idp79
84688"></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="idp79
66416"></a><p>
+</p><a class="indexterm" name="idp79
86432"></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.idp7968208" class="footnote" name="idp7968208"><sup class="footnote">[94]</sup></a>
+over all possible uses of his work.</span>»</span><a href="#ftn.idp7988224" class="footnote" name="idp7988224"><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.idp7974048" class="footnote" name="idp7974048"><sup class="footnote">[95]</sup></a>
+fight.</span>»</span><a href="#ftn.idp7994064" class="footnote" name="idp7994064"><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.idp7725520" class="footnote"><p><a href="#idp7725520" 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.idp7745568" class="footnote"><p><a href="#idp7745568" 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.idp7753168" class="footnote"><p><a href="#idp7753168" class="para"><sup class="para">[71] </sup></a>
+</p></div><div id="ftn.idp7773344" class="footnote"><p><a href="#idp7773344" 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="idp7656320"></a>
-<a class="indexterm" name="idp7755872"></a>
-</p></div><div id="ftn.idp7758432" class="footnote"><p><a href="#idp7758432" class="para"><sup class="para">[72] </sup></a>
+<a class="indexterm" name="idp7676720"></a>
+<a class="indexterm" name="idp7776048"></a>
+</p></div><div id="ftn.idp7778608" class="footnote"><p><a href="#idp7778608" 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="idp7760240"></a>
-</p></div><div id="ftn.idp7789744" class="footnote"><p><a href="#idp7789744" class="para"><sup class="para">[73] </sup></a>
+<a class="indexterm" name="idp7780416"></a>
+</p></div><div id="ftn.idp7809920" class="footnote"><p><a href="#idp7809920" 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.idp7795136" class="footnote"><p><a href="#idp7795136" class="para"><sup class="para">[74] </sup></a>
+</p></div><div id="ftn.idp7815312" class="footnote"><p><a href="#idp7815312" class="para"><sup class="para">[74] </sup></a>
-<a class="indexterm" name="idp7795776"></a>
+<a class="indexterm" name="idp7815952"></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="idp7759552"></a>
-</p></div><div id="ftn.idp7802192" class="footnote"><p><a href="#idp7802192" class="para"><sup class="para">[75] </sup></a>
+<a class="indexterm" name="idp7779728"></a>
+</p></div><div id="ftn.idp7822368" class="footnote"><p><a href="#idp7822368" 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.idp7807232" class="footnote"><p><a href="#idp7807232" class="para"><sup class="para">[76] </sup></a>
+</p></div><div id="ftn.idp7827808" class="footnote"><p><a href="#idp7827808" 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.idp7810912" class="footnote"><p><a href="#idp7810912" class="para"><sup class="para">[77] </sup></a>
+</p></div><div id="ftn.idp7831024" class="footnote"><p><a href="#idp7831024" 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.idp7823376" class="footnote"><p><a href="#idp7823376" class="para"><sup class="para">[78] </sup></a>
+</p></div><div id="ftn.idp7843488" class="footnote"><p><a href="#idp7843488" class="para"><sup class="para">[78] </sup></a>
See Liebowitz, <em class="citetitle">Rethinking the Network Economy</em>, 148–49.
-<a class="indexterm" name="idp7797824"></a>
-</p></div><div id="ftn.idp7829856" class="footnote"><p><a href="#idp7829856" class="para"><sup class="para">[79] </sup></a>
+<a class="indexterm" name="idp7818000"></a>
+</p></div><div id="ftn.idp7849968" class="footnote"><p><a href="#idp7849968" class="para"><sup class="para">[79] </sup></a>
-<a class="indexterm" name="idp7830496"></a>
+<a class="indexterm" name="idp7850608"></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.idp7759808" class="footnote"><p><a href="#idp7759808" class="para"><sup class="para">[80] </sup></a>
+October 1989), 145–56. </p></div><div id="ftn.idp7779984" class="footnote"><p><a href="#idp7779984" 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.idp7843680" class="footnote"><p><a href="#idp7843680" class="para"><sup class="para">[81] </sup></a>
+</p></div><div id="ftn.idp7863792" class="footnote"><p><a href="#idp7863792" 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.idp7848208" class="footnote"><p><a href="#idp7848208" class="para"><sup class="para">[82] </sup></a>
+</p></div><div id="ftn.idp7868320" class="footnote"><p><a href="#idp7868320" 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="idp7849984"></a>
-</p></div><div id="ftn.idp7852224" class="footnote"><p><a href="#idp7852224" class="para"><sup class="para">[83] </sup></a>
+<a class="indexterm" name="idp7870096"></a>
+</p></div><div id="ftn.idp7872336" class="footnote"><p><a href="#idp7872336" class="para"><sup class="para">[83] </sup></a>
Ibid.
-</p></div><div id="ftn.idp7857760" class="footnote"><p><a href="#idp7857760" class="para"><sup class="para">[84] </sup></a>
+</p></div><div id="ftn.idp7877872" class="footnote"><p><a href="#idp7877872" 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.idp7862992" class="footnote"><p><a href="#idp7862992" class="para"><sup class="para">[85] </sup></a>
+</p></div><div id="ftn.idp7883104" class="footnote"><p><a href="#idp7883104" class="para"><sup class="para">[85] </sup></a>
-<a class="indexterm" name="idp7863632"></a>
+<a class="indexterm" name="idp7883744"></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.idp7887376" class="footnote"><p><a href="#idp7887376" class="para"><sup class="para">[86] </sup></a>
+</p></div><div id="ftn.idp7907488" class="footnote"><p><a href="#idp7907488" 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.idp7925232" class="footnote"><p><a href="#idp7925232" class="para"><sup class="para">[87] </sup></a>
+</p></div><div id="ftn.idp7945248" class="footnote"><p><a href="#idp7945248" 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.idp7927264" class="footnote"><p><a href="#idp7927264" class="para"><sup class="para">[88] </sup></a>
+</p></div><div id="ftn.idp7947280" class="footnote"><p><a href="#idp7947280" class="para"><sup class="para">[88] </sup></a>
Copyright Infringements (Audio and Video Recorders), 475.
-</p></div><div id="ftn.idp7928240" class="footnote"><p><a href="#idp7928240" class="para"><sup class="para">[89] </sup></a>
+</p></div><div id="ftn.idp7948256" class="footnote"><p><a href="#idp7948256" 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.idp7931168" class="footnote"><p><a href="#idp7931168" class="para"><sup class="para">[90] </sup></a>
+</p></div><div id="ftn.idp7951184" class="footnote"><p><a href="#idp7951184" class="para"><sup class="para">[90] </sup></a>
Copyright Infringements (Audio and Video Recorders), 485 (testimony
of Jack Valenti).
-</p></div><div id="ftn.idp7934272" class="footnote"><p><a href="#idp7934272" class="para"><sup class="para">[91] </sup></a>
+</p></div><div id="ftn.idp7954288" class="footnote"><p><a href="#idp7954288" 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.idp7939424" class="footnote"><p><a href="#idp7939424" class="para"><sup class="para">[92] </sup></a>
+</p></div><div id="ftn.idp7959440" class="footnote"><p><a href="#idp7959440" 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.idp7956736" class="footnote"><p><a href="#idp7956736" class="para"><sup class="para">[93] </sup></a>
+</p></div><div id="ftn.idp7976752" class="footnote"><p><a href="#idp7976752" class="para"><sup class="para">[93] </sup></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="idp7889376"></a>
-<a class="indexterm" name="idp7960448"></a>
-</p></div><div id="ftn.idp7968208" class="footnote"><p><a href="#idp7968208" class="para"><sup class="para">[94] </sup></a>
+<a class="indexterm" name="idp7909488"></a>
+<a class="indexterm" name="idp7980464"></a>
+</p></div><div id="ftn.idp7988224" class="footnote"><p><a href="#idp7988224" 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.idp7974048" class="footnote"><p><a href="#idp7974048" class="para"><sup class="para">[95] </sup></a>
+</p></div><div id="ftn.idp7994064" class="footnote"><p><a href="#idp7994064" 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.
-</p></div></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-property"></a>Part II. <span class="quote">«<span class="quote">P
ROPERTY</span>»</span></h1></div></div></div><div class="partintro"><div></div><p>
+</p></div></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-property"></a>Part II. <span class="quote">«<span class="quote">P
roperty</span>»</span></h1></div></div></div><div class="partintro"><div></div><p>
<span class="strong"><strong>The copyright warriors</strong></span> are right: A
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="idp
7985824"></a><p>
+</p><a class="indexterm" name="idp
8005840"></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.idp7988096" class="footnote" name="idp7988096"><sup class="footnote">[96]</sup></a>
-</p><a class="indexterm" name="idp
7989552"></a><p>
+lights his taper at mine, receives light without darkening me.</span>»</span><a href="#ftn.idp8008112" class="footnote" name="idp8008112"><sup class="footnote">[96]</sup></a>
+</p><a class="indexterm" name="idp
8009568"></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.idp7992096" class="footnote" name="idp7992096"><sup class="footnote">[97]</sup></a>
+<span class="quote">«<span class="quote">property</span>»</span> in its proper context.<a href="#ftn.idp8012112" class="footnote" name="idp8012112"><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.idp7988096" class="footnote"><p><a href="#idp7988096" 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.idp8008112" class="footnote"><p><a href="#idp8008112" 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.idp7992096" class="footnote"><p><a href="#idp7992096" class="para"><sup class="para">[97] </sup></a>
+</p></div><div id="ftn.idp8012112" class="footnote"><p><a href="#idp8012112" 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.
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="idp8004480"></a><a class="indexterm" name="idp8005232"></a><a class="indexterm" name="idp8005984"></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="idp8024496"></a><a class="indexterm" name="idp8025248"></a><a class="indexterm" name="idp8026000"></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="idp80
10320"></a><a class="indexterm" name="idxtonsonjacob"></a><p>
+</p><a class="indexterm" name="idp80
30336"></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.idp8013456" class="footnote" name="idp8013456"><sup class="footnote">[98]</sup></a>
+right of a single London publisher, Jacob Tonson.<a href="#ftn.idp8033472" class="footnote" name="idp8033472"><sup class="footnote">[98]</sup></a>
Tonson was the most prominent of a small group of publishers called
-the Conger<a href="#ftn.idp8017760" class="footnote" name="idp8017760"><sup class="footnote">[99]</sup></a>
+the Conger<a href="#ftn.idp8037776" class="footnote" name="idp8037776"><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="idp80
20208"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp8022448"></a><a class="indexterm" name="idp8023456"></a><p>
+</p><a class="indexterm" name="idp80
40224"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp8042464"></a><a class="indexterm" name="idp8043472"></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.idp8025360" class="footnote" name="idp8025360"><sup class="footnote">[100]</sup></a> Under this law, <em class="citetitle">Romeo and Juliet</em> should have been
+additional years.<a href="#ftn.idp8045376" class="footnote" name="idp8045376"><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="idp80
28368"></a><a class="indexterm" name="idp8029344"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp8031808"></a><a class="indexterm" name="idp8032560"></a><p>
+</p><a class="indexterm" name="idp80
48384"></a><a class="indexterm" name="idp8049360"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp8051824"></a><a class="indexterm" name="idp8052576"></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="idp80
34992"></a><a class="indexterm" name="idp8035968"></a><p>
+</p><a class="indexterm" name="idp80
55008"></a><a class="indexterm" name="idp8055984"></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="idp80
38864"></a><a class="indexterm" name="idp8039840"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp8041824"></a><a class="indexterm" name="idxstatuteofanne"></a><p>
+</p><a class="indexterm" name="idp80
58880"></a><a class="indexterm" name="idp8059856"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp8061840"></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="idp80
48256"></a><p>
+</p><a class="indexterm" name="idp80
68272"></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="idp80
50208"></a><a class="indexterm" name="idp8051184"></a><a class="indexterm" name="idp8051936"></a><p>
+</p><a class="indexterm" name="idp80
70224"></a><a class="indexterm" name="idp8071200"></a><a class="indexterm" name="idp8071952"></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="idp80
54944"></a><p>
+</p><a class="indexterm" name="idp80
74960"></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="idp80
57072"></a><p>
+</p><a class="indexterm" name="idp80
77088"></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="idp80
60624"></a><a class="indexterm" name="idp8061376"></a><p>
+</p><a class="indexterm" name="idp80
80640"></a><a class="indexterm" name="idp8081392"></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="idp80
63440"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp8065424"></a><p>
+</p><a class="indexterm" name="idp80
83456"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp8085440"></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="idp80
69872"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp8071856"></a><a class="indexterm" name="idxcopyrightdurationof3"></a><p>
+</p><a class="indexterm" name="idp80
89888"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp8091872"></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.idp8075968" class="footnote" name="idp8075968"><sup class="footnote">[101]</sup></a>
-</p><a class="indexterm" name="idp80
77248"></a><a class="indexterm" name="idp8078000"></a><p>
+indetted.</span>»</span><a href="#ftn.idp8095984" class="footnote" name="idp8095984"><sup class="footnote">[101]</sup></a>
+</p><a class="indexterm" name="idp80
97264"></a><a class="indexterm" name="idp8098016"></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.idp8087056" class="footnote" name="idp8087056"><sup class="footnote">[102]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp8
089280"></a><a class="indexterm" name="idp8090256"></a><a class="indexterm" name="idp8091232"></a><a class="indexterm" name="idp8091984"></a><a class="indexterm" name="idp8092992"></a><p>
+Booksellers.<a href="#ftn.idp8107072" class="footnote" name="idp8107072"><sup class="footnote">[102]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp8
109296"></a><a class="indexterm" name="idp8110272"></a><a class="indexterm" name="idp8111248"></a><a class="indexterm" name="idp8112000"></a><a class="indexterm" name="idp8113008"></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="idp8
095376"></a><p>
+</p><a class="indexterm" name="idp8
115392"></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.idp7835584" class="footnote" name="idp7835584"><sup class="footnote">[103]</sup></a>
+rancher has for cattle.</span>»</span><a href="#ftn.idp7855696" class="footnote" name="idp7855696"><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="idp81
01824"></a><a class="indexterm" name="idxscottishpublishers"></a><p>
+</p><a class="indexterm" name="idxdonaldsonalexander"></a><a class="indexterm" name="idp81
21840"></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.idp8104224" class="footnote" name="idp8104224"><sup class="footnote">[104]</sup></a>
-</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp81
07968"></a><a class="indexterm" name="idp8108720"></a><p>
+Donaldson.<a href="#ftn.idp8124240" class="footnote" name="idp8124240"><sup class="footnote">[104]</sup></a>
+</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp81
27984"></a><a class="indexterm" name="idp8128736"></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.idp8110272" class="footnote" name="idp8110272"><sup class="footnote">[105]</sup></a>
+under the Statute of Anne.<a href="#ftn.idp8130288" class="footnote" name="idp8130288"><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.idp8113616" class="footnote" name="idp8113616"><sup class="footnote">[106]</sup></a>
+of contemporary Scottish poems with Donaldson.</span>»</span><a href="#ftn.idp8133632" class="footnote" name="idp8133632"><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.idp8116544" class="footnote" name="idp8116544"><sup class="footnote">[107]</sup></a>
+Property.</span>»</span><a href="#ftn.idp8136560" class="footnote" name="idp8136560"><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="idp81
18784"></a><a class="indexterm" name="idxmillarvtaylor"></a><p>
+</p><a class="indexterm" name="idp81
38800"></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="idp81
22992"></a><a class="indexterm" name="idp8123968"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp8127664"></a><a class="indexterm" name="idp8128416"></a><p>
+</p><a class="indexterm" name="idp81
43008"></a><a class="indexterm" name="idp8143984"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp8147680"></a><a class="indexterm" name="idp8148432"></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.idp8130208" class="footnote" name="idp8130208"><sup class="footnote">[108]</sup></a>
+law right, the Statute of Anne notwithstanding.<a href="#ftn.idp8150224" class="footnote" name="idp8150224"><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="idp81
34592"></a><a class="indexterm" name="idp8135568"></a><a class="indexterm" name="idp8136544"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
+</p><a class="indexterm" name="idp81
54608"></a><a class="indexterm" name="idp8155584"></a><a class="indexterm" name="idp8156560"></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="idp81
40112"></a><a class="indexterm" name="idxdonaldsonalexander2"></a><a class="indexterm" name="idxscottishpublishers2"></a><p>
+</p><a class="indexterm" name="idp81
60528"></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="idp81
44080"></a><a class="indexterm" name="idp8144832"></a><a class="indexterm" name="idxhouseoflords"></a><a class="indexterm" name="idxsupremecourtushouseoflordsvs"></a><p>
+</p><a class="indexterm" name="idp81
64496"></a><a class="indexterm" name="idp8165248"></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.idp8148736" class="footnote" name="idp8148736"><sup class="footnote">[109]</sup></a>
+Thomas Beckett.<a href="#ftn.idp8169152" class="footnote" name="idp8169152"><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="idp81
50416"></a><a class="indexterm" name="idp8151392"></a><a class="indexterm" name="idxdonaldsonvbeckett"></a><a class="indexterm" name="idxcommonlaw2"></a><p>
+</p><a class="indexterm" name="idp81
70832"></a><a class="indexterm" name="idp8171808"></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="idp81
56464"></a><p>
+</p><a class="indexterm" name="idp81
76880"></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="idp81
58512"></a><a class="indexterm" name="idxcopyrightinperpetuity3"></a><a class="indexterm" name="idxpublicdomainenglishlegalestablishmentof"></a><p>
+</p><a class="indexterm" name="idp81
78928"></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="idp81
63584"></a><a class="indexterm" name="idp8164336"></a><a class="indexterm" name="idp8165088"></a><a class="indexterm" name="idp8165840"></a><a class="indexterm" name="idp8166592"></a><p>
+</p><a class="indexterm" name="idp81
84000"></a><a class="indexterm" name="idp8184752"></a><a class="indexterm" name="idp8185504"></a><a class="indexterm" name="idp8186256"></a><a class="indexterm" name="idp8187008"></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="idp81
68752"></a><a class="indexterm" name="idp8170384"></a><a class="indexterm" name="idp8171360"></a><a class="indexterm" name="idp8172336"></a><a class="indexterm" name="idp8173312"></a><a class="indexterm" name="idp8174288"></a><p>
+</p><a class="indexterm" name="idp81
89168"></a><a class="indexterm" name="idp8190800"></a><a class="indexterm" name="idp8191776"></a><a class="indexterm" name="idp8192752"></a><a class="indexterm" name="idp8193728"></a><a class="indexterm" name="idp8194704"></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.idp8177184" class="footnote" name="idp8177184"><sup class="footnote">[110]</sup></a>
-</p><a class="indexterm" name="idp81
78080"></a><p>
+and illuminations.</span>»</span><a href="#ftn.idp8197600" class="footnote" name="idp8197600"><sup class="footnote">[110]</sup></a>
+</p><a class="indexterm" name="idp81
98496"></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.idp8097088" class="footnote" name="idp8097088"><sup class="footnote">[111]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp8
181984"></a><a class="indexterm" name="idp8182736"></a><p>
+successors.<a href="#ftn.idp8117104" class="footnote" name="idp8117104"><sup class="footnote">[111]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp8
202400"></a><a class="indexterm" name="idp8203152"></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="idp8
187216"></a><a class="indexterm" name="idp8188192"></a><p>
+</p><a class="indexterm" name="idp8
207632"></a><a class="indexterm" name="idp8208608"></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="idp8189568"></a><a class="indexterm" name="idp8190544"></a><a class="indexterm" name="idp8191520"></a><a class="indexterm" name="idp8192496"></a><a class="indexterm" name="idp8193472"></a><a class="indexterm" name="idp8194448"></a><a class="indexterm" name="idp8195424"></a><a class="indexterm" name="idp8196400"></a><a class="indexterm" name="idp8197376"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8013456" class="footnote"><p><a href="#idp8013456" class="para"><sup class="para">[98] </sup></a>
+</p><a class="indexterm" name="idp8209984"></a><a class="indexterm" name="idp8210960"></a><a class="indexterm" name="idp8211936"></a><a class="indexterm" name="idp8212912"></a><a class="indexterm" name="idp8213888"></a><a class="indexterm" name="idp8214864"></a><a class="indexterm" name="idp8215840"></a><a class="indexterm" name="idp8216816"></a><a class="indexterm" name="idp8217792"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8033472" class="footnote"><p><a href="#idp8033472" class="para"><sup class="para">[98] </sup></a>
-<a class="indexterm" name="idp8014096"></a>
-<a class="indexterm" name="idp8014848"></a>
+<a class="indexterm" name="idp8034112"></a>
+<a class="indexterm" name="idp8034864"></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.idp8017760" class="footnote"><p><a href="#idp8017760" class="para"><sup class="para">[99] </sup></a>
+</p></div><div id="ftn.idp8037776" class="footnote"><p><a href="#idp8037776" 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.idp8025360" class="footnote"><p><a href="#idp8025360" class="para"><sup class="para">[100] </sup></a>
+</p></div><div id="ftn.idp8045376" class="footnote"><p><a href="#idp8045376" class="para"><sup class="para">[100] </sup></a>
-<a class="indexterm" name="idp8026000"></a>
+<a class="indexterm" name="idp8046016"></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.idp8075968" class="footnote"><p><a href="#idp8075968" class="para"><sup class="para">[101] </sup></a>
+</p></div><div id="ftn.idp8095984" class="footnote"><p><a href="#idp8095984" 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.idp8087056" class="footnote"><p><a href="#idp8087056" class="para"><sup class="para">[102] </sup></a>
+</p></div><div id="ftn.idp8107072" class="footnote"><p><a href="#idp8107072" 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.idp7835584" class="footnote"><p><a href="#idp7835584" class="para"><sup class="para">[103] </sup></a>
+</p></div><div id="ftn.idp7855696" class="footnote"><p><a href="#idp7855696" class="para"><sup class="para">[103] </sup></a>
-<a class="indexterm" name="idp8097824"></a>
-<a class="indexterm" name="idp8098576"></a>
+<a class="indexterm" name="idp8117840"></a>
+<a class="indexterm" name="idp8118592"></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.idp8104224" class="footnote"><p><a href="#idp8104224" class="para"><sup class="para">[104] </sup></a>
+</p></div><div id="ftn.idp8124240" class="footnote"><p><a href="#idp8124240" 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.idp8110272" class="footnote"><p><a href="#idp8110272" class="para"><sup class="para">[105] </sup></a>
+</p></div><div id="ftn.idp8130288" class="footnote"><p><a href="#idp8130288" 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="idp8111296"></a>
-</p></div><div id="ftn.idp8113616" class="footnote"><p><a href="#idp8113616" class="para"><sup class="para">[106] </sup></a>
+<a class="indexterm" name="idp8131312"></a>
+</p></div><div id="ftn.idp8133632" class="footnote"><p><a href="#idp8133632" class="para"><sup class="para">[106] </sup></a>
Ibid., 93.
-</p></div><div id="ftn.idp8116544" class="footnote"><p><a href="#idp8116544" class="para"><sup class="para">[107] </sup></a>
+</p></div><div id="ftn.idp8136560" class="footnote"><p><a href="#idp8136560" class="para"><sup class="para">[107] </sup></a>
-<a class="indexterm" name="idp8117184"></a>
+<a class="indexterm" name="idp8137200"></a>
Lyman Ray Patterson, <em class="citetitle">Copyright in Historical Perspective</em>, 167 (quoting
Borwell).
-</p></div><div id="ftn.idp8130208" class="footnote"><p><a href="#idp8130208" class="para"><sup class="para">[108] </sup></a>
+</p></div><div id="ftn.idp8150224" class="footnote"><p><a href="#idp8150224" 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.idp8148736" class="footnote"><p><a href="#idp8148736" class="para"><sup class="para">[109] </sup></a>
+</p></div><div id="ftn.idp8169152" class="footnote"><p><a href="#idp8169152" class="para"><sup class="para">[109] </sup></a>
Ibid., 1156.
-</p></div><div id="ftn.idp8177184" class="footnote"><p><a href="#idp8177184" class="para"><sup class="para">[110] </sup></a>
+</p></div><div id="ftn.idp8197600" class="footnote"><p><a href="#idp8197600" class="para"><sup class="para">[110] </sup></a>
Rose, 97.
-</p></div><div id="ftn.idp8097088" class="footnote"><p><a href="#idp8097088" class="para"><sup class="para">[111] </sup></a>
+</p></div><div id="ftn.idp8117104" class="footnote"><p><a href="#idp8117104" 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. 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>
+</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>
<span class="strong"><strong>Jon Else</strong></span> is a filmmaker. He is best
known for his documentaries and has been very successful in spreading
his art. He is also a teacher, and as a teacher myself, I envy the
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="idp82
09888"></a><p>
+</p><a class="indexterm" name="idxwagnerrichard"></a><a class="indexterm" name="idp82
30304"></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="idp82
14000"></a><a class="indexterm" name="idp8214976"></a><p>
+</p><a class="indexterm" name="idp82
34416"></a><a class="indexterm" name="idp8235392"></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="idp82
22976"></a><p>
+</p><a class="indexterm" name="idp82
43392"></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="idp82
25920"></a><a class="indexterm" name="idp8226784"></a><a class="indexterm" name="idxherrerarebecca"></a><p>
+</p><a class="indexterm" name="idp82
46336"></a><a class="indexterm" name="idp8247200"></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="idp82
30176"></a><p>
+</p><a class="indexterm" name="idp82
50592"></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="idp82
33648"></a><a class="indexterm" name="idp8234624"></a><a class="indexterm" name="idp8235376"></a><p>
+</p><a class="indexterm" name="idp82
54064"></a><a class="indexterm" name="idp8255040"></a><a class="indexterm" name="idp8255792"></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.idp8244400" class="footnote" name="idp8244400"><sup class="footnote">[112]</sup></a>
+thought is <span class="quote">«<span class="quote">fair use.</span>»</span><a href="#ftn.idp8265104" class="footnote" name="idp8265104"><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="idp82
47728"></a><a class="indexterm" name="idp8248704"></a><p>
+</p><a class="indexterm" name="idp82
68432"></a><a class="indexterm" name="idp8269408"></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="idp82
55216"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><a class="indexterm" name="idp82
75920"></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="idp82
59504"></a><a class="indexterm" name="idp8260256"></a><a class="indexterm" name="idp8261008"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idxfoxfilmcompany3"></a><a class="indexterm" name="idp82
80208"></a><a class="indexterm" name="idp8280960"></a><a class="indexterm" name="idp8281712"></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="idp82
66112"></a></li><li class="listitem"><p>
+</p><a class="indexterm" name="idp82
86816"></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="idp82
68384"></a><p>
+</p></li></ol></div></blockquote></div><a class="indexterm" name="idp82
89088"></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="idp8270848"></a><a class="indexterm" name="idp8271824"></a><a class="indexterm" name="idp8272800"></a><a class="indexterm" name="idp8273776"></a><a class="indexterm" name="idp8274752"></a><a class="indexterm" name="idp8275728"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8244400" class="footnote"><p><a href="#idp8244400" class="para"><sup class="para">[112] </sup></a>
+</p><a class="indexterm" name="idp8291552"></a><a class="indexterm" name="idp8292528"></a><a class="indexterm" name="idp8293504"></a><a class="indexterm" name="idp8294480"></a><a class="indexterm" name="idp8295456"></a><a class="indexterm" name="idp8296432"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8265104" class="footnote"><p><a href="#idp8265104" 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.
Transformers</h2></div></div></div><a class="indexterm" name="idp8278256"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp8280560"></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="idp8298912"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp8300896"></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.idp8292736" class="footnote" name="idp8292736"><sup class="footnote">[113]</sup></a>
+for it.</span>»</span><a href="#ftn.idp8311904" class="footnote" name="idp8311904"><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="idp83
00448"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp83
19104"></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="idp83
08512"></a><p>
+</p><a class="indexterm" name="idp83
26768"></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.idp8310112" class="footnote" name="idp8310112"><sup class="footnote">[114]</sup></a>
+at all.</span>»</span><a href="#ftn.idp8328336" class="footnote" name="idp8328336"><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="idp83
19280"></a><a class="indexterm" name="idp8320448"></a><p>
+</p><a class="indexterm" name="idp83
37232"></a><a class="indexterm" name="idp8338096"></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="idp83
23808"></a><p>
+</p><a class="indexterm" name="idp83
41072"></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="idp83
27216"></a><p>
+</p><a class="indexterm" name="idp83
44144"></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="idp8329456"></a>
-<a class="indexterm" name="idp8330272"></a>
-<a class="indexterm" name="idp8331088"></a>
-<a class="indexterm" name="idp8332192"></a>
-<a class="indexterm" name="idp8333024"></a>
+<a class="indexterm" name="idp8346320"></a>
+<a class="indexterm" name="idp8347072"></a>
+<a class="indexterm" name="idp8347824"></a>
+<a class="indexterm" name="idp8348832"></a>
+<a class="indexterm" name="idp8349584"></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="idp83
35520"></a><p>
+</p><a class="indexterm" name="idp83
51952"></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.idp8292736" class="footnote"><p><a href="#idp8292736" 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.idp8311904" class="footnote"><p><a href="#idp8311904" 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="idp8294336"></a>
-<a class="indexterm" name="idp8295456"></a>
-</p></div><div id="ftn.idp8310112" class="footnote"><p><a href="#idp8310112" class="para"><sup class="para">[114] </sup></a>
+<a class="indexterm" name="idp8313360"></a>
+<a class="indexterm" name="idp8314368"></a>
+</p></div><div id="ftn.idp8328336" class="footnote"><p><a href="#idp8328336" 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. C
ollectors</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp8354240"></a><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Chapter 9. C
hapter Nine: Collectors</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp8369360"></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="idp83
57552"></a><p>
+</p><a class="indexterm" name="idp83
72304"></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="idp83
63216"></a><a class="indexterm" name="idp8365024"></a><p>
+</p><a class="indexterm" name="idp83
77616"></a><a class="indexterm" name="idp8379120"></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.idp8366416" class="footnote" name="idp8366416"><sup class="footnote">[115]</sup></a>
-</p><a class="indexterm" name="idp83
70160"></a><p>
+what others might prefer you forget.<a href="#ftn.idp8380448" class="footnote" name="idp8380448"><sup class="footnote">[115]</sup></a>
+</p><a class="indexterm" name="idp83
83792"></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
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="idp83
76144"></a><a class="indexterm" name="idp8376896"></a><a class="indexterm" name="idp8377680"></a><a class="indexterm" name="idp8378496"></a><a class="indexterm" name="idp8379312"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
+</p><a class="indexterm" name="idp83
89952"></a><a class="indexterm" name="idp8390704"></a><a class="indexterm" name="idp8391456"></a><a class="indexterm" name="idp8392272"></a><a class="indexterm" name="idp8393088"></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="idp83
85264"></a><a class="indexterm" name="idp8386080"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp83
99008"></a><a class="indexterm" name="idp8399792"></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="idp8
388656"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp8
402368"></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="idp8
391632"></a><a class="indexterm" name="idp8392448"></a><p>
+</p><a class="indexterm" name="idp8
404992"></a><a class="indexterm" name="idp8405808"></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.idp8394672" class="footnote" name="idp8394672"><sup class="footnote">[116]</sup></a>
+all—in the library archive of the film company.<a href="#ftn.idp8408032" class="footnote" name="idp8408032"><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="idp8
399168"></a><p>
+</p><a class="indexterm" name="idp8
412528"></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="idp84
01136"></a><a class="indexterm" name="idp8401920"></a><a class="indexterm" name="idp8403024"></a><a class="indexterm" name="idp8404224"></a><a class="indexterm" name="idp8405328"></a><a class="indexterm" name="idp8406144"></a><a class="indexterm" name="idp8406960"></a><a class="indexterm" name="idp8407776"></a><p>
+</p><a class="indexterm" name="idp84
14496"></a><a class="indexterm" name="idp8415280"></a><a class="indexterm" name="idp8416384"></a><a class="indexterm" name="idp8417584"></a><a class="indexterm" name="idp8418688"></a><a class="indexterm" name="idp8419504"></a><a class="indexterm" name="idp8420320"></a><a class="indexterm" name="idp8421136"></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="idp84
14848"></a><p>
+</p><a class="indexterm" name="idp84
28208"></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.idp8416320" class="footnote" name="idp8416320"><sup class="footnote">[117]</sup></a>). After
+very quickly (the average today is after about a year<a href="#ftn.idp8429680" class="footnote" name="idp8429680"><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="idp84
25536"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp84
38896"></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="idp84
27936"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp84
41296"></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="idp8433408"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8366416" class="footnote"><p><a href="#idp8366416" class="para"><sup class="para">[115] </sup></a>
+</p><a class="indexterm" name="idp8446816"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8380448" class="footnote"><p><a href="#idp8380448" class="para"><sup class="para">[115] </sup></a>
-<a class="indexterm" name="idp8367152"></a>
-<a class="indexterm" name="idp8367936"></a>
+<a class="indexterm" name="idp8381088"></a>
+<a class="indexterm" name="idp8381840"></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.idp8394672" class="footnote"><p><a href="#idp8394672" class="para"><sup class="para">[116] </sup></a>
+</p></div><div id="ftn.idp8408032" class="footnote"><p><a href="#idp8408032" 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.idp8416320" class="footnote"><p><a href="#idp8416320" class="para"><sup class="para">[117] </sup></a>
+</p></div><div id="ftn.idp8429680" class="footnote"><p><a href="#idp8429680" class="para"><sup class="para">[117] </sup></a>
-<a class="indexterm" name="idp8417056"></a>
+<a class="indexterm" name="idp8430416"></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.
<span class="quote">«<span class="quote">Property</span>»</span></h2></div></div></div><a class="indexterm" name="idp8436512"></a><a class="indexterm" name="idp8437328"></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="idp8450192"></a><a class="indexterm" name="idp8451008"></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="idp84
39088"></a><a class="indexterm" name="idp8440512"></a><a class="indexterm" name="idp8441344"></a><a class="indexterm" name="idp8442176"></a><a class="indexterm" name="idp8442992"></a><a class="indexterm" name="idp8443808"></a><a class="indexterm" name="idp8444624"></a><p>
+</p><a class="indexterm" name="idp84
52768"></a><a class="indexterm" name="idp8454192"></a><a class="indexterm" name="idp8455024"></a><a class="indexterm" name="idp8455856"></a><a class="indexterm" name="idp8456672"></a><a class="indexterm" name="idp8457488"></a><a class="indexterm" name="idp8458304"></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.idp8451024" class="footnote" name="idp8451024"><sup class="footnote">[118]</sup></a>
+hearing and the debates to follow must rest.<a href="#ftn.idp8464704" class="footnote" name="idp8464704"><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
redefined that tradition, at least in Washington.
</p><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.idp8458352" class="footnote" name="idp8458352"><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.idp8472032" class="footnote" name="idp8472032"><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="idp84
79648"></a><p>
+</p><a class="indexterm" name="idp84
93280"></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
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.
How four different modalities of regulation interact to support or weaken the right or regulation.</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%" alt="How four different modalities of regulation interact to support or weaken the right or regulation."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8495456"></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="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="idp8508800"></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="idp8497792"></a>
-</p><a class="indexterm" name="idp8
498672"></a><p>
+<a class="indexterm" name="idp8511136"></a>
+</p><a class="indexterm" name="idp8
512016"></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="idp85
02160"></a><p>
+</p><a class="indexterm" name="idp85
15568"></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="idp85
05792"></a><a class="indexterm" name="idp8507120"></a><a class="indexterm" name="idp8508448"></a><a class="indexterm" name="idxlawasconstraintmodality2"></a><p>
+</p><a class="indexterm" name="idp85
19200"></a><a class="indexterm" name="idp8520528"></a><a class="indexterm" name="idp8521856"></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="idp85
13296"></a><a class="indexterm" name="idp8514112"></a><a class="indexterm" name="idp8514928"></a><a class="indexterm" name="idxdrivingspeedconstraintson"></a><a class="indexterm" name="idxspeedingconstraintson"></a><p>
+</p><a class="indexterm" name="idp85
26768"></a><a class="indexterm" name="idp8527584"></a><a class="indexterm" name="idp8528400"></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.idp8520960" class="footnote" name="idp8520960"><sup class="footnote">[120]</sup></a>
+special role in affecting the three.<a href="#ftn.idp8534448" class="footnote" name="idp8534448"><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="idp85
24656"></a><a class="indexterm" name="idp8525984"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figure 10.2. Law has a special role in affecting the three.</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%" alt="Law has a special role in affecting the three."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8529840"></a><p>
+</p><a class="indexterm" name="idp85
38144"></a><a class="indexterm" name="idp8539472"></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="idp8543072"></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.idp8531296" class="footnote" name="idp8531296"><sup class="footnote">[121]</sup></a>
-</p><a class="indexterm" name="idp85
40096"></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.idp8544528" class="footnote" name="idp8544528"><sup class="footnote">[121]</sup></a>
+</p><a class="indexterm" name="idp85
53328"></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.
Copyright's regulation before the Internet.</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%" alt="Copyright's regulation before the Internet."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxarchitectureconstrainteffectedthrough"></a><a class="indexterm" name="idp8549696"></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="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="idp8562784"></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="idp85
55728"></a><a class="indexterm" name="idp8556864"></a><a class="indexterm" name="idp8557680"></a><p>
+</p><a class="indexterm" name="idxinternetcopyrightregulatorybalancelostwith"></a><a class="indexterm" name="idp85
68688"></a><a class="indexterm" name="idp8569824"></a><a class="indexterm" name="idp8570640"></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="idp85
59296"></a><a class="indexterm" name="idp8560672"></a><a class="indexterm" name="idp8562000"></a><p>
+</p><a class="indexterm" name="idp85
72256"></a><a class="indexterm" name="idp8573568"></a><a class="indexterm" name="idp8574896"></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.
effective state of anarchy after the Internet.</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%" alt="effective state of anarchy after the Internet."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8566720"></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="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="idp8579424"></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="idp85
71024"></a><a class="indexterm" name="idp8572400"></a><a class="indexterm" name="idp8573728"></a><a class="indexterm" name="idp8574544"></a><p>
+</p><a class="indexterm" name="idp85
83632"></a><a class="indexterm" name="idp8584944"></a><a class="indexterm" name="idp8586272"></a><a class="indexterm" name="idp8587088"></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="idp85
76912"></a><a class="indexterm" name="idp8578160"></a><a class="indexterm" name="idp8579488"></a><p>
+</p><a class="indexterm" name="idp85
89456"></a><a class="indexterm" name="idp8590704"></a><a class="indexterm" name="idp8591968"></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="idp85
81504"></a><a class="indexterm" name="idp8582320"></a><a class="indexterm" name="idp8583424"></a><a class="indexterm" name="idp8584240"></a><a class="indexterm" name="idp8585056"></a><a class="indexterm" name="idp8585872"></a><a class="indexterm" name="idp8586688"></a><a class="indexterm" name="idp8587504"></a><p>
+</p><a class="indexterm" name="idp85
93984"></a><a class="indexterm" name="idp8594800"></a><a class="indexterm" name="idp8595904"></a><a class="indexterm" name="idp8596720"></a><a class="indexterm" name="idp8597536"></a><a class="indexterm" name="idp8598352"></a><a class="indexterm" name="idp8599168"></a><a class="indexterm" name="idp8599984"></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.idp8589024" class="footnote" name="idp8589024"><sup class="footnote">[122]</sup></a>
+of digital cameras.<a href="#ftn.idp8601504" class="footnote" name="idp8601504"><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="idp8
595600"></a><a class="indexterm" name="idp8596416"></a><a class="indexterm" name="idp8597232"></a><a class="indexterm" name="idp8598336"></a><a class="indexterm" name="idp8599152"></a><a class="indexterm" name="idp8599968"></a><p>
+</p><a class="indexterm" name="idxfreemarkettechnologicalchangesin"></a><a class="indexterm" name="idp8
608144"></a><a class="indexterm" name="idp8608960"></a><a class="indexterm" name="idp8609776"></a><a class="indexterm" name="idp8610880"></a><a class="indexterm" name="idp8611696"></a><a class="indexterm" name="idp8612512"></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.idp8602160" class="footnote" name="idp8602160"><sup class="footnote">[123]</sup></a>
+have an interest in excluding future competitors.</span>»</span><a href="#ftn.idp8614704" class="footnote" name="idp8614704"><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="idp86
04912"></a><a class="indexterm" name="idp8605984"></a><a class="indexterm" name="idp8606800"></a><p>
+</p><a class="indexterm" name="idp86
17456"></a><a class="indexterm" name="idp8618528"></a><a class="indexterm" name="idp8619344"></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="idp86
10048"></a><a class="indexterm" name="idp8611344"></a><p>
+</p><a class="indexterm" name="idp86
22592"></a><a class="indexterm" name="idp8623888"></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="idp86
22864"></a><a class="indexterm" name="idp8623680"></a><a class="indexterm" name="idxenvironmentalism"></a><p>
+</p><a class="indexterm" name="idp86
35120"></a><a class="indexterm" name="idp8635936"></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="idp86
28240"></a><a class="indexterm" name="idp8629552"></a><a class="indexterm" name="idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2"></a><p>
+</p><a class="indexterm" name="idp86
40384"></a><a class="indexterm" name="idp8641696"></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.idp8633264" class="footnote" name="idp8633264"><sup class="footnote">[124]</sup></a>
+culture.<a href="#ftn.idp8645344" class="footnote" name="idp8645344"><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="idp86
36624"></a><p>
+</p><a class="indexterm" name="idp86
48704"></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="idp86
38864"></a><p>
+</p><a class="indexterm" name="idp86
51008"></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="idp86
40832"></a><a class="indexterm" name="idp8642080"></a><a class="indexterm" name="idp8643520"></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="idp8646048"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp8651024"></a><a class="indexterm" name="idp8652096"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp8656656"></a><p>
+</p><a class="indexterm" name="idp86
53040"></a><a class="indexterm" name="idp8654304"></a><a class="indexterm" name="idp8655680"></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="idp8658096"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp8663024"></a><a class="indexterm" name="idp8664096"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp8668656"></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
<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="idp86
64288"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
+</p><a class="indexterm" name="idp86
76352"></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. Founders">6</a>,
+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
would not exercise disproportionate control over culture by exercising
disproportionate control over publishing. We can assume the framers
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="idp86
71616"></a><a class="indexterm" name="idp8672432"></a><a class="indexterm" name="idp8673552"></a><p>
+</p><a class="indexterm" name="idp86
83616"></a><a class="indexterm" name="idp8684432"></a><a class="indexterm" name="idp8685552"></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="idp86
76016"></a><a class="indexterm" name="idp8677344"></a><p>
+</p><a class="indexterm" name="idp86
88016"></a><a class="indexterm" name="idp8689408"></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="idp86
80096"></a><a class="indexterm" name="idp8681472"></a><a class="indexterm" name="idp8682848"></a><a class="indexterm" name="idp8684176"></a><p>
+</p><a class="indexterm" name="idp86
92240"></a><a class="indexterm" name="idp8693616"></a><a class="indexterm" name="idp8694992"></a><a class="indexterm" name="idp8696320"></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.
Copyright's regulation before the Internet.</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%" alt="Copyright's regulation before the Internet."></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="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>
We will end here:
-</p><div class="figure"><a name="fig-1442"></a><p class="title"><b>Figure 10.6. <
span class="quote">«<span class="quote">Copyright</span>»</span> today.</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%" alt="«Copyright» today."></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="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>
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="idp8
698912"></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="idp8
710768"></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.idp8702512" class="footnote" name="idp8702512"><sup class="footnote">[125]</sup></a>
+authorship.<a href="#ftn.idp8714416" class="footnote" name="idp8714416"><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="idp87
06272"></a><a class="indexterm" name="idxlawfederalvsstate"></a><p>
+</p><a class="indexterm" name="idp87
18176"></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="idp87
12144"></a><p>
+</p><a class="indexterm" name="idp87
24272"></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.idp8714144" class="footnote" name="idp8714144"><sup class="footnote">[126]</sup></a>
-</p><a class="indexterm" name="idp87
18320"></a><a class="indexterm" name="idp8719536"></a><p>
+likely within fourteen years.<a href="#ftn.idp8726336" class="footnote" name="idp8726336"><sup class="footnote">[126]</sup></a>
+</p><a class="indexterm" name="idp87
30512"></a><a class="indexterm" name="idp8731792"></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.idp8722480" class="footnote" name="idp8722480"><sup class="footnote">[127]</sup></a>
-</p><a class="indexterm" name="idp87
25648"></a><a class="indexterm" name="idp8726976"></a><a class="indexterm" name="idp8728080"></a><p>
+domain.<a href="#ftn.idp8734672" class="footnote" name="idp8734672"><sup class="footnote">[127]</sup></a>
+</p><a class="indexterm" name="idp87
37840"></a><a class="indexterm" name="idp8739168"></a><a class="indexterm" name="idp8740272"></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.idp8729616" class="footnote" name="idp8729616"><sup class="footnote">[128]</sup></a> When that happens, the
+out of print after one year.<a href="#ftn.idp8741808" class="footnote" name="idp8741808"><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
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="idp87
42240"></a><p>
+</p><a class="indexterm" name="idp87
54304"></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="idp87
44560"></a><p>
+</p><a class="indexterm" name="idp87
56624"></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="idp87
46720"></a><a class="indexterm" name="idp8747504"></a><a class="indexterm" name="idp8748624"></a><p>
+</p><a class="indexterm" name="idp87
58848"></a><a class="indexterm" name="idp8759632"></a><a class="indexterm" name="idp8760752"></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="idp87
52304"></a><a class="indexterm" name="idp8753696"></a><p>
+</p><a class="indexterm" name="idp87
64432"></a><a class="indexterm" name="idp8765824"></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.idp8755792" class="footnote" name="idp8755792"><sup class="footnote">[129]</sup></a>
-</p><a class="indexterm" name="idp87
57456"></a><a class="indexterm" name="idp8758704"></a><a class="indexterm" name="idp8760096"></a><a class="indexterm" name="idp8761440"></a><a class="indexterm" name="idp8762720"></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.idp8767920" class="footnote" name="idp8767920"><sup class="footnote">[129]</sup></a>
+</p><a class="indexterm" name="idp87
69584"></a><a class="indexterm" name="idp8770832"></a><a class="indexterm" name="idp8772160"></a><a class="indexterm" name="idp8773440"></a><a class="indexterm" name="idp8774720"></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="idp87
68400"></a><a class="indexterm" name="idxderivativeworkshistoricalshiftincopyrightcoverageof"></a><p>
+</p><a class="indexterm" name="idp87
80576"></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="idp87
83408"></a><p>
+</p><a class="indexterm" name="idp87
95584"></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="idp87
85104"></a><p>
+</p><a class="indexterm" name="idp87
97216"></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="idp8
788336"></a><a class="indexterm" name="idp8789936"></a><a class="indexterm" name="idp8791200"></a><p>
+</p><a class="indexterm" name="idp8
800512"></a><a class="indexterm" name="idp8802048"></a><a class="indexterm" name="idp8803312"></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.idp8795120" class="footnote" name="idp8795120"><sup class="footnote">[130]</sup></a>
+174 publishers in the United States.<a href="#ftn.idp8807232" class="footnote" name="idp8807232"><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="idp88
04496"></a><p>
+</p><a class="indexterm" name="idp88
16384"></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="idp88
09120"></a><p>
+</p><a class="indexterm" name="idp88
21008"></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.idp8812640" class="footnote" name="idp8812640"><sup class="footnote">[131]</sup></a>
+not protect derivative rights at all.<a href="#ftn.idp8824528" class="footnote" name="idp8824528"><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.idp8816864" class="footnote" name="idp8816864"><sup class="footnote">[132]</sup></a>
+of my book.<a href="#ftn.idp8828752" class="footnote" name="idp8828752"><sup class="footnote">[132]</sup></a>
These two different uses of my creative work are treated the same.
-</p><a class="indexterm" name="idp88
20256"></a><a class="indexterm" name="idp8821648"></a><a class="indexterm" name="idp8822464"></a><p>
+</p><a class="indexterm" name="idp88
32112"></a><a class="indexterm" name="idp8833456"></a><a class="indexterm" name="idp8834272"></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="idp88
25088"></a><a class="indexterm" name="idp8826288"></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="idp88
36896"></a><a class="indexterm" name="idp8838160"></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.idp8833360" class="footnote" name="idp8833360"><sup class="footnote">[133]</sup></a>
-</p><a class="indexterm" name="idp88
37216"></a><a class="indexterm" name="idxcreativepropertyotherpropertyrightsvs2"></a><p>
+copies, and the core of the regulation of copyright law is copies.<a href="#ftn.idp8845040" class="footnote" name="idp8845040"><sup class="footnote">[133]</sup></a>
+</p><a class="indexterm" name="idp88
48896"></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="idp88
44496"></a><p>
+</p><a class="indexterm" name="idp88
56112"></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.idp8846352" class="footnote" name="idp8846352"><sup class="footnote">[134]</sup></a>
+the law of copyright automatically applies,<a href="#ftn.idp8858032" class="footnote" name="idp8858032"><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="idp88
47808"></a><a class="indexterm" name="idp8848976"></a><p>
+</p><a class="indexterm" name="idp88
59488"></a><a class="indexterm" name="idp8860720"></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.
All potential uses of a book.</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%" alt="All potential uses of a book."></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-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>
Think about a book in real space, and imagine this circle to represent
all its potential <span class="emphasis"><em>uses</em></span>. Most of these uses are
sleep on the book or use it to hold up a lamp or let your puppy chew
it up, those acts are not regulated by copyright law, because those
acts do not make a copy.
-</p><div class="figure"><a name="fig-1531"></a><p class="title"><b>Figure 10.8.
Examples of unregulated uses of a book.</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/1531.png" align="middle" width="100%" alt="Examples of unregulated uses of a book."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1531"></a><p class="title"><b>Figure 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/1531.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Obviously, however, some uses of a copyrighted book are regulated
by copyright law. Republishing the book, for example, makes a copy. It
is therefore regulated by copyright law. Indeed, this particular use stands
at the core of this circle of possible uses of a copyrighted work. It is the
paradigmatic use properly regulated by copyright regulation (see
-diagram in <a class="xref" href="#fig-1541" title="Figure 10.9. Republishing stands at the core of this circle of possible uses of a copyrighted work.">Figure 10.9, “Republishing stands at the core of this circle of possible uses of a copyrighted work.”</a>).
-</p><a class="indexterm" name="idp88
70704"></a><a class="indexterm" name="idp8872064"></a><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
+diagram in figure <a class="xref" href="#fig-1541" title="Figure 10.9. ">10.9</a>).
+</p><a class="indexterm" name="idp88
82384"></a><a class="indexterm" name="idp8883680"></a><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><div class="figure"><a name="fig-1541"></a><p class="title"><b>Figure 10.9.
Republishing stands at the core of this circle of possible uses of a copyrighted work.</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%" alt="Republishing stands at the core of this circle of possible uses of a copyrighted work."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8880736"></a><a class="indexterm" name="idp8881840"></a><p>
+</p><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="idp8891952"></a><a class="indexterm" name="idp8893056"></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
owner the exclusive right to say whether the copy is allowed or not,
but the law denies the owner any exclusive right over such <span class="quote">«<span class="quote">fair uses</span>»</span>
for public policy (and possibly First Amendment) reasons.
-</p><div class="figure"><a name="fig-1542"></a><p class="title"><b>Figure 10.10.
Unregulated copying considered <span class="quote">«<span class="quote">fair uses.</span>»</span></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/1542.svg" align="middle" width="100%" alt="Unregulated copying considered «fair uses.»"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto"></a><p>
+</p><div class="figure"><a name="fig-1542"></a><p class="title"><b>Figure 10.10.
</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/1542.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto"></a><p>
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="idp8
890032"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp8895024"></a><p>
+</p><a class="indexterm" name="idp8
900848"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp8905792"></a><p>
Enter the Internet—a distributed, digital network where every use
-of a copyrighted work produces a copy.<a href="#ftn.idp8896576" class="footnote" name="idp8896576"><sup class="footnote">[135]</sup></a>
+of a copyrighted work produces a copy.<a href="#ftn.idp8907344" class="footnote" name="idp8907344"><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="idp8
898080"></a><a class="indexterm" name="idp8900144"></a><p>
+</p><a class="indexterm" name="idp8
908848"></a><a class="indexterm" name="idp8910848"></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
then whenever you read the book (or any portion of it) beyond the
fifth time, you are making a copy of the book contrary to the
copyright owner's wish.
-</p><div class="figure"><a name="fig-1551"></a><p class="title"><b>Figure 10.11.
Uses that before were presumptively unregulated are now presumptively regulated.</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/1551.svg" align="middle" width="100%" alt="Uses that before were presumptively unregulated are now presumptively regulated."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1551"></a><p class="title"><b>Figure 10.11.
</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/1551.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
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 clear the change. Once you see this point, a few other
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="idp89
23344"></a><a class="indexterm" name="idp8924624"></a><a class="indexterm" name="idp8926016"></a><a class="indexterm" name="idp8927344"></a><a class="indexterm" name="idp8928736"></a><p>
+</p><a class="indexterm" name="idp89
34128"></a><a class="indexterm" name="idp8935472"></a><a class="indexterm" name="idp8936800"></a><a class="indexterm" name="idp8938128"></a><a class="indexterm" name="idp8939520"></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="idp89
31488"></a><a class="indexterm" name="idp8932768"></a><a class="indexterm" name="idp8933968"></a><a class="indexterm" name="idp8935216"></a><a class="indexterm" name="idp8936464"></a><a class="indexterm" name="idp8937856"></a><a class="indexterm" name="idp8939136"></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="idp89
42272"></a><a class="indexterm" name="idp8943552"></a><a class="indexterm" name="idp8944816"></a><a class="indexterm" name="idp8946128"></a><a class="indexterm" name="idp8947376"></a><a class="indexterm" name="idp8948704"></a><a class="indexterm" name="idp8950048"></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="idp89
46592"></a><p>
+</p><a class="indexterm" name="idp89
57440"></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="idp89
50576"></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="idp89
61424"></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="idp89
57408"></a><a class="indexterm" name="idp8958656"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp8963888"></a><p>
+</p><a class="indexterm" name="idp89
68304"></a><a class="indexterm" name="idp8969552"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp8974848"></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="idp89
66944"></a><p>
+</p><a class="indexterm" name="idp89
77904"></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="idp89
68848"></a><a class="indexterm" name="idp8970608"></a><a class="indexterm" name="idp8971856"></a><a class="indexterm" name="idp8973248"></a><a class="indexterm" name="idp8974640"></a><a class="indexterm" name="idp8976016"></a><a class="indexterm" name="idp8977440"></a><a class="indexterm" name="idp8978256"></a><a class="indexterm" name="idp8979072"></a><p>
+</p><a class="indexterm" name="idp89
80304"></a><a class="indexterm" name="idp8981616"></a><a class="indexterm" name="idp8982928"></a><a class="indexterm" name="idp8984320"></a><a class="indexterm" name="idp8985648"></a><a class="indexterm" name="idp8986960"></a><a class="indexterm" name="idp8988304"></a><a class="indexterm" name="idp8989120"></a><a class="indexterm" name="idp8989936"></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="idp89
86048"></a><a class="indexterm" name="idp8987136"></a><p>
+</p><a class="indexterm" name="idp89
96976"></a><a class="indexterm" name="idp8998064"></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="idp89
89024"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
+</p><a class="indexterm" name="idp89
99952"></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.idp8994096" class="footnote" name="idp8994096"><sup class="footnote">[136]</sup></a>
+plan.<a href="#ftn.idp9005088" class="footnote" name="idp9005088"><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.idp8996688" class="footnote" name="idp8996688"><sup class="footnote">[137]</sup></a>
+you were.</span>»</span><a href="#ftn.idp9007680" class="footnote" name="idp9007680"><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
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="idp90
03792"></a><a class="indexterm" name="idp9005104"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
+</p><a class="indexterm" name="idp90
14720"></a><a class="indexterm" name="idp9015968"></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
technology, and the publisher delivers the content by using the
technology.
</p><p>
-In <a class="xref" href="#fig-example-adobe-ebook-reader" title="Figure 10.12. Picture of an old version of Adobe eBook Reader">Figure 10.12, “Picture of an old version of Adobe eBook Reader”</a> is a picture of an old version of my
-Adobe eBook Reader.
+In figure
+<a class="xref" href="#fig-example-adobe-ebook-reader" title="Figure 10.12. ">10.12</a>
+is a picture of an old version of my Adobe eBook Reader.
</p><p>
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
<em class="citetitle">Middlemarch</em>, you'll see a fancy cover, and then
a button at the bottom called Permissions.
-</p><div class="figure"><a name="fig-example-adobe-ebook-reader"></a><p class="title"><b>Figure 10.12.
Picture of an old version of Adobe eBook Reader</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/example-adobe-ebook-reader.png" align="middle" width="100%" alt="Picture of an old version of Adobe eBook Reader"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-example-adobe-ebook-reader"></a><p class="title"><b>Figure 10.12.
</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/example-adobe-ebook-reader.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
If you click on the Permissions button, you'll see a list of the
permissions that the publisher purports to grant with this book.
-</p><div class="figure"><a name="fig-1612"></a><p class="title"><b>Figure 10.13.
List of the permissions that the publisher purports to grant.</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/1612.png" align="middle" width="100%" alt="List of the permissions that the publisher purports to grant."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1612"></a><p class="title"><b>Figure 10.13.
</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/1612.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
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,
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="idp90
20304"></a><a class="indexterm" name="idp9021120"></a><p>
+</p><a class="indexterm" name="idp90
31200"></a><a class="indexterm" name="idp9032016"></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.
E-book of Aristotle's <span class="quote">«<span class="quote">Politics</span>»</span></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/1621.png" align="middle" width="100%" alt="E-book of Aristotle's «Politics»"></td></tr></table></div></div></div><br class="figure-break"><p>
+</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/1621.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.
List of the permissions for Aristotle's <span class="quote">«<span class="quote">Politics</span>»</span>.</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%" alt="List of the permissions for Aristotle's «Politics»."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp9029552"></a><a class="indexterm" name="idp9030384"></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="idp9039392"></a><a class="indexterm" name="idp9040224"></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>:
-</p><div class="figure"><a name="fig-1631"></a><p class="title"><b>Figure 10.16.
List of the permissions for <span class="quote">«<span class="quote">The Future of Ideas</span>»</span>.</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/1631.png" align="middle" width="100%" alt="List of the permissions for «The Future of Ideas»."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1631"></a><p class="title"><b>Figure 10.16.
</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/1631.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
No copying, no printing, and don't you dare try to listen to this book!
</p><p>
Now, the Adobe eBook Reader calls these controls
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.idp9036560" class="footnote" name="idp9036560"><sup class="footnote">[138]</sup></a>
+power.<a href="#ftn.idp9045808" class="footnote" name="idp9045808"><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="idp90
41296"></a><a class="indexterm" name="idp9043008"></a><p>
+</p><a class="indexterm" name="idp90
50096"></a><a class="indexterm" name="idp9051808"></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
Wonderland</em>. This wonderful book is in the public
domain. Yet when you clicked on Permissions for that book, you got the
following report:
-</p><div class="figure"><a name="fig-1641"></a><p class="title"><b>Figure 10.17. List of the permissions for <span class="quote">«<span class="quote">Alice's Adventures in
-Wonderland</span>»</span>.</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/1641.png" align="middle" width="100%" alt="List of the permissions for «Alice's Adventures in Wonderland»."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1641"></a><p class="title"><b>Figure 10.17. </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/1641.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
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
<span class="quote">«<span class="quote">permissions</span>»</span> indicated, not allowed to <span class="quote">«<span class="quote">read aloud</span>»</span>!
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="idp906
0064"></a><a class="indexterm" name="idp9061456"></a><p>
+</p><a class="indexterm" name="idp906
8960"></a><a class="indexterm" name="idp9070288"></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="idp90
63488"></a><a class="indexterm" name="idp9064688"></a><p>
+</p><a class="indexterm" name="idp90
72384"></a><a class="indexterm" name="idp9073584"></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="idp90
75040"></a><p>
+</p><a class="indexterm" name="idp90
84160"></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="idp908
0048"></a><a class="indexterm" name="idp9081296"></a><a class="indexterm" name="idp9082544"></a><p>
+</p><a class="indexterm" name="idp908
9168"></a><a class="indexterm" name="idp9090480"></a><a class="indexterm" name="idp9091728"></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="idp90
85632"></a><p>
+</p><a class="indexterm" name="idp90
94880"></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.idp9088144" class="footnote" name="idp9088144"><sup class="footnote">[139]</sup></a>
+But Felten's bravery was really tested in April 2001.<a href="#ftn.idp9097392" class="footnote" name="idp9097392"><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="idp91
07744"></a><a class="indexterm" name="idp9109056"></a><a class="indexterm" name="idp9110304"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp91
17200"></a><a class="indexterm" name="idp9118448"></a><a class="indexterm" name="idp9119760"></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="idp91
19008"></a><a class="indexterm" name="idp9119824"></a><a class="indexterm" name="idp9120640"></a><p>
+</p><a class="indexterm" name="idp91
28400"></a><a class="indexterm" name="idp9129216"></a><a class="indexterm" name="idp9130032"></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="idp91
23904"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
+</p><a class="indexterm" name="idp91
33296"></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="idp9127920"></a>
+<a class="indexterm" name="idp9137312"></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.idp9131936" class="footnote" name="idp9131936"><sup class="footnote">[140]</sup></a>
+important.<a href="#ftn.idp9141328" class="footnote" name="idp9141328"><sup class="footnote">[140]</sup></a>
</p></blockquote></div><p>
Even though there were uses that were legal, because there were
some uses that were illegal, the court held the companies producing
the VCR responsible.
</p><p>
-This led Conrad to draw the cartoon in
-<a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figure 10.18. VCR/handgun cartoon.">Figure 10.18, “VCR/handgun cartoon.”</a>, which we can adopt
-to the DMCA.
-<a class="indexterm" name="idp9138528"></a>
+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="idp9148176"></a>
</p><p>
No argument I have can top this picture, but let me try to get close.
</p><p>
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><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. VCR/handgun cartoon.</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/1711.png" align="middle" width="100%" alt="VCR/handgun cartoon."></td></tr></table></div></div></div><br class="figure-break"></div><a class="indexterm" name="idp9145888"></a><p>
+</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="100%"><tr><td align="center"><img src="images/1711.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><a class="indexterm" name="idp9155648"></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="idp91
47920"></a><a class="indexterm" name="idp9149184"></a><a class="indexterm" name="idp9150496"></a><a class="indexterm" name="idp9151312"></a><a class="indexterm" name="idp9152128"></a><p>
+</p><a class="indexterm" name="idp91
57680"></a><a class="indexterm" name="idp9158880"></a><a class="indexterm" name="idp9160128"></a><a class="indexterm" name="idp9160944"></a><a class="indexterm" name="idp9161760"></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.idp9158784" class="footnote" name="idp9158784"><sup class="footnote">[141]</sup></a>
+simply continue it.<a href="#ftn.idp9167808" class="footnote" name="idp9167808"><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="idp91
61504"></a><p>
+</p><a class="indexterm" name="idp91
70528"></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="idp91
69840"></a><a class="indexterm" name="idp9170624"></a><a class="indexterm" name="idp9171456"></a><a class="indexterm" name="idp9172240"></a><a class="indexterm" name="idp9173056"></a><a class="indexterm" name="idp9173872"></a><p>
+</p><a class="indexterm" name="idp91
78240"></a><a class="indexterm" name="idp9179024"></a><a class="indexterm" name="idp9179856"></a><a class="indexterm" name="idp9180640"></a><a class="indexterm" name="idp9181456"></a><a class="indexterm" name="idp9182272"></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.idp9175360" class="footnote" name="idp9175360"><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.idp9183760" class="footnote" name="idp9183760"><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.idp9176576" class="footnote" name="idp9176576"><sup class="footnote">[143]</sup></a>
+U.S. music market.<a href="#ftn.idp9184976" class="footnote" name="idp9184976"><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.idp9178704" class="footnote" name="idp9178704"><sup class="footnote">[144]</sup></a>
+programming to 74 percent of the cable subscribers nationwide.</span>»</span><a href="#ftn.idp9187104" class="footnote" name="idp9187104"><sup class="footnote">[144]</sup></a>
</p><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="idp91
82208"></a><p>
+</p><a class="indexterm" name="idp91
90608"></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="idp91
83248"></a><p>
+</p><a class="indexterm" name="idp91
91648"></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.idp9186048" class="footnote" name="idp9186048"><sup class="footnote">[145]</sup></a>
+the same function in the United States.<a href="#ftn.idp9194448" class="footnote" name="idp9194448"><sup class="footnote">[145]</sup></a>
</p></blockquote></div><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
pattern better than a thousand words could do:
-</p><div class="figure"><a name="fig-1761-pattern-modern-media-ownership"></a><p class="title"><b>Figure 10.19.
Pattern of modern media ownership.</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="90%"><tr><td align="center"><img src="images/pattern-modern-media-ownership.png" align="middle" width="100%" alt="Pattern of modern media ownership."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1761-pattern-modern-media-ownership"></a><p class="title"><b>Figure 10.19.
</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="90%"><tr><td align="center"><img src="images/pattern-modern-media-ownership.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
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
</p><p>
Here's a representative story that begins to suggest how this
integration may matter.
-</p><a class="indexterm" name="idp9
194640"></a><a class="indexterm" name="idp9195424"></a><a class="indexterm" name="idp9196208"></a><p>
+</p><a class="indexterm" name="idp9
202848"></a><a class="indexterm" name="idp9203632"></a><a class="indexterm" name="idp9204416"></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.idp9198640" class="footnote" name="idp9198640"><sup class="footnote">[146]</sup></a>
+control.<a href="#ftn.idp9206848" class="footnote" name="idp9206848"><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.idp9205248" class="footnote" name="idp9205248"><sup class="footnote">[147]</sup></a>
+year there was one.</span>»</span><a href="#ftn.idp9213456" class="footnote" name="idp9213456"><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.idp9207792" class="footnote" name="idp9207792"><sup class="footnote">[148]</sup></a>
-</p><a class="indexterm" name="idp92
08784"></a><p>
+63%.</span>»</span><a href="#ftn.idp9216000" class="footnote" name="idp9216000"><sup class="footnote">[148]</sup></a>
+</p><a class="indexterm" name="idp92
16992"></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="idp921
0656"></a><a class="indexterm" name="idp9211472"></a><p>
+</p><a class="indexterm" name="idp921
8864"></a><a class="indexterm" name="idp9219680"></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.idp9214144" class="footnote" name="idp9214144"><sup class="footnote">[149]</sup></a>
+handful.<a href="#ftn.idp9222352" class="footnote" name="idp9222352"><sup class="footnote">[149]</sup></a>
</p></blockquote></div><p>
This narrowing has an effect on what is produced. The product of such
large and concentrated networks is increasingly homogenous.
to Siberia, but punishment nonetheless. Independent, critical,
different views are quashed. This is not the environment for a
democracy.
-</p><a class="indexterm" name="idp92
17104"></a><p>
+</p><a class="indexterm" name="idp92
25312"></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.idp9219808" class="footnote" name="idp9219808"><sup class="footnote">[150]</sup></a>
+companies would find it rational to ignore new cultural trends.<a href="#ftn.idp9228016" class="footnote" name="idp9228016"><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="idp9223216"></a>
+<a class="indexterm" name="idp9231424"></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
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="idp92
33008"></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="idp92
41264"></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="idp92
37392"></a><a class="indexterm" name="idp9238464"></a><a class="indexterm" name="idp9239280"></a><a class="indexterm" name="idp9240400"></a><p>
+</p><a class="indexterm" name="idp92
45648"></a><a class="indexterm" name="idp9246720"></a><a class="indexterm" name="idp9247536"></a><a class="indexterm" name="idp9248656"></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.idp9243232" class="footnote" name="idp9243232"><sup class="footnote">[151]</sup></a>
-</p><a class="indexterm" name="idp92
55744"></a><a class="indexterm" name="idp9257056"></a><p>
+rights of the stations to be this biased.<a href="#ftn.idp9251008" class="footnote" name="idp9251008"><sup class="footnote">[151]</sup></a>
+</p><a class="indexterm" name="idp92
63520"></a><a class="indexterm" name="idp9264768"></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="idp92
59536"></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="idp92
67184"></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.idp9271088" class="footnote" name="idp9271088"><sup class="footnote">[152]</sup></a>
+known.<a href="#ftn.idp9278736" class="footnote" name="idp9278736"><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.
regulating (as it regulates just now) noncommercial copying and,
especially, noncommercial transformation. And increasingly, for the
reasons sketched especially in chapters
-<a class="xref" href="#recorders" title="Chapter 7. Recorders">7</a> and
-<a class="xref" href="#transformers" title="Chapter 8. Transformers">8</a>, one
+<a class="xref" href="#recorders" title="Chapter 7. Chapter Seven: Recorders">7</a> and
+<a class="xref" href="#transformers" title="Chapter 8. Chapter Eight: Transformers">8</a>, one
might well wonder whether it does more harm than good for commercial
transformation. More commercial transformative work would be created
if derivative rights were more sharply restricted.
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.idp9313552" class="footnote" name="idp9313552"><sup class="footnote">[153]</sup></a>)
+property rights<a href="#ftn.idp9321152" class="footnote" name="idp9321152"><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="idp93
17888"></a><p>
+</p><a class="indexterm" name="idp93
25488"></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
granting copyright owners protection for a limited time only (the
-story of chapter <a class="xref" href="#founders" title="Chapter 6. Founders">6</a>). The tradition of <span class="quote">«<span class="quote">fair use</span>»</span> is
+story of chapter <a class="xref" href="#founders" title="Chapter 6. Chapter Six: Founders">6</a>). The tradition of <span class="quote">«<span class="quote">fair use</span>»</span> is
animated by a similar concern that is increasingly under strain as the
costs of exercising any fair use right become unavoidably high (the
-story of chapter <a class="xref" href="#recorders" title="Chapter 7. Recorders">7</a>). Adding
+story of chapter <a class="xref" href="#recorders" title="Chapter 7. Chapter Seven: Recorders">7</a>). Adding
statutory rights where markets might stifle innovation is another
-familiar limit on the property right that copyright is (chapter <a class="xref" href="#transformers" title="Chapter 8. Transformers">8</a>). And
+familiar limit on the property right that copyright is (chapter <a class="xref" href="#transformers" title="Chapter 8. Chapter Eight: Transformers">8</a>). And
granting archives and libraries a broad freedom to collect, claims of
property notwithstanding, is a crucial part of guaranteeing the soul
-of a culture (chapter <a class="xref" href="#collectors" title="Chapter 9. Collectors">9</a>). Free cultures, like free markets, are built
+of a culture (chapter <a class="xref" href="#collectors" title="Chapter 9. Chapter Nine: Collectors">9</a>). Free cultures, like free markets, are built
with property. But the nature of the property that builds a free
culture is very different from the extremist vision that dominates the
debate today.
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.idp8451024" class="footnote"><p><a href="#idp8451024" 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.idp8464704" class="footnote"><p><a href="#idp8464704" 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.idp8458352" class="footnote"><p><a href="#idp8458352" class="para"><sup class="para">[119] </sup></a>
+</p></div><div id="ftn.idp8472032" class="footnote"><p><a href="#idp8472032" 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.idp8520960" class="footnote"><p><a href="#idp8520960" class="para"><sup class="para">[120] </sup></a>
+</p></div><div id="ftn.idp8534448" class="footnote"><p><a href="#idp8534448" 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.idp8531296" class="footnote"><p><a href="#idp8531296" class="para"><sup class="para">[121] </sup></a>
+</p></div><div id="ftn.idp8544528" class="footnote"><p><a href="#idp8544528" 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="idp8536528"></a>
-<a class="indexterm" name="idp8537360"></a>
-<a class="indexterm" name="idp8538176"></a>
-<a class="indexterm" name="idp8539024"></a>
-</p></div><div id="ftn.idp8589024" class="footnote"><p><a href="#idp8589024" class="para"><sup class="para">[122] </sup></a>
+<a class="indexterm" name="idp8549760"></a>
+<a class="indexterm" name="idp8550592"></a>
+<a class="indexterm" name="idp8551408"></a>
+<a class="indexterm" name="idp8552256"></a>
+</p></div><div id="ftn.idp8601504" class="footnote"><p><a href="#idp8601504" 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.idp8602160" class="footnote"><p><a href="#idp8602160" class="para"><sup class="para">[123] </sup></a>
+</p></div><div id="ftn.idp8614704" class="footnote"><p><a href="#idp8614704" 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.idp8633264" class="footnote"><p><a href="#idp8633264" class="para"><sup class="para">[124] </sup></a>
+</p></div><div id="ftn.idp8645344" class="footnote"><p><a href="#idp8645344" 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.idp8702512" class="footnote"><p><a href="#idp8702512" class="para"><sup class="para">[125] </sup></a>
+</p></div><div id="ftn.idp8714416" class="footnote"><p><a href="#idp8714416" 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="idp8704800"></a>
-</p></div><div id="ftn.idp8714144" class="footnote"><p><a href="#idp8714144" class="para"><sup class="para">[126] </sup></a>
+<a class="indexterm" name="idp8716704"></a>
+</p></div><div id="ftn.idp8726336" class="footnote"><p><a href="#idp8726336" 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.idp8722480" class="footnote"><p><a href="#idp8722480" class="para"><sup class="para">[127] </sup></a>
+Act of May 31, 1790, §1, 1 stat. 124. </p></div><div id="ftn.idp8734672" class="footnote"><p><a href="#idp8734672" 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.idp8729616" class="footnote"><p><a href="#idp8729616" class="para"><sup class="para">[128] </sup></a>
+accompanying figures. </p></div><div id="ftn.idp8741808" class="footnote"><p><a href="#idp8741808" class="para"><sup class="para">[128] </sup></a>
-See Ringer, ch. 9, n. 2. </p></div><div id="ftn.idp8755792" class="footnote"><p><a href="#idp8755792" class="para"><sup class="para">[129] </sup></a>
+See Ringer, ch. 9, n. 2. </p></div><div id="ftn.idp8767920" class="footnote"><p><a href="#idp8767920" 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.idp8795120" class="footnote"><p><a href="#idp8795120" class="para"><sup class="para">[130] </sup></a>
+</p></div><div id="ftn.idp8807232" class="footnote"><p><a href="#idp8807232" 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.idp8812640" class="footnote"><p><a href="#idp8812640" class="para"><sup class="para">[131] </sup></a>
+</p></div><div id="ftn.idp8824528" class="footnote"><p><a href="#idp8824528" 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="idp8815136"></a>
-</p></div><div id="ftn.idp8816864" class="footnote"><p><a href="#idp8816864" class="para"><sup class="para">[132] </sup></a>
+<a class="indexterm" name="idp8827024"></a>
+</p></div><div id="ftn.idp8828752" class="footnote"><p><a href="#idp8828752" 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="idp8819072"></a>
-</p></div><div id="ftn.idp8833360" class="footnote"><p><a href="#idp8833360" class="para"><sup class="para">[133] </sup></a>
+<a class="indexterm" name="idp8830896"></a>
+</p></div><div id="ftn.idp8845040" class="footnote"><p><a href="#idp8845040" 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.idp8846352" class="footnote"><p><a href="#idp8846352" class="para"><sup class="para">[134] </sup></a>
+</p></div><div id="ftn.idp8858032" class="footnote"><p><a href="#idp8858032" 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.idp8896576" class="footnote"><p><a href="#idp8896576" class="para"><sup class="para">[135] </sup></a>
+</p></div><div id="ftn.idp8907344" class="footnote"><p><a href="#idp8907344" 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.idp8994096" class="footnote"><p><a href="#idp8994096" class="para"><sup class="para">[136] </sup></a>
+</p></div><div id="ftn.idp9005088" class="footnote"><p><a href="#idp9005088" 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.idp8996688" class="footnote"><p><a href="#idp8996688" class="para"><sup class="para">[137] </sup></a>
+</p></div><div id="ftn.idp9007680" class="footnote"><p><a href="#idp9007680" class="para"><sup class="para">[137] </sup></a>
-<a class="indexterm" name="idp8997392"></a>
+<a class="indexterm" name="idp9008384"></a>
Ibid. See also Vaidhyanathan, <em class="citetitle">Copyrights and
Copywrongs</em>, 1–3.
-</p></div><div id="ftn.idp9036560" class="footnote"><p><a href="#idp9036560" class="para"><sup class="para">[138] </sup></a>
+</p></div><div id="ftn.idp9045808" class="footnote"><p><a href="#idp9045808" 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.idp9088144" class="footnote"><p><a href="#idp9088144" class="para"><sup class="para">[139] </sup></a>
+</p></div><div id="ftn.idp9097392" class="footnote"><p><a href="#idp9097392" 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="idp9095024"></a>
-</p></div><div id="ftn.idp9131936" class="footnote"><p><a href="#idp9131936" class="para"><sup class="para">[140] </sup></a>
+<a class="indexterm" name="idp9104272"></a>
+</p></div><div id="ftn.idp9141328" class="footnote"><p><a href="#idp9141328" class="para"><sup class="para">[140] </sup></a>
-<a class="indexterm" name="idp9132672"></a>
+<a class="indexterm" name="idp9142064"></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="idp8998688"></a>
-</p></div><div id="ftn.idp9158784" class="footnote"><p><a href="#idp9158784" class="para"><sup class="para">[141] </sup></a>
+<a class="indexterm" name="idp9009680"></a>
+</p></div><div id="ftn.idp9167808" class="footnote"><p><a href="#idp9167808" 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.idp9175360" class="footnote"><p><a href="#idp9175360" class="para"><sup class="para">[142] </sup></a>
+</p></div><div id="ftn.idp9183760" class="footnote"><p><a href="#idp9183760" 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.idp9176576" class="footnote"><p><a href="#idp9176576" class="para"><sup class="para">[143] </sup></a>
+(statement of Senator John McCain). </p></div><div id="ftn.idp9184976" class="footnote"><p><a href="#idp9184976" 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.idp9178704" class="footnote"><p><a href="#idp9178704" class="para"><sup class="para">[144] </sup></a>
+</p></div><div id="ftn.idp9187104" class="footnote"><p><a href="#idp9187104" 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.idp9186048" class="footnote"><p><a href="#idp9186048" class="para"><sup class="para">[145] </sup></a>
+</p></div><div id="ftn.idp9194448" class="footnote"><p><a href="#idp9194448" 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="idp9188160"></a>
-</p></div><div id="ftn.idp9198640" class="footnote"><p><a href="#idp9198640" class="para"><sup class="para">[146] </sup></a>
+<a class="indexterm" name="idp9196560"></a>
+</p></div><div id="ftn.idp9206848" class="footnote"><p><a href="#idp9206848" 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.idp9205248" class="footnote"><p><a href="#idp9205248" class="para"><sup class="para">[147] </sup></a>
+</p></div><div id="ftn.idp9213456" class="footnote"><p><a href="#idp9213456" 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.idp9207792" class="footnote"><p><a href="#idp9207792" class="para"><sup class="para">[148] </sup></a>
+</p></div><div id="ftn.idp9216000" class="footnote"><p><a href="#idp9216000" class="para"><sup class="para">[148] </sup></a>
Ibid.
-</p></div><div id="ftn.idp9214144" class="footnote"><p><a href="#idp9214144" class="para"><sup class="para">[149] </sup></a>
+</p></div><div id="ftn.idp9222352" class="footnote"><p><a href="#idp9222352" 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.idp9219808" class="footnote"><p><a href="#idp9219808" class="para"><sup class="para">[150] </sup></a>
+</p></div><div id="ftn.idp9228016" class="footnote"><p><a href="#idp9228016" 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.idp9243232" class="footnote"><p><a href="#idp9243232" class="para"><sup class="para">[151] </sup></a>
-
-<a class="indexterm" name="idp9243968"></a>
-<a class="indexterm" name="idp9244720"></a>
-<a class="indexterm" name="idp9245536"></a>
-<a class="indexterm" name="idp9246368"></a>
-<a class="indexterm" name="idp9247200"></a>
-<a class="indexterm" name="idp9248016"></a>
-<a class="indexterm" name="idp9248800"></a>
+(New York: Currency/Doubleday, 2001). </p></div><div id="ftn.idp9251008" class="footnote"><p><a href="#idp9251008" class="para"><sup class="para">[151] </sup></a>
+
+<a class="indexterm" name="idp9251744"></a>
+<a class="indexterm" name="idp9252496"></a>
+<a class="indexterm" name="idp9253312"></a>
+<a class="indexterm" name="idp9254144"></a>
+<a class="indexterm" name="idp9254976"></a>
+<a class="indexterm" name="idp9255792"></a>
+<a class="indexterm" name="idp9256576"></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.idp9271088" class="footnote"><p><a href="#idp9271088" class="para"><sup class="para">[152] </sup></a>
+</p></div><div id="ftn.idp9278736" class="footnote"><p><a href="#idp9278736" class="para"><sup class="para">[152] </sup></a>
-<a class="indexterm" name="idp9272160"></a>
+<a class="indexterm" name="idp9279808"></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.idp9313552" class="footnote"><p><a href="#idp9313552" class="para"><sup class="para">[153] </sup></a>
+</p></div><div id="ftn.idp9321152" class="footnote"><p><a href="#idp9321152" class="para"><sup class="para">[153] </sup></a>
-<a class="indexterm" name="idp9314288"></a>
+<a class="indexterm" name="idp9321888"></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
Disintegration of Property,</span>»</span> in <em class="citetitle">Nomos XXII: Property</em>, J. Roland
Pennock and 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>Part III. P
UZZLES</h1></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="chimera"></a>Chapter 11. 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>Part III. P
uzzles</h1></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="chimera"></a>Chapter 11. Chapter Eleven: 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>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.idp9335968" class="footnote" name="idp9335968"><sup class="footnote">[154]</sup></a>
+Andes.<a href="#ftn.idp9343632" class="footnote" name="idp9343632"><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="idp93
53792"></a><a class="indexterm" name="idp9354896"></a><p>
+</p><a class="indexterm" name="idp93
61504"></a><a class="indexterm" name="idp9362608"></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="idp9363904"></a>
+<a class="indexterm" name="idp9371264"></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.idp9367696" class="footnote" name="idp9367696"><sup class="footnote">[155]</sup></a>
+implemented.<a href="#ftn.idp9375056" class="footnote" name="idp9375056"><sup class="footnote">[155]</sup></a>
-</p><a class="indexterm" name="idp93
78880"></a><p>
+</p><a class="indexterm" name="idp93
86240"></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.idp9387120" class="footnote" name="idp9387120"><sup class="footnote">[156]</sup></a>
+interests.<a href="#ftn.idp9395024" class="footnote" name="idp9395024"><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="idp9389792"></a>
+<a class="indexterm" name="idp9397696"></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.idp9335968" class="footnote"><p><a href="#idp9335968" 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.idp9343632" class="footnote"><p><a href="#idp9343632" 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.idp9367696" class="footnote"><p><a href="#idp9367696" class="para"><sup class="para">[155] </sup></a>
+</p></div><div id="ftn.idp9375056" class="footnote"><p><a href="#idp9375056" class="para"><sup class="para">[155] </sup></a>
-<a class="indexterm" name="idp9368400"></a>
+<a class="indexterm" name="idp9375760"></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="idp9376992"></a>
-<a class="indexterm" name="idp9377808"></a>
-</p></div><div id="ftn.idp9387120" class="footnote"><p><a href="#idp9387120" class="para"><sup class="para">[156] </sup></a>
+<a class="indexterm" name="idp9384352"></a>
+<a class="indexterm" name="idp9385168"></a>
+</p></div><div id="ftn.idp9395024" class="footnote"><p><a href="#idp9395024" 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
House Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter
Harter, vice president, Global Public Policy and Standards,
EMusic.com), available in 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>Chapter 12. Harms</h2></div></div></div><p>
+Congressional Testimony File. </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="harms"></a>Chapter 12.
Chapter Twelve: Harms</h2></div></div></div><p>
<span class="strong"><strong>To fight</strong></span> <span class="quote">«<span class="quote">piracy,</span>»</span> to
protect <span class="quote">«<span class="quote">property,</span>»</span> the content industry has launched a
war. Lobbying and lots of campaign contributions have now brought 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="idp9
397536"></a><a class="indexterm" name="idp9398352"></a><p>
+</p><a class="indexterm" name="idp9
405392"></a><a class="indexterm" name="idp9406208"></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="idp940
0672"></a><p>
+</p><a class="indexterm" name="idp940
8528"></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
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="idp94
08832"></a><a class="indexterm" name="idp9409616"></a><a class="indexterm" name="idp9410736"></a><a class="indexterm" name="idp9411856"></a><a class="indexterm" name="idp9412688"></a><p>
+</p><a class="indexterm" name="idp94
16672"></a><a class="indexterm" name="idp9417456"></a><a class="indexterm" name="idp9418576"></a><a class="indexterm" name="idp9419696"></a><a class="indexterm" name="idp9420528"></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
and what's not, and at the same time, the penalties for crossing the
line are astonishingly harsh. The four students who were threatened
-by the RIAA (Jesse Jordan of chapter <a class="xref" href="#catalogs" title="Chapter 3. Catalogs">3</a> was just one) were threatened with a
+by the RIAA (Jesse Jordan of chapter <a class="xref" href="#catalogs" title="Chapter 3. Chapter Three: Catalogs">3</a> was just one) were threatened with a
$98 billion lawsuit for building search engines that permitted songs
to be copied. Yet World-Com—which defrauded investors of $11
billion, resulting in a loss to investors in market capitalization of
over $200 billion—received a fine of a mere $750
-million.<a href="#ftn.idp9415408" class="footnote" name="idp9415408"><sup class="footnote">[157]</sup></a>
+million.<a href="#ftn.idp9423312" class="footnote" name="idp9423312"><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.idp9419296" class="footnote" name="idp9419296"><sup class="footnote">[158]</sup></a>
+suffering.<a href="#ftn.idp9427200" class="footnote" name="idp9427200"><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="idp94
24144"></a><p>
+</p><a class="indexterm" name="idp94
32048"></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.idp9427296" class="footnote" name="idp9427296"><sup class="footnote">[159]</sup></a>
+States.<a href="#ftn.idp9435200" class="footnote" name="idp9435200"><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="idp943
1232"></a><p>
+</p><a class="indexterm" name="idp943
9136"></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. «Property»">10</a>. But an
+<a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>. But an
even bigger part has to do with the increasing ease with which
infractions can be tracked. As users of file-sharing systems
discovered in 2002, it is a trivial matter for copyright owners to get
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="idp94
34048"></a><p>
+</p><a class="indexterm" name="idp94
41952"></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,
</p><p>
Lawyers rarely see this because lawyers are rarely empirical. As I
described in chapter
-<a class="xref" href="#recorders" title="Chapter 7. Recorders">7</a>, in
+<a class="xref" href="#recorders" title="Chapter 7. Chapter Seven: Recorders">7</a>, in
response to the story about documentary filmmaker Jon Else, I have
been lectured again and again by lawyers who insist Else's use was
fair use, and hence I am wrong to say that the law regulates such a
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="idp94
56496"></a><a class="indexterm" name="idp9458688"></a><a class="indexterm" name="idp9459504"></a><p>
+</p><a class="indexterm" name="idp94
64896"></a><a class="indexterm" name="idp9467024"></a><a class="indexterm" name="idp9467840"></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. «Property»">10</a>. The consequence of this massive
+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
threat of liability tied to the murky boundaries of copyright law is
that innovators who want to innovate in this space can safely innovate
only if they have the sign-off from last generation's dominant
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="idp94
63072"></a><a class="indexterm" name="idp9463712"></a><p>
+</p><a class="indexterm" name="idp94
71408"></a><a class="indexterm" name="idp9472048"></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="idp94
68672"></a><p>
+</p><a class="indexterm" name="idxmpcom"></a><a class="indexterm" name="idxmympcom"></a><a class="indexterm" name="idp94
76960"></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="idp947
0288"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
+</p><a class="indexterm" name="idp947
8576"></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="idp94
75728"></a><p>
+</p><a class="indexterm" name="idp94
84064"></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="idp94
79536"></a><a class="indexterm" name="idp9480672"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp9483728"></a><a class="indexterm" name="idp9484848"></a><a class="indexterm" name="idp9485952"></a><p>
+</p><a class="indexterm" name="idxvivendiuniversal"></a><a class="indexterm" name="idp94
88432"></a><a class="indexterm" name="idp9489568"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp9492640"></a><a class="indexterm" name="idp9493760"></a><a class="indexterm" name="idp9494864"></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="idp94
89328"></a><p>
+</p><a class="indexterm" name="idp94
98240"></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="idp9
491856"></a><a class="indexterm" name="idp9493072"></a><a class="indexterm" name="idp9494320"></a><a class="indexterm" name="idp9495760"></a><a class="indexterm" name="idp9496576"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp9500768"></a><a class="indexterm" name="idp9501552"></a><a class="indexterm" name="idp9502368"></a><a class="indexterm" name="idp9503184"></a><a class="indexterm" name="idp9504000"></a><a class="indexterm" name="idp9504816"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp9507488"></a><a class="indexterm" name="idp9508304"></a><p>
+</p><a class="indexterm" name="idp9
500768"></a><a class="indexterm" name="idp9501984"></a><a class="indexterm" name="idp9503232"></a><a class="indexterm" name="idp9504672"></a><a class="indexterm" name="idp9505488"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp9509504"></a><a class="indexterm" name="idp9510288"></a><a class="indexterm" name="idp9511104"></a><a class="indexterm" name="idp9511920"></a><a class="indexterm" name="idp9512736"></a><a class="indexterm" name="idp9513552"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp9516176"></a><a class="indexterm" name="idp9516992"></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.idp9509680" class="footnote" name="idp9509680"><sup class="footnote">[160]</sup></a>
+(Hank Barry).<a href="#ftn.idp9518368" class="footnote" name="idp9518368"><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.idp9443088" class="footnote" name="idp9443088"><sup class="footnote">[161]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp95
19664"></a><a class="indexterm" name="idp9520976"></a><a class="indexterm" name="idp9522288"></a><p>
+United States with bona fide MP3 players. … <a href="#ftn.idp9451520" class="footnote" name="idp9451520"><sup class="footnote">[161]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp95
28352"></a><a class="indexterm" name="idp9529664"></a><a class="indexterm" name="idp9530976"></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="idp95
26736"></a><p>
+</p><a class="indexterm" name="idp95
36064"></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="idp95
33888"></a><p>
+</p><a class="indexterm" name="idp95
43216"></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.idp9535248" class="footnote" name="idp9535248"><sup class="footnote">[162]</sup></a>
+is protected or not, and to disable the spread of protected content.<a href="#ftn.idp9544576" class="footnote" name="idp9544576"><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.idp9538192" class="footnote" name="idp9538192"><sup class="footnote">[163]</sup></a>
+copyright violators and disable their machines.<a href="#ftn.idp9547520" class="footnote" name="idp9547520"><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="idp954
0304"></a><p>
+</p><a class="indexterm" name="idp954
9632"></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.idp9541504" class="footnote" name="idp9541504"><sup class="footnote">[164]</sup></a>
+would impose.<a href="#ftn.idp9550832" class="footnote" name="idp9550832"><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="idp95
45152"></a><a class="indexterm" name="idp9546224"></a><a class="indexterm" name="idp9547040"></a><a class="indexterm" name="idp9547856"></a><p>
-As I described in chapter <a class="xref" href="#property-i" title="Chapter 10. «Property»">10</a>, despite this feature of copyright as
+</p><a class="indexterm" name="idp95
54480"></a><a class="indexterm" name="idp9555552"></a><a class="indexterm" name="idp9556368"></a><a class="indexterm" name="idp9557184"></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.idp9550736" class="footnote" name="idp9550736"><sup class="footnote">[165]</sup></a>
+Copyright</em>,<a href="#ftn.idp9560064" class="footnote" name="idp9560064"><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. «Property»">10</a> details,
+<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
to assure that the new is protected from the old. Compulsory, or
statutory, licenses have been one part of that strategy. Free use (as
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.idp9559760" class="footnote" name="idp9559760"><sup class="footnote">[166]</sup></a>
+The response by the courts has been fairly universal.<a href="#ftn.idp9569040" class="footnote" name="idp9569040"><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.idp9564080" class="footnote" name="idp9564080"><sup class="footnote">[167]</sup></a>
+here.<a href="#ftn.idp9573360" class="footnote" name="idp9573360"><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="idp95
70832"></a><a class="indexterm" name="idp9571920"></a><p>
+</p><a class="indexterm" name="idp95
80112"></a><a class="indexterm" name="idp9581200"></a><p>
-As I described in chapter <a class="xref" href="#pirates" title="Chapter 4. «Pirates»">4</a>, when a radio station plays a song, the recording
+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
artist doesn't get paid for that <span class="quote">«<span class="quote">radio performance</span>»</span> unless he or she
is also the composer. So, for example if Marilyn Monroe had recorded a
version of <span class="quote">«<span class="quote">Happy Birthday</span>»</span>—to memorialize her famous
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="idp95
79584"></a><p>
+</p><a class="indexterm" name="idp95
89600"></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.idp9515920" class="footnote" name="idp9515920"><sup class="footnote">[168]</sup></a>
+shackles.<a href="#ftn.idp9524608" class="footnote" name="idp9524608"><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.idp9584640" class="footnote" name="idp9584640"><sup class="footnote">[169]</sup></a>
+legislation</span>»</span><a href="#ftn.idp9594656" class="footnote" name="idp9594656"><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="idp95
88272"></a><a class="indexterm" name="idp9589376"></a><a class="indexterm" name="idp9590480"></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="idp95
98224"></a><a class="indexterm" name="idp9599328"></a><a class="indexterm" name="idp9600432"></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.idp9604176" class="footnote" name="idp9604176"><sup class="footnote">[170]</sup></a>
+over $1 million a year.<a href="#ftn.idp9614064" class="footnote" name="idp9614064"><sup class="footnote">[170]</sup></a>
A regular radio station broadcasting the same content would pay no
equivalent fee.
-</p><a class="indexterm" name="idp96
09840"></a><a class="indexterm" name="idp9611232"></a><a class="indexterm" name="idp9612560"></a><a class="indexterm" name="idp9613888"></a><a class="indexterm" name="idp9615328"></a><p>
+</p><a class="indexterm" name="idp96
19728"></a><a class="indexterm" name="idp9621120"></a><a class="indexterm" name="idp9622448"></a><a class="indexterm" name="idp9623776"></a><a class="indexterm" name="idp9625152"></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="idp96
33488"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp96
43248"></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="idp96
36064"></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="idp96
45824"></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="idp96
46864"></a><p>
+</p><a class="indexterm" name="idp96
56560"></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="idp96
49568"></a><a class="indexterm" name="idp9650816"></a><a class="indexterm" name="idp9652160"></a><a class="indexterm" name="idp9653488"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp96
59264"></a><a class="indexterm" name="idp9660512"></a><a class="indexterm" name="idp9661920"></a><a class="indexterm" name="idp9663312"></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="idp96
55728"></a><a class="indexterm" name="idp9657056"></a><a class="indexterm" name="idp9658448"></a><a class="indexterm" name="idp9659824"></a><a class="indexterm" name="idp9661072"></a><a class="indexterm" name="idp9662384"></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="idp96
65552"></a><a class="indexterm" name="idp9666880"></a><a class="indexterm" name="idp9668272"></a><a class="indexterm" name="idp9669648"></a><a class="indexterm" name="idp9670896"></a><a class="indexterm" name="idp9672208"></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.idp9667152" class="footnote" name="idp9667152"><sup class="footnote">[171]</sup></a>
+Americans downloaded music in May 2002.<a href="#ftn.idp9676976" class="footnote" name="idp9676976"><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.idp9603280" class="footnote" name="idp9603280"><sup class="footnote">[172]</sup></a>
+was.<a href="#ftn.idp9613168" class="footnote" name="idp9613168"><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="idp96
73728"></a><p>
+</p><a class="indexterm" name="idp96
83984"></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.idp9675360" class="footnote" name="idp9675360"><sup class="footnote">[173]</sup></a>
+number were criminals.<a href="#ftn.idp9685616" class="footnote" name="idp9685616"><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.idp9677648" class="footnote" name="idp9677648"><sup class="footnote">[174]</sup></a>
+narcotics that 7 percent (or 16 million) Americans now use.<a href="#ftn.idp9687904" class="footnote" name="idp9687904"><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.idp9678976" class="footnote" name="idp9678976"><sup class="footnote">[175]</sup></a>
+cheat.<a href="#ftn.idp9689232" class="footnote" name="idp9689232"><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="idp96
81536"></a><p>
+</p><a class="indexterm" name="idp96
91792"></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="idp9
694608"></a><a class="indexterm" name="idxcdsmix"></a><p>
+</p><a class="indexterm" name="idp9
704992"></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="idp97
01392"></a><p>
+</p><a class="indexterm" name="idp97
11712"></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="idp97
07072"></a><a class="indexterm" name="idxisps"></a><p>
+</p><a class="indexterm" name="idp97
17328"></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="idp97
11712"></a><p>
+</p><a class="indexterm" name="idp97
21824"></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.idp9718176" class="footnote" name="idp9718176"><sup class="footnote">[176]</sup></a>
+Jesse Jordan.<a href="#ftn.idp9728288" class="footnote" name="idp9728288"><sup class="footnote">[176]</sup></a>
</p><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.idp9724320" class="footnote" name="idp9724320"><sup class="footnote">[177]</sup></a>
+RIAA had adopted to track Napster users.<a href="#ftn.idp9734432" class="footnote" name="idp9734432"><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.idp9729328" class="footnote" name="idp9729328"><sup class="footnote">[178]</sup></a>
+to deploy,<a href="#ftn.idp9739040" class="footnote" name="idp9739040"><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="idp97
37664"></a><a class="indexterm" name="idp9738976"></a><p>
+</p><a class="indexterm" name="idp97
47376"></a><a class="indexterm" name="idp9748688"></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
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.idp9415408" class="footnote"><p><a href="#idp9415408" 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.idp9423312" class="footnote"><p><a href="#idp9423312" 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="idp9418144"></a>
-</p></div><div id="ftn.idp9419296" class="footnote"><p><a href="#idp9419296" class="para"><sup class="para">[158] </sup></a>
+<a class="indexterm" name="idp9426048"></a>
+</p></div><div id="ftn.idp9427200" class="footnote"><p><a href="#idp9427200" 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,'
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="idp9422864"></a>
-</p></div><div id="ftn.idp9427296" class="footnote"><p><a href="#idp9427296" class="para"><sup class="para">[159] </sup></a>
+<a class="indexterm" name="idp9430768"></a>
+</p></div><div id="ftn.idp9435200" class="footnote"><p><a href="#idp9435200" 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.idp9509680" class="footnote"><p><a href="#idp9509680" class="para"><sup class="para">[160] </sup></a>
+</p></div><div id="ftn.idp9518368" class="footnote"><p><a href="#idp9518368" 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.idp9443088" class="footnote"><p><a href="#idp9443088" class="para"><sup class="para">[161] </sup></a>
+</p></div><div id="ftn.idp9451520" class="footnote"><p><a href="#idp9451520" 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="idp9518464"></a>
-</p></div><div id="ftn.idp9535248" class="footnote"><p><a href="#idp9535248" class="para"><sup class="para">[162] </sup></a>
+<a class="indexterm" name="idp9527152"></a>
+</p></div><div id="ftn.idp9544576" class="footnote"><p><a href="#idp9544576" 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.idp9538192" class="footnote"><p><a href="#idp9538192" class="para"><sup class="para">[163] </sup></a>
+</p></div><div id="ftn.idp9547520" class="footnote"><p><a href="#idp9547520" class="para"><sup class="para">[163] </sup></a>
GartnerG2, 26–27.
-</p></div><div id="ftn.idp9541504" class="footnote"><p><a href="#idp9541504" class="para"><sup class="para">[164] </sup></a>
+</p></div><div id="ftn.idp9550832" class="footnote"><p><a href="#idp9550832" 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.idp9550736" class="footnote"><p><a href="#idp9550736" class="para"><sup class="para">[165] </sup></a>
+</p></div><div id="ftn.idp9560064" class="footnote"><p><a href="#idp9560064" 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="idp9551952"></a>
-<a class="indexterm" name="idp9552784"></a>
-</p></div><div id="ftn.idp9559760" class="footnote"><p><a href="#idp9559760" class="para"><sup class="para">[166] </sup></a>
+<a class="indexterm" name="idp9561280"></a>
+<a class="indexterm" name="idp9562112"></a>
+</p></div><div id="ftn.idp9569040" class="footnote"><p><a href="#idp9569040" class="para"><sup class="para">[166] </sup></a>
-<a class="indexterm" name="idp9560496"></a>
+<a class="indexterm" name="idp9569776"></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.idp9564080" class="footnote"><p><a href="#idp9564080" class="para"><sup class="para">[167] </sup></a>
+</p></div><div id="ftn.idp9573360" class="footnote"><p><a href="#idp9573360" class="para"><sup class="para">[167] </sup></a>
-<a class="indexterm" name="idp9564816"></a>
-<a class="indexterm" name="idp9565600"></a>
-<a class="indexterm" name="idp9566416"></a>
-<a class="indexterm" name="idp9567232"></a>
+<a class="indexterm" name="idp9574096"></a>
+<a class="indexterm" name="idp9574880"></a>
+<a class="indexterm" name="idp9575696"></a>
+<a class="indexterm" name="idp9576512"></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.idp9515920" class="footnote"><p><a href="#idp9515920" class="para"><sup class="para">[168] </sup></a>
+</p></div><div id="ftn.idp9524608" class="footnote"><p><a href="#idp9524608" class="para"><sup class="para">[168] </sup></a>
Lessing, 239.
-</p></div><div id="ftn.idp9584640" class="footnote"><p><a href="#idp9584640" class="para"><sup class="para">[169] </sup></a>
+</p></div><div id="ftn.idp9594656" class="footnote"><p><a href="#idp9594656" class="para"><sup class="para">[169] </sup></a>
Ibid., 229.
-</p></div><div id="ftn.idp9604176" class="footnote"><p><a href="#idp9604176" class="para"><sup class="para">[170] </sup></a>
+</p></div><div id="ftn.idp9614064" class="footnote"><p><a href="#idp9614064" 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="idp9607888"></a>
-<a class="indexterm" name="idp9608672"></a>
-</p></div><div id="ftn.idp9667152" class="footnote"><p><a href="#idp9667152" class="para"><sup class="para">[171] </sup></a>
+<a class="indexterm" name="idp9617776"></a>
+<a class="indexterm" name="idp9618560"></a>
+</p></div><div id="ftn.idp9676976" class="footnote"><p><a href="#idp9676976" 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.idp9603280" class="footnote"><p><a href="#idp9603280" class="para"><sup class="para">[172] </sup></a>
+</p></div><div id="ftn.idp9613168" class="footnote"><p><a href="#idp9613168" 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.idp9675360" class="footnote"><p><a href="#idp9675360" class="para"><sup class="para">[173] </sup></a>
+</p></div><div id="ftn.idp9685616" class="footnote"><p><a href="#idp9685616" 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.idp9677648" class="footnote"><p><a href="#idp9677648" class="para"><sup class="para">[174] </sup></a>
+</p></div><div id="ftn.idp9687904" class="footnote"><p><a href="#idp9687904" 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.idp9678976" class="footnote"><p><a href="#idp9678976" class="para"><sup class="para">[175] </sup></a>
+</p></div><div id="ftn.idp9689232" class="footnote"><p><a href="#idp9689232" 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.idp9718176" class="footnote"><p><a href="#idp9718176" class="para"><sup class="para">[176] </sup></a>
+</p></div><div id="ftn.idp9728288" class="footnote"><p><a href="#idp9728288" 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.idp9724320" class="footnote"><p><a href="#idp9724320" class="para"><sup class="para">[177] </sup></a>
+</p></div><div id="ftn.idp9734432" class="footnote"><p><a href="#idp9734432" 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.idp9729328" class="footnote"><p><a href="#idp9729328" class="para"><sup class="para">[178] </sup></a>
+</p></div><div id="ftn.idp9739040" class="footnote"><p><a href="#idp9739040" 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
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>Part IV. B
ALANCES</h1></div></div></div><div class="partintro"><div></div><p>
+</p></div></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="c-balances"></a>Part IV. B
alances</h1></div></div></div><div class="partintro"><div></div><p>
<span class="strong"><strong>So here's</strong></span> the picture: You're
standing at the side of the road. Your car is on fire. You are angry
and upset because in part you helped start the fire. Now you don't
brace of efforts, so far failed, to find a way to refocus this
debate. We must understand these failures if we're to understand what
success will require.
-</p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred"></a>Chapter 13. Eldred</h2></div></div></div><a class="indexterm" name="idxeldrederic"></a><a class="indexterm" name="idxhawthornenathaniel"></a><p>
+</p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred"></a>Chapter 13.
Chapter Thirteen: Eldred</h2></div></div></div><a class="indexterm" name="idxeldrederic"></a><a class="indexterm" name="idxhawthornenathaniel"></a><p>
<span class="strong"><strong>In 1995</strong></span>, a father was frustrated
that his daughters didn't seem to like Hawthorne. No doubt there was
more than one such father, but at least one did something about
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="idp97
66704"></a><p>
+</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="idp97
76016"></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="idp97
64800"></a><p>
+</p><a class="indexterm" name="idp97
74112"></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="idp97
72160"></a><a class="indexterm" name="idp9773472"></a><p>
+</p><a class="indexterm" name="idp97
81472"></a><a class="indexterm" name="idp9782784"></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.idp9776032" class="footnote" name="idp9776032"><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="idp97
84384"></a><a class="indexterm" name="idp9785200"></a><a class="indexterm" name="idp9786016"></a><a class="indexterm" name="idxpatentsfuturepatentsvsfuturecopyrightsin"></a><p>
+generally.<a href="#ftn.idp9785408" class="footnote" name="idp9785408"><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="idp97
93824"></a><a class="indexterm" name="idp9794640"></a><a class="indexterm" name="idp9795456"></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
his free public library. But Congress got in the way. As I described
-in chapter <a class="xref" href="#property-i" title="Chapter 10. «Property»">10</a>, in 1998, for the eleventh time in forty years,
+in chapter <a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>, in 1998, for the eleventh time in forty years,
Congress extended the terms of existing copyrights—this time by
twenty years. Eldred would not be free to add any works more recent
than 1923 to his collection until 2019. Indeed, no copyrighted work
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="idp9
791616"></a><a class="indexterm" name="idp9792800"></a><a class="indexterm" name="idp9794192"></a><a class="indexterm" name="idp9795008"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
+</p><a class="indexterm" name="idp9
801056"></a><a class="indexterm" name="idp9802240"></a><a class="indexterm" name="idp9803568"></a><a class="indexterm" name="idp9804384"></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.idp9800304" class="footnote" name="idp9800304"><sup class="footnote">[180]</sup></a>
-</p><a class="indexterm" name="idp98
03760"></a><a class="indexterm" name="idp9805200"></a><a class="indexterm" name="idp9806320"></a><a class="indexterm" name="idp9807152"></a><a class="indexterm" name="idp9807984"></a><p>
+<span class="quote">«<span class="quote">copyrights should be forever.</span>»</span><a href="#ftn.idp9809744" class="footnote" name="idp9809744"><sup class="footnote">[180]</sup></a>
+</p><a class="indexterm" name="idp98
13200"></a><a class="indexterm" name="idp9814576"></a><a class="indexterm" name="idp9815696"></a><a class="indexterm" name="idp9816528"></a><a class="indexterm" name="idp9817360"></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="idp98
09360"></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="idp98
18736"></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="idp982
0272"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp982
9696"></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="idp98
25312"></a><a class="indexterm" name="idp9826592"></a><a class="indexterm" name="idp9827792"></a><a class="indexterm" name="idp9829168"></a><p>
+</p><a class="indexterm" name="idp98
34672"></a><a class="indexterm" name="idp9835952"></a><a class="indexterm" name="idp9837216"></a><a class="indexterm" name="idp9838656"></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="idp98
32064"></a><a class="indexterm" name="idp9833424"></a><a class="indexterm" name="idp9834768"></a><p>
+</p><a class="indexterm" name="idp98
41552"></a><a class="indexterm" name="idp9842912"></a><a class="indexterm" name="idp9844256"></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.idp9854416" class="footnote" name="idp9854416"><sup class="footnote">[181]</sup></a>
+ contributions.<a href="#ftn.idp9863904" class="footnote" name="idp9863904"><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.idp9856416" class="footnote" name="idp9856416"><sup class="footnote">[182]</sup></a>
+than $200,000 in campaign contributions.<a href="#ftn.idp9865904" class="footnote" name="idp9865904"><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.idp9858528" class="footnote" name="idp9858528"><sup class="footnote">[183]</sup></a>
+cycle.<a href="#ftn.idp9868016" class="footnote" name="idp9868016"><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="idp98
63216"></a><a class="indexterm" name="idp9864608"></a><a class="indexterm" name="idp9865872"></a><p>
+</p><a class="indexterm" name="idp98
72704"></a><a class="indexterm" name="idp9874096"></a><a class="indexterm" name="idp9875360"></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
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="idp98
71152"></a><p>
+</p><a class="indexterm" name="idp98
80640"></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.idp9874672" class="footnote" name="idp9874672"><sup class="footnote">[184]</sup></a>
+the Chief Justice wrote.<a href="#ftn.idp9884160" class="footnote" name="idp9884160"><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.idp9877920" class="footnote" name="idp9877920"><sup class="footnote">[185]</sup></a>
+later in <em class="citetitle">United States</em> v. <em class="citetitle">Morrison</em>.<a href="#ftn.idp9887408" class="footnote" name="idp9887408"><sup class="footnote">[185]</sup></a>
</p><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.idp9880160" class="footnote" name="idp9880160"><sup class="footnote">[186]</sup></a>
+Clause as much as the Commerce Clause.<a href="#ftn.idp9889648" class="footnote" name="idp9889648"><sup class="footnote">[186]</sup></a>
And if it is applied to the Progress Clause, the principle should
yield the conclusion that Congress
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="idp98
86112"></a><a class="indexterm" name="idp9887200"></a><a class="indexterm" name="idp9888320"></a><a class="indexterm" name="idp9889424"></a><p>
+</p><a class="indexterm" name="idp98
95648"></a><a class="indexterm" name="idp9896736"></a><a class="indexterm" name="idp9897856"></a><a class="indexterm" name="idp9898960"></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="idp9
891680"></a><p>
+</p><a class="indexterm" name="idp9
901216"></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.idp9894576" class="footnote" name="idp9894576"><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.idp9904112" class="footnote" name="idp9904112"><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
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.idp9901120" class="footnote" name="idp9901120"><sup class="footnote">[188]</sup></a>
+extended the terms of copyright generally.<a href="#ftn.idp9911168" class="footnote" name="idp9911168"><sup class="footnote">[188]</sup></a>
</p><p>
Think practically about the consequence of this
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="idp99
05088"></a><p>
+</p><a class="indexterm" name="idp99
15136"></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="idp99
15696"></a><a class="indexterm" name="idp9916512"></a><a class="indexterm" name="idp9917328"></a><p>
+</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="idp99
25664"></a><a class="indexterm" name="idp9926480"></a><a class="indexterm" name="idp9927296"></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.idp9919696" class="footnote" name="idp9919696"><sup class="footnote">[189]</sup></a>
+films.</span>»</span><a href="#ftn.idp9929664" class="footnote" name="idp9929664"><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.idp9925008" class="footnote" name="idp9925008"><sup class="footnote">[190]</sup></a>
+8 mm film.<a href="#ftn.idp9934976" class="footnote" name="idp9934976"><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="idp99
33040"></a><p>
+</p><a class="indexterm" name="idp99
43008"></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
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="idp99
51440"></a><p>
+</p><a class="indexterm" name="idp99
61408"></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.idp9953920" class="footnote" name="idp9953920"><sup class="footnote">[191]</sup></a>
+to provide that value.<a href="#ftn.idp9963824" class="footnote" name="idp9963824"><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="idp99
62368"></a><p>
+</p><a class="indexterm" name="idp99
72272"></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="idp99
67792"></a><p>
+</p><a class="indexterm" name="idp99
77696"></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="idp99
70512"></a><a class="indexterm" name="idp9971296"></a><a class="indexterm" name="idp9972112"></a><p>
+</p><a class="indexterm" name="idp99
80416"></a><a class="indexterm" name="idp9981200"></a><a class="indexterm" name="idp9982016"></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
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="idp99
80848"></a><a class="indexterm" name="idp9981632"></a><p>
+</p><a class="indexterm" name="idp99
90752"></a><a class="indexterm" name="idp9991536"></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="idp99
84848"></a><a class="indexterm" name="idp9985680"></a><a class="indexterm" name="idp9986496"></a><a class="indexterm" name="idp9987312"></a><p>
+</p><a class="indexterm" name="idp99
94752"></a><a class="indexterm" name="idp9995584"></a><a class="indexterm" name="idp9996400"></a><a class="indexterm" name="idp9997216"></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="idp99
89472"></a><a class="indexterm" name="idp9990272"></a><p>
+</p><a class="indexterm" name="idp99
99376"></a><a class="indexterm" name="idp10000176"></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
9991744"></a><p>
+</p><a class="indexterm" name="idp
10001648"></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
9993232"></a><a class="indexterm" name="idp9994048"></a><a class="indexterm" name="idp9994864"></a><a class="indexterm" name="idp9995680"></a><a class="indexterm" name="idp9996496"></a><p>
+</p><a class="indexterm" name="idp
10003136"></a><a class="indexterm" name="idp10003952"></a><a class="indexterm" name="idp10004768"></a><a class="indexterm" name="idp10005584"></a><a class="indexterm" name="idp10006400"></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
9998640"></a><a class="indexterm" name="idp9999424"></a><a class="indexterm" name="idp10000240"></a><a class="indexterm" name="idp10001056"></a><p>
+</p><a class="indexterm" name="idp
10008544"></a><a class="indexterm" name="idp10009328"></a><a class="indexterm" name="idp10010144"></a><a class="indexterm" name="idp10010960"></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="idp100
03264"></a><a class="indexterm" name="idp10004048"></a><a class="indexterm" name="idp10005168"></a><p>
+</p><a class="indexterm" name="idp100
13168"></a><a class="indexterm" name="idp10013952"></a><a class="indexterm" name="idp10015072"></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="idp100
08688"></a><a class="indexterm" name="idp10010080"></a><a class="indexterm" name="idp10010896"></a><p>
+</p><a class="indexterm" name="idp100
18592"></a><a class="indexterm" name="idp10019984"></a><a class="indexterm" name="idp10020800"></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.idp10012640" class="footnote" name="idp10012640"><sup class="footnote">[192]</sup></a>
+pornography.</span>»</span><a href="#ftn.idp10022544" class="footnote" name="idp10022544"><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.idp10015456" class="footnote" name="idp10015456"><sup class="footnote">[193]</sup></a>
+Americans in the cast.<a href="#ftn.idp10025360" class="footnote" name="idp10025360"><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="idp100
21280"></a><a class="indexterm" name="idp10022096"></a><p>
+</p><a class="indexterm" name="idp100
31152"></a><a class="indexterm" name="idp10031968"></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="idp100
25056"></a><a class="indexterm" name="idxginsburg"></a><p>
+</p><a class="indexterm" name="idp100
34928"></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="idp100
29792"></a><p>
+</p><a class="indexterm" name="idp100
39616"></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="idp100
31232"></a><p>
+</p><a class="indexterm" name="idp100
41056"></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
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="idp100
44576"></a><a class="indexterm" name="idp10045392"></a><a class="indexterm" name="idp10046208"></a><p>
+</p><a class="indexterm" name="idp100
54848"></a><a class="indexterm" name="idp10055664"></a><a class="indexterm" name="idp10056480"></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="idp100
48928"></a><p>
+</p><a class="indexterm" name="idp100
59200"></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="idp100
54160"></a><p>
+</p><a class="indexterm" name="idp100
64432"></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="idp100
62016"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp100
72288"></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
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="idp100
66992"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp100
77264"></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,
<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="idp100
78016"></a><p>
+</p><a class="indexterm" name="idp100
88272"></a><p>
Justice Ginsburg simply ignored the enumerated powers argument.
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="idp100
80080"></a><p>
+</p><a class="indexterm" name="idp100
90336"></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="idp100
85216"></a><p>
+</p><a class="indexterm" name="idp100
94928"></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
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="idp10
091360"></a><p>
+</p><a class="indexterm" name="idp10
101072"></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
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="idp10
097808"></a><p>
+</p><a class="indexterm" name="idp10
107520"></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="idp101
01328"></a><a class="indexterm" name="idp10102112"></a><p>
+</p><a class="indexterm" name="idp101
11040"></a><a class="indexterm" name="idp10111824"></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="idp101
04864"></a><p>
+</p><a class="indexterm" name="idp101
14576"></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
</p></blockquote></div><p>
The best responses were in the cartoons. There was a gaggle of
hilarious images—of Mickey in jail and the like. The best, from
-my view of the case, was Ruben Bolling's, reproduced in
-<a class="xref" href="#fig-18" title="Figure 13.1. Tom the Dancing Bug cartoon">Figure 13.1, “Tom the Dancing Bug cartoon”</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="idp10113008"></a>
-</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-18"></a><p class="title"><b>Figure 13.1. Tom the Dancing Bug cartoon</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%" alt="Tom the Dancing Bug cartoon"></td></tr></table></div><a class="indexterm" name="idp10116336"></a></div></div><br class="figure-break"></div><p>
+my view of the case, was Ruben Bolling's, reproduced in figure
+<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="idp10123056"></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="idp10126272"></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.idp9776032" class="footnote"><p><a href="#idp9776032" 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.idp9785408" class="footnote"><p><a href="#idp9785408" class="para"><sup class="para">[179] </sup></a>
-<a class="indexterm" name="idp9776768"></a>
+<a class="indexterm" name="idp9786144"></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.idp9800304" class="footnote"><p><a href="#idp9800304" class="para"><sup class="para">[180] </sup></a>
+protect noncommercial pornographers.</p></div><div id="ftn.idp9809744" class="footnote"><p><a href="#idp9809744" class="para"><sup class="para">[180] </sup></a>
-<a class="indexterm" name="idp9801008"></a>
-<a class="indexterm" name="idp9801792"></a>
+<a class="indexterm" name="idp9810448"></a>
+<a class="indexterm" name="idp9811232"></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.idp9854416" class="footnote"><p><a href="#idp9854416" class="para"><sup class="para">[181] </sup></a>
+</p></div><div id="ftn.idp9863904" class="footnote"><p><a href="#idp9863904" 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.idp9856416" class="footnote"><p><a href="#idp9856416" class="para"><sup class="para">[182] </sup></a>
+</p></div><div id="ftn.idp9865904" class="footnote"><p><a href="#idp9865904" 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.idp9858528" class="footnote"><p><a href="#idp9858528" class="para"><sup class="para">[183] </sup></a>
+</p></div><div id="ftn.idp9868016" class="footnote"><p><a href="#idp9868016" 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.idp9874672" class="footnote"><p><a href="#idp9874672" class="para"><sup class="para">[184] </sup></a>
+</p></div><div id="ftn.idp9884160" class="footnote"><p><a href="#idp9884160" 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.idp9877920" class="footnote"><p><a href="#idp9877920" class="para"><sup class="para">[185] </sup></a>
+</p></div><div id="ftn.idp9887408" class="footnote"><p><a href="#idp9887408" 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.idp9880160" class="footnote"><p><a href="#idp9880160" class="para"><sup class="para">[186] </sup></a>
+</p></div><div id="ftn.idp9889648" class="footnote"><p><a href="#idp9889648" 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.idp9894576" class="footnote"><p><a href="#idp9894576" class="para"><sup class="para">[187] </sup></a>
+</p></div><div id="ftn.idp9904112" class="footnote"><p><a href="#idp9904112" 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.idp9901120" class="footnote"><p><a href="#idp9901120" class="para"><sup class="para">[188] </sup></a>
+</p></div><div id="ftn.idp9911168" class="footnote"><p><a href="#idp9911168" 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.idp9919696" class="footnote"><p><a href="#idp9919696" class="para"><sup class="para">[189] </sup></a>
+</p></div><div id="ftn.idp9929664" class="footnote"><p><a href="#idp9929664" 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.idp9925008" class="footnote"><p><a href="#idp9925008" class="para"><sup class="para">[190] </sup></a>
+</p></div><div id="ftn.idp9934976" class="footnote"><p><a href="#idp9934976" 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.idp9953920" class="footnote"><p><a href="#idp9953920" class="para"><sup class="para">[191] </sup></a>
+</p></div><div id="ftn.idp9963824" class="footnote"><p><a href="#idp9963824" 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.idp10012640" class="footnote"><p><a href="#idp10012640" class="para"><sup class="para">[192] </sup></a>
+</p></div><div id="ftn.idp10022544" class="footnote"><p><a href="#idp10022544" 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.idp10015456" class="footnote"><p><a href="#idp10015456" class="para"><sup class="para">[193] </sup></a>
+</p></div><div id="ftn.idp10025360" class="footnote"><p><a href="#idp10025360" 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.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred-ii"></a>Chapter 14. Eldred II</h2></div></div></div><p>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred-ii"></a>Chapter 14.
Chapter Fourteen: Eldred II</h2></div></div></div><p>
<span class="strong"><strong>The day</strong></span>
<em class="citetitle">Eldred</em> was decided, fate would have it that I
was to travel to Washington, D.C. (The day the rehearing petition in
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="idp101
24144"></a><p>
+</p><a class="indexterm" name="idp101
34048"></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="idp101
29952"></a><p>
+</p><a class="indexterm" name="idp101
39856"></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="idp101
32800"></a><a class="indexterm" name="idp10133616"></a><p>
+</p><a class="indexterm" name="idp101
43344"></a><a class="indexterm" name="idp10144160"></a><p>
-As I described in chapter <a class="xref" href="#property-i" title="Chapter 10. «Property»">10</a>, formalities in copyright law were
+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.idp10136176" class="footnote" name="idp10136176"><sup class="footnote">[194]</sup></a>
+any formal requirement before a copyright is granted.<a href="#ftn.idp10146720" class="footnote" name="idp10146720"><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="idp101
42304"></a><p>
+</p><a class="indexterm" name="idp101
52848"></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="idp10151824"></a>
+<a class="indexterm" name="idp10162368"></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="idp101
59872"></a><p>
+</p><a class="indexterm" name="idp101
70416"></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="idp101
62032"></a><p>
+</p><a class="indexterm" name="idp101
72576"></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
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="idp101
72496"></a><p>
+</p><a class="indexterm" name="idp101
83040"></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="idp101
79488"></a><a class="indexterm" name="idp10180272"></a><p>
+</p><a class="indexterm" name="idp101
90032"></a><a class="indexterm" name="idp10190816"></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.idp10136176" class="footnote"><p><a href="#idp10136176" 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.idp10146720" class="footnote"><p><a href="#idp10146720" class="para"><sup class="para">[194] </sup></a>
-<a class="indexterm" name="idp10136880"></a>
+<a class="indexterm" name="idp10147424"></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
of Authors where the author's true name can be filed in the case of
anonymous or pseudonymous works. Paul Goldstein, <em class="citetitle">International
Intellectual Property Law, Cases and Materials</em> (New York: Foundation
-Press, 2001), 153–54. </p></div></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-conclusion"></a>Chapter
15. CONCLUSION</h1></div></div></div><a class="indexterm" name="idxafricamedicationsforhivpatientsin"></a><a class="indexterm" name="idxaidsmedications"></a><a class="indexterm" name="idxantiretroviraldrugs"></a><a class="indexterm" name="idxdevelopingcountriesforeignpatentcostsin2"></a><a class="indexterm" name="idxdrugspharmaceutical"></a><a class="indexterm" name="idxhivaidstherapies"></a><p>
+Press, 2001), 153–54. </p></div></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-conclusion"></a>Chapter
. Conclusion</h1></div></div></div><a class="indexterm" name="idxafricamedicationsforhivpatientsin"></a><a class="indexterm" name="idxaidsmedications"></a><a class="indexterm" name="idxantiretroviraldrugs"></a><a class="indexterm" name="idxdevelopingcountriesforeignpatentcostsin2"></a><a class="indexterm" name="idxdrugspharmaceutical"></a><a class="indexterm" name="idxhivaidstherapies"></a><p>
<span class="strong"><strong>There are more</strong></span> than 35 million
people with the AIDS virus worldwide. Twenty-five million of them live
in sub-Saharan Africa. Seventeen million have already died. Seventeen
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.idp10198208" class="footnote" name="idp10198208"><sup class="footnote">[195]</sup></a>
+Zimbabwe. At these prices, the drugs are totally unavailable.<a href="#ftn.idp10208512" class="footnote" name="idp10208512"><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.idp10212768" class="footnote" name="idp10212768"><sup class="footnote">[196]</sup></a>
-</p><a class="indexterm" name="idp102
16048"></a><p>
+permitted within the European Union.<a href="#ftn.idp10223088" class="footnote" name="idp10223088"><sup class="footnote">[196]</sup></a>
+</p><a class="indexterm" name="idp102
26368"></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.idp9823664" class="footnote" name="idp9823664"><sup class="footnote">[197]</sup></a>
+imports.</span>»</span><a href="#ftn.idp9833088" class="footnote" name="idp9833088"><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.idp10219904" class="footnote" name="idp10219904"><sup class="footnote">[198]</sup></a>
-</p><a class="indexterm" name="idp102
23024"></a><p>
+effect on the treatment of AIDS within South Africa.<a href="#ftn.idp10230224" class="footnote" name="idp10230224"><sup class="footnote">[198]</sup></a>
+</p><a class="indexterm" name="idp102
33344"></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.idp10227664" class="footnote" name="idp10227664"><sup class="footnote">[199]</sup></a>
+about the sanctity of property.<a href="#ftn.idp10237920" class="footnote" name="idp10237920"><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="idp102
34976"></a><p>
+</p><a class="indexterm" name="idp102
45232"></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="idp102
46000"></a><a class="indexterm" name="idp10247248"></a><a class="indexterm" name="idp10248448"></a><a class="indexterm" name="idp10249760"></a><a class="indexterm" name="idp10251200"></a><a class="indexterm" name="idp10252448"></a><a class="indexterm" name="idp10253696"></a><p>
+</p><a class="indexterm" name="idp102
56160"></a><a class="indexterm" name="idp10257408"></a><a class="indexterm" name="idp10258672"></a><a class="indexterm" name="idp10259984"></a><a class="indexterm" name="idp10261360"></a><a class="indexterm" name="idp10262608"></a><a class="indexterm" name="idp10263920"></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="idp102
56768"></a><a class="indexterm" name="idp10258048"></a><a class="indexterm" name="idp10259392"></a><p>
+</p><a class="indexterm" name="idp102
67648"></a><a class="indexterm" name="idp10268928"></a><a class="indexterm" name="idp10270272"></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="idp102
60912"></a><p>
+</p><a class="indexterm" name="idp102
71792"></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="idp102
67408"></a><a class="indexterm" name="idp10268224"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp10271040"></a><a class="indexterm" name="idp10272144"></a><a class="indexterm" name="idp10272928"></a><a class="indexterm" name="idp10273760"></a><a class="indexterm" name="idp10274592"></a><a class="indexterm" name="idp10275696"></a><a class="indexterm" name="idp10276528"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp10279008"></a><a class="indexterm" name="idp10279824"></a><a class="indexterm" name="idp10280656"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
+</p><a class="indexterm" name="idp102
78288"></a><a class="indexterm" name="idp10279104"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp10281872"></a><a class="indexterm" name="idp10282976"></a><a class="indexterm" name="idp10283808"></a><a class="indexterm" name="idp10284640"></a><a class="indexterm" name="idp10285472"></a><a class="indexterm" name="idp10286576"></a><a class="indexterm" name="idp10287408"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp10289888"></a><a class="indexterm" name="idp10290704"></a><a class="indexterm" name="idp10291536"></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.idp10284128" class="footnote" name="idp10284128"><sup class="footnote">[200]</sup></a>
+Property Organization to cancel a meeting.<a href="#ftn.idp10294896" class="footnote" name="idp10294896"><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
the public domain. It included an emerging trend to support open
academic journals, including the Public Library of Science project
that I describe in chapter
-<a class="xref" href="#c-afterword" title="Chapter 16. AFTERWORD">16</a>. It
+<a class="xref" href="#c-afterword" title="Chapter . Afterword"></a>. It
included a project to develop single nucleotide polymorphisms (SNPs),
which are thought to have great significance in biomedical
research. (That nonprofit project comprised a consortium of the
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="idp10
293376"></a><p>
+</p><a class="indexterm" name="idp10
304144"></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.idp10297712" class="footnote" name="idp10297712"><sup class="footnote">[201]</sup></a>
+From the perspective of this book, then, the conference was ideal.<a href="#ftn.idp10308432" class="footnote" name="idp10308432"><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="idp103
04320"></a><a class="indexterm" name="idp10305776"></a><a class="indexterm" name="idp10307152"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp10310144"></a><a class="indexterm" name="idxmicrosoftonfreesoftware"></a><p>
+</p><a class="indexterm" name="idp103
15856"></a><a class="indexterm" name="idp10317312"></a><a class="indexterm" name="idp10318752"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp10321744"></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="idp103
14624"></a><a class="indexterm" name="idp10315728"></a><a class="indexterm" name="idp10316560"></a><a class="indexterm" name="idp10317376"></a><p>
+</p><a class="indexterm" name="idp103
26224"></a><a class="indexterm" name="idp10327328"></a><a class="indexterm" name="idp10328160"></a><a class="indexterm" name="idp10328976"></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.idp10319824" class="footnote" name="idp10319824"><sup class="footnote">[202]</sup></a>
-</p><a class="indexterm" name="idp103
25552"></a><a class="indexterm" name="idp10327040"></a><a class="indexterm" name="idp10327872"></a><p>
+Microsoft's.<a href="#ftn.idp10331424" class="footnote" name="idp10331424"><sup class="footnote">[202]</sup></a>
+</p><a class="indexterm" name="idp103
37152"></a><a class="indexterm" name="idp10338576"></a><a class="indexterm" name="idp10339408"></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="idp103
36352"></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="idp103
47872"></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.idp10338576" class="footnote" name="idp10338576"><sup class="footnote">[203]</sup></a>
+States government to veto the meeting.<a href="#ftn.idp10350096" class="footnote" name="idp10350096"><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="idp103
41552"></a><a class="indexterm" name="idp10342880"></a><p>
+</p><a class="indexterm" name="idp103
53072"></a><a class="indexterm" name="idp10354464"></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="idp103
45360"></a><p>
+</p><a class="indexterm" name="idp103
56944"></a><p>
These statements are astonishing on a number of levels.
-</p><a class="indexterm" name="idp103
47056"></a><p>
+</p><a class="indexterm" name="idp103
58640"></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="idp103
50608"></a><a class="indexterm" name="idp10351312"></a><a class="indexterm" name="idp10352416"></a><a class="indexterm" name="idp10353232"></a><p>
+</p><a class="indexterm" name="idp103
62192"></a><a class="indexterm" name="idp10362896"></a><a class="indexterm" name="idp10364000"></a><a class="indexterm" name="idp10364816"></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="idp103
55888"></a><p>
+</p><a class="indexterm" name="idp103
67472"></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
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="idp103
68448"></a><a class="indexterm" name="idp10369264"></a><p>
+</p><a class="indexterm" name="idp103
80528"></a><a class="indexterm" name="idp10381344"></a><p>
As Peter Drahos and John Braithwaite relate, this is precisely the
-choice we are now making about intellectual property.<a href="#ftn.idp10370480" class="footnote" name="idp10370480"><sup class="footnote">[204]</sup></a>
+choice we are now making about intellectual property.<a href="#ftn.idp10382560" class="footnote" name="idp10382560"><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="idp103
73760"></a><a class="indexterm" name="idp10375072"></a><p>
+</p><a class="indexterm" name="idp103
85840"></a><a class="indexterm" name="idp10387088"></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="idp103
77328"></a><a class="indexterm" name="idp10378704"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp103
89408"></a><a class="indexterm" name="idp10390848"></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="idp103
82800"></a><p>
+</p><a class="indexterm" name="idp103
95008"></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
been part of our tradition for most of our history—free culture.
</p><p>
If this is crazy, then let there be more crazies. Soon.
-</p><a class="indexterm" name="idp10
389952"></a><a class="indexterm" name="idp10390624"></a><a class="indexterm" name="idp10391328"></a><p>
+</p><a class="indexterm" name="idp10
402160"></a><a class="indexterm" name="idp10402832"></a><a class="indexterm" name="idp10403536"></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="idp104
00336"></a><p>
+</p><a class="indexterm" name="idp104
12544"></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.idp10402240" class="footnote" name="idp10402240"><sup class="footnote">[205]</sup></a>
+three hundred individuals.<a href="#ftn.idp10414448" class="footnote" name="idp10414448"><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.idp10409504" class="footnote" name="idp10409504"><sup class="footnote">[206]</sup></a>
+music.<a href="#ftn.idp10421760" class="footnote" name="idp10421760"><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.idp10412128" class="footnote" name="idp10412128"><sup class="footnote">[207]</sup></a>
+finished making the rounds.<a href="#ftn.idp10424384" class="footnote" name="idp10424384"><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="idp104
15744"></a><a class="indexterm" name="idp10416528"></a><a class="indexterm" name="idp10417344"></a><a class="indexterm" name="idp10418128"></a><a class="indexterm" name="idp10418944"></a><a class="indexterm" name="idp10419760"></a><a class="indexterm" name="idp10420576"></a><p>
+</p><a class="indexterm" name="idp104
28000"></a><a class="indexterm" name="idp10428784"></a><a class="indexterm" name="idp10429600"></a><a class="indexterm" name="idp10430384"></a><a class="indexterm" name="idp10431200"></a><a class="indexterm" name="idp10432016"></a><a class="indexterm" name="idp10432832"></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.idp10422480" class="footnote" name="idp10422480"><sup class="footnote">[208]</sup></a>
+download BBC content, and rip, mix, and burn it.<a href="#ftn.idp10434736" class="footnote" name="idp10434736"><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.idp10424736" class="footnote" name="idp10424736"><sup class="footnote">[209]</sup></a>
+country.<a href="#ftn.idp10436992" class="footnote" name="idp10436992"><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.idp10198208" class="footnote"><p><a href="#idp10198208" 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.idp10208512" class="footnote"><p><a href="#idp10208512" 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.idp10212768" class="footnote"><p><a href="#idp10212768" class="para"><sup class="para">[196] </sup></a>
+</p></div><div id="ftn.idp10223088" class="footnote"><p><a href="#idp10223088" 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="idp10214192"></a>
-<a class="indexterm" name="idp10214976"></a>
-</p></div><div id="ftn.idp9823664" class="footnote"><p><a href="#idp9823664" class="para"><sup class="para">[197] </sup></a>
+<a class="indexterm" name="idp10224512"></a>
+<a class="indexterm" name="idp10225296"></a>
+</p></div><div id="ftn.idp9833088" class="footnote"><p><a href="#idp9833088" 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.idp10219904" class="footnote"><p><a href="#idp10219904" class="para"><sup class="para">[198] </sup></a>
+</p></div><div id="ftn.idp10230224" class="footnote"><p><a href="#idp10230224" 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.idp10227664" class="footnote"><p><a href="#idp10227664" class="para"><sup class="para">[199] </sup></a>
+Organization</em> (Washington, D.C., 2000), 15. </p></div><div id="ftn.idp10237920" class="footnote"><p><a href="#idp10237920" 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.idp10284128" class="footnote"><p><a href="#idp10284128" class="para"><sup class="para">[200] </sup></a>
+</p></div><div id="ftn.idp10294896" class="footnote"><p><a href="#idp10294896" 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.idp10297712" class="footnote"><p><a href="#idp10297712" class="para"><sup class="para">[201] </sup></a>
+</p></div><div id="ftn.idp10308432" class="footnote"><p><a href="#idp10308432" 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.idp10319824" class="footnote"><p><a href="#idp10319824" class="para"><sup class="para">[202] </sup></a>
+</p></div><div id="ftn.idp10331424" class="footnote"><p><a href="#idp10331424" 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.idp10338576" class="footnote"><p><a href="#idp10338576" class="para"><sup class="para">[203] </sup></a>
+</p></div><div id="ftn.idp10350096" class="footnote"><p><a href="#idp10350096" 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.idp10370480" class="footnote"><p><a href="#idp10370480" class="para"><sup class="para">[204] </sup></a>
+</p></div><div id="ftn.idp10382560" class="footnote"><p><a href="#idp10382560" class="para"><sup class="para">[204] </sup></a>
See Drahos with Braithwaite, <em class="citetitle">Information Feudalism</em>, 210–20.
-<a class="indexterm" name="idp10220032"></a>
-</p></div><div id="ftn.idp10402240" class="footnote"><p><a href="#idp10402240" class="para"><sup class="para">[205] </sup></a>
+<a class="indexterm" name="idp10230352"></a>
+</p></div><div id="ftn.idp10414448" class="footnote"><p><a href="#idp10414448" 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.idp10409504" class="footnote"><p><a href="#idp10409504" class="para"><sup class="para">[206] </sup></a>
+</p></div><div id="ftn.idp10421760" class="footnote"><p><a href="#idp10421760" 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.idp10412128" class="footnote"><p><a href="#idp10412128" class="para"><sup class="para">[207] </sup></a>
+</p></div><div id="ftn.idp10424384" class="footnote"><p><a href="#idp10424384" 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.idp10422480" class="footnote"><p><a href="#idp10422480" class="para"><sup class="para">[208] </sup></a>
+</p></div><div id="ftn.idp10434736" class="footnote"><p><a href="#idp10434736" 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.idp10424736" class="footnote"><p><a href="#idp10424736" class="para"><sup class="para">[209] </sup></a>
+</p></div><div id="ftn.idp10436992" class="footnote"><p><a href="#idp10436992" 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
16. 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><p>
<span class="strong"><strong>At least some</strong></span> who have read this
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
6.1. 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><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="idp104
48400"></a><a class="indexterm" name="idp10449792"></a><p>
+</p><a class="indexterm" name="idp104
60560"></a><a class="indexterm" name="idp10461952"></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
creators to free content as they see fit. In other words, we need a
way to restore a set of freedoms that we could just take for granted
before.
-</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="examples"></a>1
6.1.1. Rebuilding Freedoms Previously Presumed: Examples</h3></div></div></div><a class="indexterm" name="idxfreeculturerestorationeffortsonpreviousaspectsof"></a><a class="indexterm" name="idxbrowsing"></a><a class="indexterm" name="idxprivacyrights2"></a><p>
+</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="examples"></a>1.1. Rebuilding Freedoms Previously Presumed: Examples</h3></div></div></div><a class="indexterm" name="idxfreeculturerestorationeffortsonpreviousaspectsof"></a><a class="indexterm" name="idxbrowsing"></a><a class="indexterm" name="idxprivacyrights2"></a><p>
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 Internet, most of us didn't have to worry much
What made it assured?
</p><p>
Well, if we think in terms of the modalities I described in chapter
-<a class="xref" href="#property-i" title="Chapter 10. «Property»">10</a>, your
+<a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>, your
privacy was assured because of an inefficient architecture for
gathering data and hence a market constraint (cost) on anyone who
wanted to gather that data. If you were a suspected spy for North
(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="idp104
65440"></a><a class="indexterm" name="idxinternetprivacyprotectionon"></a><p>
+</p><a class="indexterm" name="idxamazon"></a><a class="indexterm" name="idp104
77584"></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="idp104
69904"></a><p>
+</p><a class="indexterm" name="idp104
82048"></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="idp104
72288"></a><a class="indexterm" name="idp10473600"></a><p>
+</p><a class="indexterm" name="idp104
84432"></a><a class="indexterm" name="idp10485744"></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.idp10475776" class="footnote" name="idp10475776"><sup class="footnote">[210]</sup></a>
+friction did.<a href="#ftn.idp10487984" class="footnote" name="idp10487984"><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="idp104
79792"></a><a class="indexterm" name="idp10481008"></a><a class="indexterm" name="idp10482336"></a><a class="indexterm" name="idp10483152"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss2"></a><p>
+</p><a class="indexterm" name="idp104
92000"></a><a class="indexterm" name="idp10493216"></a><a class="indexterm" name="idp10494608"></a><a class="indexterm" name="idp10495424"></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="idp10
493040"></a><a class="indexterm" name="idp10494256"></a><p>
+</p><a class="indexterm" name="idp10
505312"></a><a class="indexterm" name="idp10506544"></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="idp10496048"></a>
-<a class="indexterm" name="idp10496880"></a>
+<a class="indexterm" name="idp10508336"></a>
+<a class="indexterm" name="idp10509168"></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="idp10
499552"></a><a class="indexterm" name="idp10500944"></a><a class="indexterm" name="idxacademicjournals"></a><a class="indexterm" name="idxscientificjournals"></a><p>
+</p><a class="indexterm" name="idp10
511840"></a><a class="indexterm" name="idp10513232"></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="idp105
09264"></a><a class="indexterm" name="idp10510368"></a><p>
+</p><a class="indexterm" name="idxlexisandwestlaw"></a><a class="indexterm" name="idxlawdatabasesofcasereportsin"></a><a class="indexterm" name="idp105
21424"></a><a class="indexterm" name="idp10522528"></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="idp105
13024"></a><a class="indexterm" name="idxpublicdomainlicensesystemforrebuildingof"></a><p>
+</p><a class="indexterm" name="idp105
25184"></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="idp105
16976"></a><a class="indexterm" name="idp10518224"></a><p>
+</p><a class="indexterm" name="idp105
29136"></a><a class="indexterm" name="idp10530384"></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="idp105
23744"></a><a class="indexterm" name="idp10524544"></a><p>
+</p><a class="indexterm" name="idp105
36032"></a><a class="indexterm" name="idp10536832"></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="idp105
26768"></a><p>
+</p><a class="indexterm" name="idp105
39056"></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="idp105
28240"></a><a class="indexterm" name="idp10530160"></a><a class="indexterm" name="idp10531408"></a></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>16.1.2. Rebuilding Free Culture: One Idea</h3></div></div></div><a class="indexterm" name="idxcreativecommons"></a><p>
+</p><a class="indexterm" name="idp105
40592"></a><a class="indexterm" name="idp10542576"></a><a class="indexterm" name="idp10543824"></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="idp105
36064"></a><p>
+</p><a class="indexterm" name="idp105
48416"></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="idp105
43536"></a><p>
+</p><a class="indexterm" name="idp105
55888"></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="idp105
46064"></a><p>
+</p><a class="indexterm" name="idp105
58352"></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="idp105
53424"></a><a class="indexterm" name="idp10554240"></a><p>
+</p><a class="indexterm" name="idp105
65664"></a><a class="indexterm" name="idp10566480"></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="idp105
56688"></a><a class="indexterm" name="idp10558000"></a><a class="indexterm" name="idp10558816"></a><a class="indexterm" name="idp10559632"></a><p>
+</p><a class="indexterm" name="idp105
68928"></a><a class="indexterm" name="idp10570240"></a><a class="indexterm" name="idp10571056"></a><a class="indexterm" name="idp10571872"></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.idp10562848" class="footnote" name="idp10562848"><sup class="footnote">[211]</sup></a>),
+high<a href="#ftn.idp10575088" class="footnote" name="idp10575088"><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="idp105
69824"></a><a class="indexterm" name="idp10571232"></a></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>16.2. THEM, SOON</h2></div></div></div><p>
+</p><a class="indexterm" name="idp105
82064"></a><a class="indexterm" name="idp10583472"></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
and one that's specific to the most heated battle of the day, music. Each
is a step, not an end. But any of these steps would carry us a long way
to our end.
-</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="formalities"></a>
16.2.1. 1. More Formalities</h3></div></div></div><p>
+</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="formalities"></a>2.1. 1. More Formalities</h3></div></div></div><p>
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 you buy a car, you get a bill of sale and register the car. If you buy an
</p><p>
Why?
</p><p>
-As I suggested in chapter <a class="xref" href="#property-i" title="Chapter 10. «Property»">10</a>, the motivation to abolish formalities was a
+As I suggested in chapter <a class="xref" href="#property-i" title="Chapter 10. Chapter Ten: «Property»">10</a>, the motivation to abolish formalities was a
good one. In the world before digital technologies, formalities
imposed a burden on copyright holders without much benefit. Thus, it
was progress when the law relaxed the formal requirements that a
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.idp10583920" class="footnote" name="idp10583920"><sup class="footnote">[212]</sup></a>—but it
+The law should therefore change this requirement<a href="#ftn.idp10596160" class="footnote" name="idp10596160"><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.
did. But a revised system of formalities would banish the government
from the process, except for the sole purpose of approving standards
developed by others.
-</p><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="registration"></a>
16.2.1.1. REGISTRATION AND RENEWAL</h4></div></div></div><p>
+</p><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="registration"></a>
2.1.1. Registration and renewal</h4></div></div></div><p>
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 registration, the copyright owner paid a fee. As with most
formality—while producing a database
of registrations that would facilitate the licensing of content.
-</p></div><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="marking"></a>
16.2.1.2. MARKING</h4></div></div></div><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="marking"></a>
2.1.2. Marking</h4></div></div></div><p>
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 failing to comply with a regulatory rule—akin to
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.idp10595168" class="footnote" name="idp10595168"><sup class="footnote">[213]</sup></a>
+doesn't give permission.<a href="#ftn.idp10607472" class="footnote" name="idp10607472"><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="idp10
599152"></a><p>
+</p><a class="indexterm" name="idp10
611456"></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
would be simple to identify who controls the rights for a particular
kind of content; it would be simple to assert those rights, and to renew
that assertion at the appropriate time.
-</p></div></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="shortterms"></a>
16.2.2. 2. Shorter Terms</h3></div></div></div><p>
+</p></div></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="shortterms"></a>2.2. 2. Shorter Terms</h3></div></div></div><p>
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 authors.
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.idp10608368" class="footnote" name="idp10608368"><sup class="footnote">[214]</sup></a>
+copyright term.<a href="#ftn.idp10620672" class="footnote" name="idp10620672"><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="idp106
19248"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idp106
31552"></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.idp10621408" class="footnote" name="idp10621408"><sup class="footnote">[215]</sup></a>
+pension.<a href="#ftn.idp10633712" class="footnote" name="idp10633712"><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>
16.2.3. 3. Free Use Vs. Fair Use</h3></div></div></div><a class="indexterm" name="idp10631104"></a><a class="indexterm" name="idp10631904"></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="idp10643360"></a><a class="indexterm" name="idp10644160"></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="idp106
36288"></a><p>
+</p><a class="indexterm" name="idp106
48544"></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.idp10637552" class="footnote" name="idp10637552"><sup class="footnote">[216]</sup></a>
+control translations and dramatizations of a work.<a href="#ftn.idp10649808" class="footnote" name="idp10649808"><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.idp10640000" class="footnote" name="idp10640000"><sup class="footnote">[217]</sup></a>
+yet intoning the abracadabra of idea and expression.<a href="#ftn.idp10652256" class="footnote" name="idp10652256"><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="idp10643312"></a>
+<a class="indexterm" name="idp10655568"></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="idp106
46144"></a><p>
+</p><a class="indexterm" name="idp106
58400"></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.idp10648272" class="footnote" name="idp10648272"><sup class="footnote">[218]</sup></a>
+Paul Goldstein.<a href="#ftn.idp10660528" class="footnote" name="idp10660528"><sup class="footnote">[218]</sup></a>
His view is that the law should be written so that
expanded protections follow expanded uses.
</p><p>
certain statutory conditions. Either way, the effect would be to free
a great deal of culture to others to cultivate. And under a statutory
rights regime, that reuse would earn artists more income.
-</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="liberatemusic"></a>
16.2.4. 4. Liberate the Music—Again</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. Liberate the Music—Again</h3></div></div></div><p>
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, most pressing—music. There is no other
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 all the file-sharing networks do. As I described in chapter
-<a class="xref" href="#piracy" title="Chapter 5. «Piracy»">5</a>, they enable
+<a class="xref" href="#piracy" title="Chapter 5. Chapter Five: «Piracy»">5</a>, they enable
four different kinds of sharing:
</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><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="idp106
63280"></a><a class="indexterm" name="idp10664352"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp106
75472"></a><a class="indexterm" name="idp10676544"></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,
effect of sharing is actually not very harmful, the need for regulation is
significantly weakened.
</p><p>
-As I said in chapter <a class="xref" href="#piracy" title="Chapter 5. «Piracy»">5</a>, the actual harm caused by sharing is
+As I said in chapter <a class="xref" href="#piracy" title="Chapter 5. Chapter Five: «Piracy»">5</a>, the actual harm caused by sharing is
controversial. For the purposes of this chapter, however, I assume
the harm is real. I assume, in other words, that type A sharing is
significantly greater than type B, and is the dominant use of sharing
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="idp106
69920"></a><p>
+</p><a class="indexterm" name="idp106
82112"></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.idp10674432" class="footnote" name="idp10674432"><sup class="footnote">[219]</sup></a>
+form of MP3s across the Web.<a href="#ftn.idp10687104" class="footnote" name="idp10687104"><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="idp106
82048"></a><a class="indexterm" name="idp10683152"></a><p>
+</p><a class="indexterm" name="idp106
94720"></a><a class="indexterm" name="idp10695824"></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.idp10694272" class="footnote" name="idp10694272"><sup class="footnote">[220]</sup></a>
+floated by Harvard law professor William Fisher.<a href="#ftn.idp10706896" class="footnote" name="idp10706896"><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="idp107
15392"></a><a class="indexterm" name="idp10716704"></a><p>
+</p><a class="indexterm" name="idp107
28016"></a><a class="indexterm" name="idp10729264"></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="idp107
19504"></a><a class="indexterm" name="idp10720288"></a><a class="indexterm" name="idp10721104"></a><a class="indexterm" name="idp10721920"></a><p>
+</p><a class="indexterm" name="idp107
32064"></a><a class="indexterm" name="idp10732848"></a><a class="indexterm" name="idp10733664"></a><a class="indexterm" name="idp10734480"></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="idp107
25072"></a><a class="indexterm" name="idp10725888"></a><a class="indexterm" name="idp10726992"></a><a class="indexterm" name="idp10727824"></a><a class="indexterm" name="idp10728928"></a><p>
+</p><a class="indexterm" name="idp107
37632"></a><a class="indexterm" name="idp10738448"></a><a class="indexterm" name="idp10739552"></a><a class="indexterm" name="idp10740384"></a><a class="indexterm" name="idp10741488"></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
should be on how to make sure the artists are paid, while protecting
the space for innovation and creativity that the Internet is.
-</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="firelawyers"></a>
16.2.5. 5. Fire Lots of Lawyers</h3></div></div></div><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="firelawyers"></a>2.5. 5. Fire Lots of Lawyers</h3></div></div></div><p>
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, not because there are big bucks at the end but because there are
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="idp107
46704"></a><a class="indexterm" name="idp10747520"></a><p>
+</p><a class="indexterm" name="idp107
59248"></a><a class="indexterm" name="idp10760064"></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.idp10749856" class="footnote" name="idp10749856"><sup class="footnote">[221]</sup></a>
+Nimmer, thought it obvious.<a href="#ftn.idp10762400" class="footnote" name="idp10762400"><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.idp10752976" class="footnote" name="idp10752976"><sup class="footnote">[222]</sup></a>
+the legal system are slight.<a href="#ftn.idp10765520" class="footnote" name="idp10765520"><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="idp107
61328"></a><p>
+</p><a class="indexterm" name="idp107
74224"></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.idp10475776" class="footnote"><p><a href="#idp10475776" 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.idp10487984" class="footnote"><p><a href="#idp10487984" 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.idp10562848" class="footnote"><p><a href="#idp10562848" class="para"><sup class="para">[211] </sup></a>
+between technology and privacy).</p></div><div id="ftn.idp10575088" class="footnote"><p><a href="#idp10575088" 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.idp10583920" class="footnote"><p><a href="#idp10583920" class="para"><sup class="para">[212] </sup></a>
+</p></div><div id="ftn.idp10596160" class="footnote"><p><a href="#idp10596160" 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.idp10595168" class="footnote"><p><a href="#idp10595168" class="para"><sup class="para">[213] </sup></a>
+adopted by other countries as well.</p></div><div id="ftn.idp10607472" class="footnote"><p><a href="#idp10607472" 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.idp10608368" class="footnote"><p><a href="#idp10608368" class="para"><sup class="para">[214] </sup></a>
+</p></div><div id="ftn.idp10620672" class="footnote"><p><a href="#idp10620672" 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.idp10621408" class="footnote"><p><a href="#idp10621408" class="para"><sup class="para">[215] </sup></a>
+</p></div><div id="ftn.idp10633712" class="footnote"><p><a href="#idp10633712" 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.idp10637552" class="footnote"><p><a href="#idp10637552" class="para"><sup class="para">[216] </sup></a>
+</p></div><div id="ftn.idp10649808" class="footnote"><p><a href="#idp10649808" 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.idp10640000" class="footnote"><p><a href="#idp10640000" class="para"><sup class="para">[217] </sup></a>
+</p></div><div id="ftn.idp10652256" class="footnote"><p><a href="#idp10652256" class="para"><sup class="para">[217] </sup></a>
Ibid., 56.
-</p></div><div id="ftn.idp10648272" class="footnote"><p><a href="#idp10648272" class="para"><sup class="para">[218] </sup></a>
+</p></div><div id="ftn.idp10660528" class="footnote"><p><a href="#idp10660528" 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="idp10477472"></a>
-</p></div><div id="ftn.idp10674432" class="footnote"><p><a href="#idp10674432" class="para"><sup class="para">[219] </sup></a>
+<a class="indexterm" name="idp10489680"></a>
+</p></div><div id="ftn.idp10687104" class="footnote"><p><a href="#idp10687104" 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.idp10694272" class="footnote"><p><a href="#idp10694272" class="para"><sup class="para">[220] </sup></a>
+</p></div><div id="ftn.idp10706896" class="footnote"><p><a href="#idp10706896" 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="idp10709152"></a>
-<a class="indexterm" name="idp10709968"></a>
-<a class="indexterm" name="idp10710784"></a>
-<a class="indexterm" name="idp10711616"></a>
-</p></div><div id="ftn.idp10749856" class="footnote"><p><a href="#idp10749856" class="para"><sup class="para">[221] </sup></a>
+<a class="indexterm" name="idp10721776"></a>
+<a class="indexterm" name="idp10722592"></a>
+<a class="indexterm" name="idp10723408"></a>
+<a class="indexterm" name="idp10724240"></a>
+</p></div><div id="ftn.idp10762400" class="footnote"><p><a href="#idp10762400" 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.idp10752976" class="footnote"><p><a href="#idp10752976" class="para"><sup class="para">[222] </sup></a>
+</p></div><div id="ftn.idp10765520" class="footnote"><p><a href="#idp10765520" 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.
-<a class="indexterm" name="idp10751536"></a>
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-notes"></a>Chapter
17. NOTES</h1></div></div></div><p>
+<a class="indexterm" name="idp10764080"></a>
+</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
highly unstable. I have tried to remedy the instability by redirecting
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><div class="chapter"><div class="titlepage"><div><div><h1 class="title"><a name="c-acknowledgments"></a>Chapter
18. ACKNOWLEDGMENTS</h1></div></div></div><p>
+</p></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="idp107
71968"></a><p>
+</p><a class="indexterm" name="idp107
84864"></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
insisted that there would be unending happiness away from these
battles, and who has always been right. This slow learner is, as ever,
grateful for her perpetual patience and love.
-</p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp107
79456"></a>Index</h1></div></div></div><div class="index"><div class="indexdiv"><h3>Symbols</h3><dl><dt>60 Minutes, <a class="indexterm" href="#collectors">Collectors</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">«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">«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">Eldred</a>-<a class="indexterm" href="#eldred">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">Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Transformers</a>-<a class="indexterm" href="#transformers">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">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">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">«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">Creators</a>-<a class="indexterm" href="#creators">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">«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">Collectors</a></dt><dd><dl><dt>(see also Internet Archive)</dt></dl></dd><dt>archives, digital, <a class="indexterm" href="#collectors">Collectors</a>-<a class="indexterm" href="#collectors">Collectors</a>, <a class="indexterm" href="#together">Together</a>, <a class="indexterm" href="#eldred">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">Harms</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">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">Transformers</a></dt><dt>recording industry payments to, <a class="indexterm" href="#catalogs">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">Transformers</a>-<a class="indexterm" href="#transformers">Transformers</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp7026672">«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">Eldred</a>, <a class="indexterm" href="#eldred-ii">Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Founders</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">«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">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">Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Berne Convention (1908), <a class="indexterm" href="#eldred-ii">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Transformers</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">CONCLUSION</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>books</dt><dd><dl><dt>English copyright law developed for, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">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">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">Collectors</a></dt></dl></dd><dt>booksellers, English, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Founders</a></dt><dt>bots, <a class="indexterm" href="#collectors">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">Founders</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">INTRODUCTION</a>, <a class="indexterm" href="#mere-copyists">«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">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">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">Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>Camp Chaos, <a class="indexterm" href="#transformers">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">Creators</a>-<a class="indexterm" href="#creators">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">Harms</a>, <a class="indexterm" href="#eldred-ii">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">Harms</a>, <a class="indexterm" href="#eldred-ii">Eldred II</a>, <a class="indexterm" href="#c-conclusion">CONCLUSION</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>CD-ROMs, film clips used in, <a class="indexterm" href="#transformers">Transformers</a>-<a class="indexterm" href="#transformers">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">Chimera</a>-<a class="indexterm" href="#chimera">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">«Mere Copyists»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">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">«Mere Copyists»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Market: Concentration</a></dt><dt>comics, Japanese, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">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">«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">Founders</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">«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">«Mere Copyists»</a></dt><dt>Conger, <a class="indexterm" href="#founders">Founders</a></dt><dt>Congress, U.S.</dt><dd><dl><dt>constitutional powers of, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">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">Eldred</a>-<a class="indexterm" href="#eldred">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">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">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">Eldred</a>-<a class="indexterm" href="#eldred">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">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">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>constitutional purpose of, <a class="indexterm" href="#beginnings">Beginnings</a>, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>duration of, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">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">Eldred</a>-<a class="indexterm" href="#eldred">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">Founders</a>-<a class="indexterm" href="#founders">Founders</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">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">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">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">Catalogs</a>-<a class="indexterm" href="#catalogs">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">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">Catalogs</a>-<a class="indexterm" href="#catalogs">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">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt><dt>statutory damages of, <a class="indexterm" href="#catalogs">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">«Property»</a>-<a class="indexterm" href="#property-i">«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="#idp7026672">«PIRACY»</a></dt><dt>development of, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>English, <a class="indexterm" href="#idp7026672">«PIRACY»</a>, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>European, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>fair use and, <a class="indexterm" href="#recorders">Recorders</a>-<a class="indexterm" href="#recorders">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">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">Creators</a>-<a class="indexterm" href="#creators">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="#idp7026672">«PIRACY»</a>-<a class="indexterm" href="#idp7026672">«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">Eldred</a>-<a class="indexterm" href="#eldred">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">Chimera</a>-<a class="indexterm" href="#chimera">Chimera</a></dt><dt>Court of Appeals</dt><dd><dl><dt>Ninth Circuit, <a class="indexterm" href="#transformers">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="#idp7026672">«PIRACY»</a>-<a class="indexterm" href="#idp7026672">«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">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>legal restrictions on, <a class="indexterm" href="#idp7026672">«PIRACY»</a>-<a class="indexterm" href="#idp7026672">«PIRACY»</a></dt></dl></dd><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">«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">«Mere Copyists»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">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">«Mere Copyists»</a></dt><dt>democracy</dt><dd><dl><dt>in technologies of expression, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>public discourse in, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Creators</a>-<a class="indexterm" href="#creators">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">«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">Creators</a>-<a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#property-i">«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">Creators</a>-<a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>, <a class="indexterm" href="#piracy-ii">Piracy II</a>, <a class="indexterm" href="#collectors">Collectors</a>, <a class="indexterm" href="#lawscope">Law: Scope</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">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">Recorders</a>-<a class="indexterm" href="#recorders">Recorders</a></dt><dt>Donaldson v. Beckett, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">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">Creators</a>-<a class="indexterm" href="#creators">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="#idp7026672">«PIRACY»</a></dt><dt>driving speed, constraints on, <a class="indexterm" href="#property-i">«Property»</a>-<a class="indexterm" href="#property-i">«Property»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">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">Founders</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">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">«Mere Copyists»</a></dt><dt>Eagle Forum, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>tinkering as means of, <a class="indexterm" href="#catalogs">Catalogs</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>elections, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Recorders</a>-<a class="indexterm" href="#recorders">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">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Enlightenment, <a class="indexterm" href="#founders">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">Collectors</a></dt><dt>Errors and Omissions insurance, <a class="indexterm" href="#recorders">Recorders</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Founders</a></dt><dt>expression, technologies of</dt><dd><dl><dt>democratic, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>media literacy and, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Recorders</a>-<a class="indexterm" href="#recorders">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">Recorders</a>-<a class="indexterm" href="#recorders">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">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>archive of, <a class="indexterm" href="#collectors">Collectors</a></dt><dt>fair use of copyrighted material in, <a class="indexterm" href="#recorders">Recorders</a>-<a class="indexterm" href="#recorders">Recorders</a></dt><dt>multiple copyrights associated with, <a class="indexterm" href="#recorders">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="#idp7026672">«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">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">Recorders</a>-<a class="indexterm" href="#recorders">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">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>English legal establishment of, <a class="indexterm" href="#founders">Founders</a></dt><dt>four modalities of constraint on, <a class="indexterm" href="#property-i">«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">Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">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">Eldred II</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">CONCLUSION</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>Girl Scouts, <a class="indexterm" href="#idp7026672">«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">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">Catalogs</a>-<a class="indexterm" href="#catalogs">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">Recorders</a>-<a class="indexterm" href="#recorders">Recorders</a></dt><dt>Grimm fairy tales, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#eldred">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">Recorders</a>-<a class="indexterm" href="#recorders">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">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">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Founders</a></dt><dt>Henry VIII, King of England, <a class="indexterm" href="#founders">Founders</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Recorders</a>-<a class="indexterm" href="#recorders">Recorders</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Cable TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">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">Founders</a>-<a class="indexterm" href="#founders">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="#idp7026672">«PIRACY»</a>-<a class="indexterm" href="#idp7026672">«PIRACY»</a>, <a class="indexterm" href="#pirates">«Pirates»</a></dt><dt>images, ownership of, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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="#idp7026672">«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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>peer-generated rankings on, <a class="indexterm" href="#mere-copyists">«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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt></dl></dd><dt>Internet Archive, <a class="indexterm" href="#collectors">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">«Mere Copyists»</a>, <a class="indexterm" href="#collectors">Collectors</a></dt><dt>ISPs (Internet service providers), user identities revealed by, <a class="indexterm" href="#chimera">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">Creators</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanese comics, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp7982304">«PROPERTY»</a>, <a class="indexterm" href="#property-i">«Property»</a>-<a class="indexterm" href="#property-i">«Property»</a>, <a class="indexterm" href="#oneidea">Rebuilding Free Culture: One Idea</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">«Property»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Founders</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Founders</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Catalogs</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>journalism, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>jury system, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">«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">Founders</a></dt><dt>Kodak cameras, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Eldred</a></dt><dt>law</dt><dd><dl><dt>as constraint modality, <a class="indexterm" href="#property-i">«Property»</a>-<a class="indexterm" href="#property-i">«Property»</a>, <a class="indexterm" href="#hollywood">Why Hollywood Is Right</a></dt><dt>common vs. positive, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">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">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">Eldred</a>-<a class="indexterm" href="#eldred">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">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">Eldred</a>-<a class="indexterm" href="#eldred">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">Collectors</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">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">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">Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Chimera</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Recorders</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">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">«Property»</a></dt><dt>manga, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp7026672">«PIRACY»</a>-<a class="indexterm" href="#idp7026672">«PIRACY»</a>, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">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">«Property»</a>-<a class="indexterm" href="#property-i">«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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>commercial imperatives of, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">«Mere Copyists»</a></dt></dl></dd><dt>media literacy, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">Creators</a></dt><dt>MGM, <a class="indexterm" href="#property-i">«Property»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Catalogs</a></dt><dt>Mickey Mouse, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">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">Catalogs</a>-<a class="indexterm" href="#catalogs">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">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Founders</a></dt><dt>monopoly, copyright as, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">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="#idp7026672">«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">«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">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">Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">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">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">Eldred</a></dt><dt>news coverage, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>, <a class="indexterm" href="#collectors">Collectors</a>-<a class="indexterm" href="#collectors">Collectors</a></dt><dt>newspapers</dt><dd><dl><dt>archives of, <a class="indexterm" href="#collectors">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">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">Transformers</a></dt><dt>No Electronic Theft (NET) Act (1998), <a class="indexterm" href="#eldred">Eldred</a></dt><dt>norms, regulatory influence of, <a class="indexterm" href="#property-i">«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">Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Catalogs</a></dt><dt>originalism, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Collectors</a>-<a class="indexterm" href="#collectors">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">«Property»</a></dt><dt>patents</dt><dd><dl><dt>future patents vs. future copyrights in, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>in public domain, <a class="indexterm" href="#lawduration">Law: Duration</a>, <a class="indexterm" href="#eldred">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">Founders</a></dt><dt>peer-to-peer (p2p) file sharing</dt><dd><dl><dt>efficiency of, <a class="indexterm" href="#idp7026672">«PIRACY»</a>-<a class="indexterm" href="#idp7026672">«PIRACY»</a></dt><dt>felony punishments for, <a class="indexterm" href="#eldred">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Creators</a>-<a class="indexterm" href="#creators">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">«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">«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">Eldred</a></dt><dt>pornography, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>positive law, <a class="indexterm" href="#founders">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">Collectors</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">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">Eldred</a>-<a class="indexterm" href="#eldred">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="#idp7982304">«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">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">Creators</a>-<a class="indexterm" href="#creators">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">Founders</a>-<a class="indexterm" href="#founders">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">Eldred</a>-<a class="indexterm" href="#eldred">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">Creators</a>-<a class="indexterm" href="#creators">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">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">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">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">Catalogs</a>-<a class="indexterm" href="#catalogs">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">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>intimidation tactics of, <a class="indexterm" href="#catalogs">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt><dt>lobbying power of, <a class="indexterm" href="#catalogs">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">«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">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">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt><dd><dl><dt>computer network search engine of, <a class="indexterm" href="#catalogs">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt></dl></dd><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#idp7026672">«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">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">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">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">Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">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">Founders</a></dt><dt>search engines, <a class="indexterm" href="#catalogs">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a>, <a class="indexterm" href="#collectors">Collectors</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#founders">Founders</a></dt><dt>sheet music, <a class="indexterm" href="#idp7026672">«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">Recorders</a>-<a class="indexterm" href="#recorders">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">Eldred</a>-<a class="indexterm" href="#eldred">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">«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">«Property»</a>-<a class="indexterm" href="#property-i">«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">Recorders</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Founders</a>, <a class="indexterm" href="#lawduration">Law: Duration</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Founders</a></dt><dt>statutory damages, <a class="indexterm" href="#catalogs">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">Creators</a>-<a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">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">Eldred</a></dt><dt>Superman comics, <a class="indexterm" href="#creators">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">Founders</a>-<a class="indexterm" href="#founders">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">Transformers</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">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">«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">Collectors</a></dt><dt>Thomson, James, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">Founders</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Founders</a>-<a class="indexterm" href="#founders">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">«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">Founders</a>-<a class="indexterm" href="#founders">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">«Property»</a></dt><dt>university computer networks, p2p sharing on, <a class="indexterm" href="#catalogs">Catalogs</a>-<a class="indexterm" href="#catalogs">Catalogs</a></dt></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Creators</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">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">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">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">Recorders</a>-<a class="indexterm" href="#recorders">Recorders</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">«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">«Mere Copyists»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«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">Chimera</a>-<a class="indexterm" href="#chimera">Chimera</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">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">«Mere Copyists»</a>-<a class="indexterm" href="#mere-copyists">«Mere Copyists»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Creators</a>-<a class="indexterm" href="#creators">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">«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">«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="#idp7026672">«PIRACY»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp10779712"></a>Colophon</h1><p>
+</p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp107
93056"></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="#idp7048096">«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="#idp7048096">«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="#idp7048096">«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="#idp7048096">«Piracy»</a>-<a class="indexterm" href="#idp7048096">«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="#idp7048096">«Piracy»</a>-<a class="indexterm" href="#idp7048096">«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="#idp7048096">«Piracy»</a>-<a class="indexterm" href="#idp7048096">«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="#idp7048096">«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="#idp7048096">«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="#idp7048096">«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="#idp7048096">«Piracy»</a>-<a class="indexterm" href="#idp7048096">«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="#idp7048096">«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="#idp8002320">«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="#idp7048096">«Piracy»</a>-<a class="indexterm" href="#idp7048096">«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="#idp7048096">«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="#idp7048096">«Piracy»</a>-<a class="indexterm" href="#idp7048096">«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="#idp8002320">«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="#idp7048096">«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="#idp7048096">«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="#idp7048096">«Piracy»</a>, <a class="indexterm" href="#lawscope">Law: Scope</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp10793312"></a></h1><p>
Free culture: How big media uses technology and the law to lock down
culture and control creativity / Lawrence Lessig.
</p><p>
-Copyright © Lawrence Lessig. Some rights reserved.
+Copyright © 2004 Lawrence Lessig. Some rights reserved.
</p><p>
-This version of <em class="citetitle">Free Culture</em> 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://free-culture.cc/" target="_top">http://free-culture.cc/</a>
+</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><p>
-This digital book was published by Petter Reinholdtsen in 2015. The
-original hardcover paper book was published in 2004 by The Penguin
-Press.
+Published 2015 by Petter Reinholdtsen in his spare time. First
+published 2004 by The Penguin Press. Thomas Gramstad Forlag donated
+the ISBN numbers.
</p><p>
Excerpt from an editorial titled <span class="quote">«<span class="quote">The Coming of Copyright
Perpetuity,</span>»</span> <em class="citetitle">The New York Times</em>, January
16, 2003. Copyright © 2003 by The New York Times Co. Reprinted
with permission.
</p><p>
-Cartoon in <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figure 10.18. VCR/handgun cartoon.">Figure 10.18, “VCR/handgun cartoon.”</a> by Paul
-Conrad, copyright Tribune Media Services, Inc. All rights
+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> by
+Paul Conrad, copyright Tribune Media Services, Inc. All rights
reserved. Reprinted with permission.
</p><p>
-Diagram in <a class="xref" href="#fig-1761-pattern-modern-media-ownership" title="Figure 10.19. Pattern of modern media ownership.">Figure 10.19, “Pattern of modern media ownership.”</a>
+Diagram in figure
+<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>
-The source of this version of the book is written using DocBook
-notation and the other formats are derived from the DocBook source.
-The DocBook source is based on a DocBook XML version created by Hans
-Schou, and extended by Petter Reinholdtsen with formatting and index
-references. The source files for this book are available from
-<a class="ulink" href="https://github.com/petterreinholdtsen/free-culture-lessig" target="_top">https://github.com/petterreinholdtsen/free-culture-lessig</a>.
-</p><p>
-
</p><p>
Includes index.
</p><p>
(US Lib. of Congress) KF2979.L47 2004
(ACM CRCS) K.4.1
</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">978-82-92812-XX-Y</td><td align="left">text/plain</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/pdf</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">text/html</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/epub+zip</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/docbook+xml</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/x-mobipocket-ebook</td></tr></tbody></table></div><p>
+The book source is in DocBook notation and the other formats are
+derived from this. The source is based on a version from Hans Schou.
+Typeset using Crimson Text and formatted using dblatex. Many thanks
+to the dblatex developer Benoît Guillon for his help. The 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 problems using the GitHub issue tracker.
+</p><p>
+
+</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">Printed copy from Lulu</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></div></body></html>
<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 Lawrense 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="idp3
598144"></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="idp3
734256"></a><p>
<span class="inlinemediaobject"><img src="images/cc.png" align="middle" height="38" alt="Creative Commons, noen rettigheter forbeholdt"></span>
</p><p>
-Denne versjonen av <em class="citetitle">Fri kultur</em> er lisensiert under en
-Creative Commons-lisens. Denne lisensen tillater ikke-kommersiell
-utnyttelse av verket dersom opphavsmannen er navngitt. For mer informasjon
-om lisensen, klikk på ikonet over eller besøk <a class="ulink" href="http://creativecommons.org/licenses/by-nc/1.0/" target="_top">http://creativecommons.org/licenses/by-nc/1.0/</a>
+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">2004-03-25</p></div><div><div class="abstract"><p class="title"><b>Om forfatteren</b></p><p>
Lawrense 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
Code: And Other Laws of Cyberspace
-</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp1
187952"></a></h1></div></div></div><p>
+</p></li></ul></div></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="idp1
023152"></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">
0. <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">Skaperne</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists"><span class="quote">«<span class="quote">Kun etter-apere</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Kataloger</a></span></dt><dt><span class="chapter">4. <a href="#pirates"><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"><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">Grunnleggerne</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Innspillerne</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Omformerne</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Samlere</a></span></dt><dt><span class="chapter">10. <a href="#property-i"><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">Fantasifoster / Chimera</a></span></dt><dt><span class="chapter">12. <a href="#harms">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">Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Eldred II</a></span></dt></dl></dd><dt><span class="chapter">15. <a href="#c-conclusion">Konklusjon</a></span></dt><dt><span class="chapter">16. <a href="#c-afterword">Etterord</a></span></dt><dd><dl><dt><span class="section">16.1. <a href="#usnow">Oss, nå</a></span></dt><dd><dl><dt><span class="section">16.1.1. <a href="#examples">Gjenoppbygging av tidligere antatte friheter: Eksempler</a></span></dt><dt><span class="section">16.1.2. <a href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></span></dt></dl></dd><dt><span class="section">16.2. <a href="#themsoon">Dem, snart</a></span></dt><dd><dl><dt><span class="section">16.2.1. <a href="#formalities">1. Flere formaliteter</a></span></dt><dd><dl><dt><span class="section">16.2.1.1. <a href="#registration">Registrering og fornying</a></span></dt><dt><span class="section">16.2.1.2. <a href="#marking">Merking</a></span></dt></dl></dd><dt><span class="section">16.2.2. <a href="#shortterms">2. Kortere vernetid</a></span></dt><dt><span class="section">16.2.3. <a href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></span></dt><dt><span class="section">16.2.4. <a href="#liberatemusic">4. Frigjør musikken—igjen</a></span></dt><dt><span class="section">16.2.5. <a href="#firelawyers">5. Spark en masse advokater</a></span></dt></dl></dd></dl></dd><dt><span class="chapter">17. <a href="#c-notes">Notater</a></span></dt><dt><span class="chapter">18. <a href="#c-acknowledgments">Takk til</a></span></dt><dt><span class="index"><a href="#idp11236032">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 etter-apere</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 vs. 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><dt><span class="chapter"><a href="#c-acknowledgments">Takk til</a></span></dt><dt><span class="index"><a href="#idp10037920">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>
<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
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
169216"></a><p>
+</p><a class="indexterm" name="idp
261040"></a><p>
Men i motsetning til boken <em class="citetitle">Code</em>, er tema her ikke så
mye Internett i seg selv. Istedet er boken om konsekvensen av Internett for
en del av vår tradisjon som er mye mer grunnleggende, og uansett hvor hardt
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.idp185888" class="footnote" name="idp185888"><sup class="footnote">[2]</sup></a>), men
+programvarebevegelsen<a href="#ftn.idp168336" class="footnote" name="idp168336"><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
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
6846368"></a><a class="indexterm" name="idp6847120"></a><a class="indexterm" name="idp6847872"></a><p>
+</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="idp
5651824"></a><a class="indexterm" name="idp5652576"></a><a class="indexterm" name="idp5653328"></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,
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.idp6851104" class="footnote" name="idp6851104"><sup class="footnote">[3]</sup></a>
+og det største uttrykk for demokrati.<a href="#ftn.idp5656560" class="footnote" name="idp5656560"><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
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 er til venstre for Safires eller til høyre.
-</p><a class="indexterm" name="idp
6854848"></a><p>
+</p><a class="indexterm" name="idp
5660304"></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.idp185888" class="footnote"><p><a href="#idp185888" class="para"><sup class="para">[2] </sup></a>
+</p></div><div id="ftn.idp168336" class="footnote"><p><a href="#idp168336" 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.idp6851104" class="footnote"><p><a href="#idp6851104" 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="idp6852960"></a>
+</p></div><div id="ftn.idp5656560" class="footnote"><p><a href="#idp5656560" 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="idp5658416"></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.idp6873568" class="footnote" name="idp6873568"><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.idp5679024" class="footnote" name="idp5679024"><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
6875040"></a><p>
+</p><a class="indexterm" name="idp
5680544"></a><p>
Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i
USA—dypt nede i grunnlaget for vår tradisjon og akseptert av de
viktigste juridiske tenkerne i vår fortid—en betydning. Hvis min
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
6876272"></a><a class="indexterm" name="idp6878208"></a><p>
+</p><a class="indexterm" name="idp
5681776"></a><a class="indexterm" name="idp5683712"></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
6880624"></a><a class="indexterm" name="idp6881376"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
+</p><a class="indexterm" name="idp
5686128"></a><a class="indexterm" name="idp5686880"></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
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.idp6888272" class="footnote" name="idp6888272"><sup class="footnote">[5]</sup></a>
+eierskap det som kun fellesskapet har et rimelig krav til.<a href="#ftn.idp5693776" class="footnote" name="idp5693776"><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
6893904"></a><p>
+</p><a class="indexterm" name="idp
5699408"></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
sedvaneretts-system, slik som vårt er, at rettsvesenet tilpasser seg til
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
6897600"></a><a class="indexterm" name="idp6898384"></a><a class="indexterm" name="idp6899200"></a><p>
+</p><a class="indexterm" name="idp
5703104"></a><a class="indexterm" name="idp5703888"></a><a class="indexterm" name="idp5704704"></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
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
6903632"></a><a class="indexterm" name="idp6905008"></a><a class="indexterm" name="idp6905984"></a><a class="indexterm" name="idp6906960"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp6909168"></a><a class="indexterm" name="idp6909920"></a><a class="indexterm" name="idp6910672"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
+</p><a class="indexterm" name="idp
5709136"></a><a class="indexterm" name="idp5710544"></a><a class="indexterm" name="idp5711520"></a><a class="indexterm" name="idp5712496"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="idp5714704"></a><a class="indexterm" name="idp5715456"></a><a class="indexterm" name="idp5716208"></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
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.idp6919168" class="footnote" name="idp6919168"><sup class="footnote">[6]</sup></a>
+radio-<span class="quote">«<span class="quote">musikk-boks.</span>»</span><a href="#ftn.idp5724704" class="footnote" name="idp5724704"><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
6926144"></a><p>
+</p><a class="indexterm" name="idp
5731328"></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
</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.idp6915280" class="footnote" name="idp6915280"><sup class="footnote">[7]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp
6932848"></a><p>
+starte en hel forbannet ny industri i konkurranse med RCA.<a href="#ftn.idp5720816" class="footnote" name="idp5720816"><sup class="footnote">[7]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="idp
5737936"></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.idp6936768" class="footnote" name="idp6936768"><sup class="footnote">[8]</sup></a>
+makt.<a href="#ftn.idp5741968" class="footnote" name="idp5741968"><sup class="footnote">[8]</sup></a>
</p></blockquote></div><a class="indexterm" name="idxfcconfmradio"></a><p>
RCA holdt først teknologien innomhus, og insistere på at det var nødvendig
med ytterligere tester. Da Armstrong, etter to år med testing, ble
</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.idp6942320" class="footnote" name="idp6942320"><sup class="footnote">[9]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
6943088"></a><a class="indexterm" name="idp6944064"></a><p>
+var nesten utrolige i deres kraft og underfundighet.<a href="#ftn.idp5747776" class="footnote" name="idp5747776"><sup class="footnote">[9]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
5748544"></a><a class="indexterm" name="idp5749520"></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
6945824"></a><a class="indexterm" name="idp6946800"></a><p>
+</p><a class="indexterm" name="idp
5751280"></a><a class="indexterm" name="idp5752256"></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
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
6948032"></a><a class="indexterm" name="idp6950160"></a><a class="indexterm" name="idp6951136"></a><a class="indexterm" name="idp6951888"></a><p>
+</p><a class="indexterm" name="idp
5753488"></a><a class="indexterm" name="idp5755616"></a><a class="indexterm" name="idp5756592"></a><a class="indexterm" name="idp5757344"></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 Causby-ene ikke hadde: Makten til å undertrykke
effekten av en teknologisk endring.
-</p><a class="indexterm" name="idp
6954416"></a><a class="indexterm" name="idp6955392"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
+</p><a class="indexterm" name="idp
5759872"></a><a class="indexterm" name="idp5760848"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
<span class="strong"><strong>Det er ingen</strong></span> enkeltoppfinner av
Internet. 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. I følge 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.idp6959472" class="footnote" name="idp6959472"><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.idp5764928" class="footnote" name="idp5764928"><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
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
6963968"></a><a class="indexterm" name="idp6964944"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp6967184"></a><p>
+</p><a class="indexterm" name="idp
5769424"></a><a class="indexterm" name="idp5770400"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="idp5772640"></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
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.idp6975200" class="footnote" name="idp6975200"><sup class="footnote">[11]</sup></a> Dette er også, naturligvis, en viktig del av
+eksklusive rettighetene på en kommersiell markedsplass.<a href="#ftn.idp5780656" class="footnote" name="idp5780656"><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
6978304"></a><a class="indexterm" name="idp6979312"></a><p>
+</p><a class="indexterm" name="idp
5783760"></a><a class="indexterm" name="idp5784768"></a><p>
Denne grove inndelingen mellom den frie og den kontrollerte har nå blitt
-fjernet.<a href="#ftn.idp6980752" class="footnote" name="idp6980752"><sup class="footnote">[12]</sup></a> Internett har satt scenen for
+fjernet.<a href="#ftn.idp5786208" class="footnote" name="idp5786208"><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
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 mindre
en fri kultur, og mer og mer en tillatelseskultur.
-</p><a class="indexterm" name="idp
6982512"></a><a class="indexterm" name="idp6984496"></a><a class="indexterm" name="idp6985248"></a><p>
+</p><a class="indexterm" name="idp
5787968"></a><a class="indexterm" name="idp5789952"></a><a class="indexterm" name="idp5790704"></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
6988016"></a><p>
+</p><a class="indexterm" name="idp
5793472"></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
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
6990352"></a><a class="indexterm" name="idp6993952"></a><p>
+</p><a class="indexterm" name="idp
5795808"></a><a class="indexterm" name="idp5799408"></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
<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
Motion Picture Association of America (MPAA), Jack Valenti, kaller sin
-<span class="quote">«<span class="quote">egen terroristkrig</span>»</span><a href="#ftn.idp6997200" class="footnote" name="idp6997200"><sup class="footnote">[13]</sup></a>—har blitt rammet inn som en kamp om å følge loven og
+<span class="quote">«<span class="quote">egen terroristkrig</span>»</span><a href="#ftn.idp5802656" class="footnote" name="idp5802656"><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.
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
7003040"></a><a class="indexterm" name="idp7004048"></a><a class="indexterm" name="idp7005056"></a><a class="indexterm" name="idp7005808"></a><p>
+</p><a class="indexterm" name="idp
5808496"></a><a class="indexterm" name="idp5809504"></a><a class="indexterm" name="idp5810512"></a><a class="indexterm" name="idp5811264"></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.idp7007552" class="footnote" name="idp7007552"><sup class="footnote">[14]</sup></a> åndsverkslov, skikkelig balansert, beskyttet
+kontroll. Og som professor Neil Netanel med kraft argumenterer,<a href="#ftn.idp5813008" class="footnote" name="idp5813008"><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.
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
7015040"></a><a class="indexterm" name="idp7015680"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
+</p><a class="indexterm" name="idp
5820496"></a><a class="indexterm" name="idp5821136"></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
7022112"></a><a class="indexterm" name="idp7022864"></a><a class="indexterm" name="idp7023616"></a><p>
+</p><a class="indexterm" name="idp
5827568"></a><a class="indexterm" name="idp5828320"></a><a class="indexterm" name="idp5829072"></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
7025648"></a><p>
+</p><a class="indexterm" name="idp
5831104"></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
7032528"></a><a class="indexterm" name="idp7033280"></a><p>
+</p><a class="indexterm" name="idp
5837984"></a><a class="indexterm" name="idp5838736"></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
7036128"></a><p>
+</p><a class="indexterm" name="idp
5841584"></a><p>
<span class="strong"><strong>Basketaket</strong></span> som pågår akkurat nå senterer
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
deprimerende kompromittert prosess for å utforme lover. Denne boken er
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.idp6873568" class="footnote"><p><a href="#idp6873568" 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.idp5679024" class="footnote"><p><a href="#idp5679024" 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.idp6888272" class="footnote"><p><a href="#idp6888272" class="para"><sup class="para">[5] </sup></a>
+</p></div><div id="ftn.idp5693776" class="footnote"><p><a href="#idp5693776" 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="idp6891968"></a> <a class="indexterm" name="idp6891584"></a>
-</p></div><div id="ftn.idp6919168" class="footnote"><p><a href="#idp6919168" class="para"><sup class="para">[6] </sup></a>
+Foundation Press (1984)), 1112–13. <a class="indexterm" name="idp5697472"></a> <a class="indexterm" name="idp5697088"></a>
+</p></div><div id="ftn.idp5724704" class="footnote"><p><a href="#idp5724704" 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.idp6915280" class="footnote"><p><a href="#idp6915280" 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.idp5720816" class="footnote"><p><a href="#idp5720816" 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.idp6936768" class="footnote"><p><a href="#idp6936768" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
-</p></div><div id="ftn.idp6942320" class="footnote"><p><a href="#idp6942320" class="para"><sup class="para">[9] </sup></a>
+</p></div><div id="ftn.idp5741968" class="footnote"><p><a href="#idp5741968" class="para"><sup class="para">[8] </sup></a>Lessing, 226.
+</p></div><div id="ftn.idp5747776" class="footnote"><p><a href="#idp5747776" class="para"><sup class="para">[9] </sup></a>
Lessing, 256.
-</p></div><div id="ftn.idp6959472" class="footnote"><p><a href="#idp6959472" class="para"><sup class="para">[10] </sup></a>
+</p></div><div id="ftn.idp5764928" class="footnote"><p><a href="#idp5764928" 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.idp6975200" class="footnote"><p><a href="#idp6975200" class="para"><sup class="para">[11] </sup></a>
+</p></div><div id="ftn.idp5780656" class="footnote"><p><a href="#idp5780656" 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.
Åndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle
åndsverkslovene 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="idp6891840"></a>
-</p></div><div id="ftn.idp6980752" class="footnote"><p><a href="#idp6980752" class="para"><sup class="para">[12] </sup></a>
+<a class="indexterm" name="idp5697344"></a>
+</p></div><div id="ftn.idp5786208" class="footnote"><p><a href="#idp5786208" 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="idp6981632"></a>
-</p></div><div id="ftn.idp6997200" class="footnote"><p><a href="#idp6997200" class="para"><sup class="para">[13] </sup></a>
+Prometheus bøker, 2001), kap. 13. <a class="indexterm" name="idp5787088"></a>
+</p></div><div id="ftn.idp5802656" class="footnote"><p><a href="#idp5802656" 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.idp7007552" class="footnote"><p><a href="#idp7007552" class="para"><sup class="para">[14] </sup></a>
+</p></div><div id="ftn.idp5813008" class="footnote"><p><a href="#idp5813008" 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="idp7008832"></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
7045440"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp7047936"></a><a class="indexterm" name="idp7048688"></a><p>
+<em class="citetitle">Yale Law Journal</em> 106 (1996): 283. <a class="indexterm" name="idp5814288"></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
5850896"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="idp5853392"></a><a class="indexterm" name="idp5854144"></a><p>
<span class="strong"><strong>Helt siden</strong></span> loven 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.idp7052672" class="footnote" name="idp7052672"><sup class="footnote">[15]</sup></a>
-</p><a class="indexterm" name="idp
7054336"></a></blockquote></div><a class="indexterm" name="idp7055440"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
+etter eget forgodtbefinnende.<a href="#ftn.idp5858128" class="footnote" name="idp5858128"><sup class="footnote">[15]</sup></a>
+</p><a class="indexterm" name="idp
5859792"></a></blockquote></div><a class="indexterm" name="idp5860896"></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
7061664"></a><p>
+</p><a class="indexterm" name="idp
5867040"></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
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
7069168"></a><a class="indexterm" name="idp7069920"></a><a class="indexterm" name="idp7070672"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
5874544"></a><a class="indexterm" name="idp5875296"></a><a class="indexterm" name="idp5876048"></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.idp7075552" class="footnote" name="idp7075552"><sup class="footnote">[16]</sup></a>—hvis det finnes verdi, så må noen ha
+rettighet</span>»</span>-teorien for kreative eierrettigheter <a href="#ftn.idp5880928" class="footnote" name="idp5880928"><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.idp7077680" class="footnote" name="idp7077680"><sup class="footnote">[17]</sup></a> Det fantes <span class="quote">«<span class="quote">verdi</span>»</span> (sangene), så det
+betale for sangene som jentene sang rundt sine leirbål.<a href="#ftn.idp5883056" class="footnote" name="idp5883056"><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
7082336"></a><p>
+</p><a class="indexterm" name="idp
5887712"></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
7085040"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
+</p><a class="indexterm" name="idp
5890416"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></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
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
7091552"></a><p>
+</p><a class="indexterm" name="idp
5896928"></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
kompleksiteten som åndsverksloven har blitt. Det var bare nok en kostnad
ved å drive forretning.
-</p><a class="indexterm" name="idp
7092752"></a><a class="indexterm" name="idp7094752"></a><a class="indexterm" name="idp7095504"></a><p>
+</p><a class="indexterm" name="idp
5898128"></a><a class="indexterm" name="idp5900128"></a><a class="indexterm" name="idp5900880"></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
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.idp7097472" class="footnote" name="idp7097472"><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.idp5902848" class="footnote" name="idp5902848"><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
7103008"></a><p>
+</p><a class="indexterm" name="idp
5908384"></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.idp7052672" class="footnote"><p><a href="#idp7052672" 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.idp5858128" class="footnote"><p><a href="#idp5858128" 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.idp7075552" class="footnote"><p><a href="#idp7075552" class="para"><sup class="para">[16] </sup></a>
+</p></div><div id="ftn.idp5880928" class="footnote"><p><a href="#idp5880928" 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.idp7077680" class="footnote"><p><a href="#idp7077680" class="para"><sup class="para">[17] </sup></a>
+</p></div><div id="ftn.idp5883056" class="footnote"><p><a href="#idp5883056" 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="idp7080304"></a>
-</p></div><div id="ftn.idp7097472" class="footnote"><p><a href="#idp7097472" class="para"><sup class="para">[18] </sup></a>
+Globe</em>, 24. november 2002. <a class="indexterm" name="idp5885680"></a>
+</p></div><div id="ftn.idp5902848" class="footnote"><p><a href="#idp5902848" 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="idp7100784"></a> <a class="indexterm" name="idp7101792"></a>
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="creators"></a>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>
+vanskeligere. <a class="indexterm" name="idp5906160"></a> <a class="indexterm" name="idp5907168"></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
<em class="citetitle">Plane Crazy</em>. I november, i Colony-teateret i New
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 igang på nytt. Det
-var grufullt, men det var fantastisk. Og det var noe nytt!<a href="#ftn.idp7121392" class="footnote" name="idp7121392"><sup class="footnote">[19]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7122800"></a><p>
+var grufullt, men det var fantastisk. Og det var noe nytt!<a href="#ftn.idp5926768" class="footnote" name="idp5926768"><sup class="footnote">[19]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
5928176"></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 noen sinne vært like
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
7125200"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
+</p><a class="indexterm" name="idp
5930576"></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
<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.idp7136384" class="footnote" name="idp7136384"><sup class="footnote">[20]</sup></a> og begge bygger på en felles sang
+Bill,<a href="#ftn.idp5941760" class="footnote" name="idp5941760"><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
7143184"></a><a class="indexterm" name="idp7144160"></a><a class="indexterm" name="idp7145136"></a><a class="indexterm" name="idp7146112"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
+</p><a class="indexterm" name="idp
5948560"></a><a class="indexterm" name="idp5949536"></a><a class="indexterm" name="idp5950512"></a><a class="indexterm" name="idp5951488"></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.idp7150592" class="footnote" name="idp7150592"><sup class="footnote">[21]</sup></a> Det samme
+massemarkedet rundt ham.<a href="#ftn.idp5955968" class="footnote" name="idp5955968"><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 nytt. Nøkkelen til suksess var brilliansen i
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
7173680"></a><p>
+</p><a class="indexterm" name="idp
5969664"></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.
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 omformer den til noe annet.
-</p><a class="indexterm" name="idp
7176688"></a><a class="indexterm" name="idp7177664"></a><a class="indexterm" name="idp7178640"></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
5972672"></a><a class="indexterm" name="idp5973648"></a><a class="indexterm" name="idp5974624"></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.idp7176224" class="footnote" name="idp7176224"><sup class="footnote">[22]</sup></a> Det betyr at i
+opphavsrettsbeskyttet.<a href="#ftn.idp5972208" class="footnote" name="idp5972208"><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 a kontrollere bestemte
typer bruk av verket. Å bruke disse opphavsrettsbeskyttede verkene på de
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
7189600"></a><a class="indexterm" name="idp7191424"></a><p>
+</p><a class="indexterm" name="idp
5985584"></a><a class="indexterm" name="idp5987408"></a><p>
Dette er slik det alltid har vært—inntil ganske nylig. I mesteparten
av vår historie, har allemannseiet vært like over horisonten. Fram til 1978
nå ville være fritt tilgjengelig for de 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
7193808"></a><a class="indexterm" name="idp7194784"></a><a class="indexterm" name="idp7195760"></a><a class="indexterm" name="idp7196736"></a><a class="indexterm" name="idp7197712"></a><a class="indexterm" name="idp7198688"></a><p>
+</p><a class="indexterm" name="idp
5989872"></a><a class="indexterm" name="idp5990848"></a><a class="indexterm" name="idp5991824"></a><a class="indexterm" name="idp5992800"></a><a class="indexterm" name="idp5993776"></a><a class="indexterm" name="idp5994752"></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
hverandre, men det er ingen vedvarende innsats fra de 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
7223200"></a><p>
+</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="idp
6019264"></a><p>
Den mest gåtefulle egenskapen med doujinshi-markedet, for de 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
7227136"></a><a class="indexterm" name="idxwinickjudd"></a><p>
+</p><a class="indexterm" name="idp
6023200"></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
Japan i dag. … Amerikanske tegneserier kom til verden ved å kopiere
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.idp7230080" class="footnote" name="idp7230080"><sup class="footnote">[23]</sup></a>
-</p><a class="indexterm" name="idp
7232432"></a><a class="indexterm" name="idp7233408"></a><p>
+dem</span>»</span> og bygge basert på dem.<a href="#ftn.idp6027088" class="footnote" name="idp6027088"><sup class="footnote">[23]</sup></a>
+</p><a class="indexterm" name="idp
6028624"></a><a class="indexterm" name="idp6029488"></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
7236512"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp7238976"></a><a class="indexterm" name="idxmehrasalil"></a><p>
+</p><a class="indexterm" name="idp
6032592"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="idp6035056"></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 mangamarkedet 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 mangamarkedet til å bli rikere og mer
produktivt. Alle ville få det verre hvis doujinshi ble bannlyst, så loven
-bannlyser ikke doujinshi.<a href="#ftn.idp7242160" class="footnote" name="idp7242160"><sup class="footnote">[24]</sup></a>
-</p><a class="indexterm" name="idp
7244960"></a><a class="indexterm" name="idp7245936"></a><a class="indexterm" name="idp7246912"></a><p>
+bannlyser ikke doujinshi.<a href="#ftn.idp6038240" class="footnote" name="idp6038240"><sup class="footnote">[24]</sup></a>
+</p><a class="indexterm" name="idp
6041040"></a><a class="indexterm" name="idp6042016"></a><a class="indexterm" name="idp6042992"></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
7249840"></a><a class="indexterm" name="idp7250816"></a><p>
+</p><a class="indexterm" name="idp
6045920"></a><a class="indexterm" name="idp6046896"></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
7254832"></a><p>
+</p><a class="indexterm" name="idp
6050912"></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.idp7258832" class="footnote" name="idp7258832"><sup class="footnote">[25]</sup></a> Et
+<span class="quote">«<span class="quote">immateriell eiendom.</span>»</span><a href="#ftn.idp6054912" class="footnote" name="idp6054912"><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
7265232"></a><p>
+</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="idp
6061312"></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
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
7271936"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp7274400"></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
6068016"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="idp6070480"></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 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
7279312"></a><p>
+</p><a class="indexterm" name="idp
6075392"></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
7282512"></a><a class="indexterm" name="idp7283488"></a><a class="indexterm" name="idp7284464"></a><a class="indexterm" name="idp7285440"></a><a class="indexterm" name="idp7286416"></a><a class="indexterm" name="idp7287392"></a><a class="indexterm" name="idp7288368"></a><p>
+</p><a class="indexterm" name="idp
6078592"></a><a class="indexterm" name="idp6079568"></a><a class="indexterm" name="idp6080544"></a><a class="indexterm" name="idp6081520"></a><a class="indexterm" name="idp6082496"></a><a class="indexterm" name="idp6083472"></a><a class="indexterm" name="idp6084448"></a><p>
Det er det same 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
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
7292416"></a><p>
+</p><a class="indexterm" name="idp
6088496"></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="idp7298336"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7121392" class="footnote"><p><a href="#idp7121392" class="para"><sup class="para">[19] </sup></a>
+</p><a class="indexterm" name="idp6094416"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp5926768" class="footnote"><p><a href="#idp5926768" 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.idp7136384" class="footnote"><p><a href="#idp7136384" class="para"><sup class="para">[20] </sup></a>
+</p></div><div id="ftn.idp5941760" class="footnote"><p><a href="#idp5941760" 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.idp7150592" class="footnote"><p><a href="#idp7150592" class="para"><sup class="para">[21] </sup></a>
+</p></div><div id="ftn.idp5955968" class="footnote"><p><a href="#idp5955968" 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.idp7176224" class="footnote"><p><a href="#idp7176224" class="para"><sup class="para">[22] </sup></a>
+</p></div><div id="ftn.idp5972208" class="footnote"><p><a href="#idp5972208" class="para"><sup class="para">[22] </sup></a>
Inntil 1976 ga åndsverksloven 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.idp7230080" class="footnote"><p><a href="#idp7230080" class="para"><sup class="para">[23] </sup></a>
+</p></div><div id="ftn.idp6027088" class="footnote"><p><a href="#idp6027088" 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.idp7242160" class="footnote"><p><a href="#idp7242160" class="para"><sup class="para">[24] </sup></a>
+</p></div><div id="ftn.idp6038240" class="footnote"><p><a href="#idp6038240" 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.idp7258832" class="footnote"><p><a href="#idp7258832" class="para"><sup class="para">[25] </sup></a>
+</p></div><div id="ftn.idp6054912" class="footnote"><p><a href="#idp6054912" class="para"><sup class="para">[25] </sup></a>
-<a class="indexterm" name="idp7259216"></a> Begrepet <em class="citetitle">intellektuell
+<a class="indexterm" name="idp6055296"></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
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>
<span class="quote">«<span class="quote">Kun etter-apere</span>»</span></h2></div></div></div><a class="indexterm" name="idp7300944"></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 etter-apere</span>»</span></h2></div></div></div><a class="indexterm" name="idp6097152"></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
7306800"></a><p>
+</p><a class="indexterm" name="idp
6103008"></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, emulsjons-belagt 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.idp7315840" class="footnote" name="idp7315840"><sup class="footnote">[26]</sup></a> Som han skrev i
+resten.</span>»</span><a href="#ftn.idp6112048" class="footnote" name="idp6112048"><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.idp6919936" class="footnote" name="idp6919936"><sup class="footnote">[27]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7321424"></a><p>
+og uten kjemikalier.<a href="#ftn.idp5725472" class="footnote" name="idp5725472"><sup class="footnote">[27]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
6117632"></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.idp7323424" class="footnote" name="idp7323424"><sup class="footnote">[28]</sup></a> Salget til Eastman Kodak
-opplevde i samme periode en årlig vekst på over 17 prosent.<a href="#ftn.idp7324384" class="footnote" name="idp7324384"><sup class="footnote">[29]</sup></a>
-</p><a class="indexterm" name="idp
7325280"></a><p>
+11 prosent.<a href="#ftn.idp6119632" class="footnote" name="idp6119632"><sup class="footnote">[28]</sup></a> Salget til Eastman Kodak
+opplevde i samme periode en årlig vekst på over 17 prosent.<a href="#ftn.idp6120592" class="footnote" name="idp6120592"><sup class="footnote">[29]</sup></a>
+</p><a class="indexterm" name="idp
6121488"></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.idp7327264" class="footnote" name="idp7327264"><sup class="footnote">[30]</sup></a>
-</p><a class="indexterm" name="idp
7329120"></a><a class="indexterm" name="idp7330096"></a><p>
+laget uten [skrivefør] tolkning eller forutinntatthet.</span>»</span><a href="#ftn.idp6123472" class="footnote" name="idp6123472"><sup class="footnote">[30]</sup></a>
+</p><a class="indexterm" name="idp
6125328"></a><a class="indexterm" name="idp6126304"></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 effektiv 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
7333200"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
+</p><a class="indexterm" name="idp
6129408"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
Hva krevdes for at denne teknologien skulle blomstre. Eastmans genialitet
var åpenbart en viktig del. Men den 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.idp7336704" class="footnote" name="idp7336704"><sup class="footnote">[31]</sup></a>
-</p><a class="indexterm" name="idp
7339904"></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.idp6132912" class="footnote" name="idp6132912"><sup class="footnote">[31]</sup></a>
+</p><a class="indexterm" name="idp
6136112"></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
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
7345264"></a><a class="indexterm" name="idp7346016"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
+</p><a class="indexterm" name="idp
6141472"></a><a class="indexterm" name="idp6142224"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
På den andre siden var et argument som også bør 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.idp7348880" class="footnote" name="idp7348880"><sup class="footnote">[32]</sup></a>) Det kan være at dette betyr at fotografen får noe for ingenting.
+annerledes for bilder tatt av private områder.<a href="#ftn.idp6145088" class="footnote" name="idp6145088"><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
7353056"></a><p>
+</p><a class="indexterm" name="idp
6149264"></a><p>
Heldigvis for Mr. 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
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.idp7355072" class="footnote" name="idp7355072"><sup class="footnote">[33]</sup></a>)
-</p><a class="indexterm" name="idp
7358352"></a><a class="indexterm" name="idp7359104"></a><p>
+tas uten å klarere rettighetene for å ta det.<a href="#ftn.idp6151280" class="footnote" name="idp6151280"><sup class="footnote">[33]</sup></a>)
+</p><a class="indexterm" name="idp
6154560"></a><a class="indexterm" name="idp6155312"></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
7362592"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp7364800"></a><a class="indexterm" name="idp7365888"></a><p>
+</p><a class="indexterm" name="idp
6158800"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="idp6161008"></a><a class="indexterm" name="idp6162096"></a><p>
villa 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
7367488"></a><a class="indexterm" name="idp7370208"></a><a class="indexterm" name="idp7371184"></a><a class="indexterm" name="idp7372160"></a><a class="indexterm" name="idp7373136"></a><a class="indexterm" name="idxjustthink"></a><p>
+</p><a class="indexterm" name="idp
6163696"></a><a class="indexterm" name="idp6166416"></a><a class="indexterm" name="idp6167392"></a><a class="indexterm" name="idp6168368"></a><a class="indexterm" name="idp6169344"></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 redigerinssystem for digital video 25 000 dollar. I dag
-kan du få profesjonell kvalitet for 595 dollar.</span>»</span><a href="#ftn.idp7385184" class="footnote" name="idp7385184"><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.idp6180416" class="footnote" name="idp6180416"><sup class="footnote">[34]</sup></a> Disse bussene er fylt med teknologi som ville
kostet hundre-tusenvis 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
7387712"></a><p>
+</p><a class="indexterm" name="idp
6183904"></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
7391008"></a><p>
+</p><a class="indexterm" name="idp
6187264"></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 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
7393712"></a><a class="indexterm" name="idp7394544"></a><a class="indexterm" name="idp7395360"></a><p>
+</p><a class="indexterm" name="idp
6189904"></a><a class="indexterm" name="idp6190736"></a><a class="indexterm" name="idp6191552"></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.idp7397040" class="footnote" name="idp7397040"><sup class="footnote">[35]</sup></a> så er det mer og mer
+reklameinnslag,<a href="#ftn.idp6193232" class="footnote" name="idp6193232"><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
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
7389536"></a><p>
+</p><a class="indexterm" name="idp
6185664"></a><p>
Det tok filmkusten 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
7405392"></a><p>
+</p><a class="indexterm" name="idxdaleyelizabeth"></a><a class="indexterm" name="idp
6201648"></a><p>
Denne gramatikken 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
ved USC skole for kino og TV, forklarte for meg, var gramatikken om
<span class="quote">«<span class="quote">plasseringen av objekter, farger, … rytme, skritt og
-tekstur.</span>»</span><a href="#ftn.idp7390256" class="footnote" name="idp7390256"><sup class="footnote">[36]</sup></a> Men etter hvert som
+tekstur.</span>»</span><a href="#ftn.idp6186512" class="footnote" name="idp6186512"><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
enkle kontrollen til fortellerstemmen er forsvunnet, og dermed er andre
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.idp7411456" class="footnote" name="idp7411456"><sup class="footnote">[37]</sup></a>
-</p><a class="indexterm" name="idp
7414368"></a><p>
+forfatter.<a href="#ftn.idp6207632" class="footnote" name="idp6207632"><sup class="footnote">[37]</sup></a>
+</p><a class="indexterm" name="idp
6210544"></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
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.idp7421648" class="footnote" name="idp7421648"><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.idp7423952" class="footnote" name="idp7423952"><sup class="footnote">[39]</sup></a>
+det de trenger å lage eller uttrykke.</span>»</span><a href="#ftn.idp6217824" class="footnote" name="idp6217824"><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.idp6220128" class="footnote" name="idp6220128"><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 de som gjør det godt
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
7427936"></a><p>
+</p><a class="indexterm" name="idp
6224112"></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
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
uttryksformen.
-</p><a class="indexterm" name="idp
7435088"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
+</p><a class="indexterm" name="idp
6231264"></a><a class="indexterm" name="idxdaleyelizabeth2"></a><p>
film.</span>»</span> Men istedet, 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
7443232"></a><p>
+</p><a class="indexterm" name="idp
6239408"></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
7447392"></a><a class="indexterm" name="idp7448368"></a><a class="indexterm" name="idp7449344"></a><a class="indexterm" name="idp7450320"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp7452528"></a><a class="indexterm" name="idxnewscoverage"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
6243568"></a><a class="indexterm" name="idp6244544"></a><a class="indexterm" name="idp6245520"></a><a class="indexterm" name="idp6246496"></a><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="idp6248704"></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
7458288"></a><a class="indexterm" name="idp7459040"></a><p>
+</p><a class="indexterm" name="idp
6254464"></a><a class="indexterm" name="idp6255216"></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 hans 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
7461936"></a><p>
+</p><a class="indexterm" name="idp
6258112"></a><p>
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
tradisjon—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
7465088"></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
6261264"></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
offentlig bevissthet: web-loggen, eller blog. Bloggen er en slags offentlig
dagbok. I disse kulturene registrerer den private fakta på en offentlig
måte—det er en slags elektronisk <em class="citetitle">Jerry
Springer</em>, tilgjengelig overalt i verden.
-</p><a class="indexterm" name="id
p7472128"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
+</p><a class="indexterm" name="id
m22624"></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
7482096"></a><a class="indexterm" name="idp7483072"></a><a class="indexterm" name="idp7484048"></a><a class="indexterm" name="idp7485024"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp7487264"></a><p>
+</p><a class="indexterm" name="idp
6287312"></a><a class="indexterm" name="idp6288288"></a><a class="indexterm" name="idp6289264"></a><a class="indexterm" name="idp6290240"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="idp6292480"></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.
<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.idp7491168" class="footnote" name="idp7491168"><sup class="footnote">[40]</sup></a>
-</p><a class="indexterm" name="idp
7492528"></a><p>
+avsluttes.<a href="#ftn.idp6296384" class="footnote" name="idp6296384"><sup class="footnote">[40]</sup></a>
+</p><a class="indexterm" name="idp
6297744"></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.idp7494176" class="footnote" name="idp7494176"><sup class="footnote">[41]</sup></a>
+innsats for å lage en slik institusjon.<a href="#ftn.idp6299392" class="footnote" name="idp6299392"><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.idp7498832" class="footnote" name="idp7498832"><sup class="footnote">[42]</sup></a> Vi sier det våre venner vil
+ekstrem.<a href="#ftn.idp6304048" class="footnote" name="idp6304048"><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
7501632"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp7505104"></a><a class="indexterm" name="idp7506080"></a><a class="indexterm" name="idp7507056"></a><p>
+</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="idp
6306752"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="idp6310224"></a><a class="indexterm" name="idp6311200"></a><a class="indexterm" name="idp6312176"></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
*frihetsforkjempere*, 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
7510384"></a><p>
+</p><a class="indexterm" name="idp
6315504"></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
7512032"></a><a class="indexterm" name="idp7512784"></a><a class="indexterm" name="idxmediablogpressureon"></a><a class="indexterm" name="idxinternetnewseventson2"></a><p>
+</p><a class="indexterm" name="idp
6317152"></a><a class="indexterm" name="idp6317904"></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.idp7518736" class="footnote" name="idp7518736"><sup class="footnote">[43]</sup></a>
+trekke seg som flertallsleder i senatet.<a href="#ftn.idp6323856" class="footnote" name="idp6323856"><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
7522560"></a><a class="indexterm" name="idp7523536"></a><p>
+</p><a class="indexterm" name="idp
6327680"></a><a class="indexterm" name="idp6328656"></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
7525760"></a><a class="indexterm" name="idxjournalism"></a><a class="indexterm" name="idxwinerdave"></a><p>
+</p><a class="indexterm" name="idp
6330880"></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
7531936"></a><a class="indexterm" name="idp7532688"></a><a class="indexterm" name="idp7533696"></a><a class="indexterm" name="idp7534448"></a><p>
+</p><a class="indexterm" name="idp
6337056"></a><a class="indexterm" name="idp6337808"></a><a class="indexterm" name="idp6338816"></a><a class="indexterm" name="idp6339568"></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
de gjorde etter Irak-krigen fordi de var redd for konsekvensene for sine
-egne ansatte.<a href="#ftn.idp7489360" class="footnote" name="idp7489360"><sup class="footnote">[44]</sup></a> De trenger også å
+egne ansatte.<a href="#ftn.idp6294576" class="footnote" name="idp6294576"><sup class="footnote">[44]</sup></a> De trenger også å
opprettholde en mer konsistent rapportering. (Midt under Irak-krigen, leste
jeg en melding på Internet fra noen som på det tidspunktet lyttet på
satellitt-forbindelsen til en reporter i Irak. New York-hovedkvarteret ba
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
7538720"></a><p>
+</p><a class="indexterm" name="idp
6343840"></a><p>
Blogg-sfæren 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 til 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 sørvest-USA vendte seg til Internett for å gjenfortelle
-hva de hadde sett.<a href="#ftn.idp7541184" class="footnote" name="idp7541184"><sup class="footnote">[45]</sup></a> Og det får lesere
+hva de hadde sett.<a href="#ftn.idp6346304" class="footnote" name="idp6346304"><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
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.idp7544848" class="footnote" name="idp7544848"><sup class="footnote">[46]</sup></a> Men det er klart at vi
+blogging.<a href="#ftn.idp6349968" class="footnote" name="idp6349968"><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
Wiener 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
7555168"></a><p>
+</p><a class="indexterm" name="idp
6360288"></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
7558784"></a><a class="indexterm" name="idp7559760"></a><a class="indexterm" name="idp7560736"></a><a class="indexterm" name="idp7561712"></a><a class="indexterm" name="idp7562688"></a><a class="indexterm" name="idp7563664"></a><a class="indexterm" name="idp7564640"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
+</p><a class="indexterm" name="idp
6363904"></a><a class="indexterm" name="idp6364880"></a><a class="indexterm" name="idp6365856"></a><a class="indexterm" name="idp6366832"></a><a class="indexterm" name="idp6367808"></a><a class="indexterm" name="idp6368784"></a><a class="indexterm" name="idp6369760"></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, i følge hans eget nettsted, er
<span class="quote">«<span class="quote">menneskelig læring og … å skape kunnskapsøkologier for å skape
musikalsk, at du er kunstnerisk, du er visuell, at du er interessert i film
…da er det en masse du kan gå igang med på dette mediet. Det kan
fremme og ta hensyn til alle disse formene for intelligens.</span>»</span>
-</p><a class="indexterm" name="idp
7581296"></a><a class="indexterm" name="idp7582272"></a><p>
+</p><a class="indexterm" name="idp
6386416"></a><a class="indexterm" name="idp6387392"></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
</p><p>
Disse begrensningene har blitt fokusen for forskere og
akademikere. Professor Ed Felten ved Princeton (som vi vil se mer fra i
-kapittel <a class="xref" href="#property-i" title="«Eiendom»">10</a>) har
+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.idp7586864" class="footnote" name="idp7586864"><sup class="footnote">[47]</sup></a> Men bekymringen til Brown er
+generelt.<a href="#ftn.idp6391984" class="footnote" name="idp6391984"><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="idp
7592288"></a><p>
+</p><a class="indexterm" name="idp
6397408"></a><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>
<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="Samlere">9</a>, kommenterte til meg i et sjeldent øyeblikk av
+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.idp7315840" class="footnote"><p><a href="#idp7315840" 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.idp6112048" class="footnote"><p><a href="#idp6112048" 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.idp6919936" class="footnote"><p><a href="#idp6919936" class="para"><sup class="para">[27] </sup></a>
+</p></div><div id="ftn.idp5725472" class="footnote"><p><a href="#idp5725472" class="para"><sup class="para">[27] </sup></a>
-<a class="indexterm" name="idp7319648"></a> Brian Coe, <em class="citetitle">The Birth of
+<a class="indexterm" name="idp6115856"></a> Brian Coe, <em class="citetitle">The Birth of
Photography</em> (New York: Taplinger Publishing, 1977), 53.
-</p></div><div id="ftn.idp7323424" class="footnote"><p><a href="#idp7323424" class="para"><sup class="para">[28] </sup></a>
+</p></div><div id="ftn.idp6119632" class="footnote"><p><a href="#idp6119632" class="para"><sup class="para">[28] </sup></a>
Jenkins, 177.
-</p></div><div id="ftn.idp7324384" class="footnote"><p><a href="#idp7324384" class="para"><sup class="para">[29] </sup></a>
+</p></div><div id="ftn.idp6120592" class="footnote"><p><a href="#idp6120592" class="para"><sup class="para">[29] </sup></a>
Basert på et diagram i Jenkins, s. 178.
-</p></div><div id="ftn.idp7327264" class="footnote"><p><a href="#idp7327264" class="para"><sup class="para">[30] </sup></a>
+</p></div><div id="ftn.idp6123472" class="footnote"><p><a href="#idp6123472" class="para"><sup class="para">[30] </sup></a>
Coe, 58.
-</p></div><div id="ftn.idp7336704" class="footnote"><p><a href="#idp7336704" class="para"><sup class="para">[31] </sup></a>
+</p></div><div id="ftn.idp6132912" class="footnote"><p><a href="#idp6132912" 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.idp7348880" class="footnote"><p><a href="#idp7348880" class="para"><sup class="para">[32] </sup></a>
+</p></div><div id="ftn.idp6145088" class="footnote"><p><a href="#idp6145088" 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="idp7350160"></a> <a class="indexterm" name="idp7351168"></a>
-</p></div><div id="ftn.idp7355072" class="footnote"><p><a href="#idp7355072" class="para"><sup class="para">[33] </sup></a>
+<em class="citetitle">Harvard Law Review</em> 4 (1890): 193. <a class="indexterm" name="idp6146368"></a> <a class="indexterm" name="idp6147376"></a>
+</p></div><div id="ftn.idp6151280" class="footnote"><p><a href="#idp6151280" 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.idp7385184" class="footnote"><p><a href="#idp7385184" class="para"><sup class="para">[34] </sup></a>
+</p></div><div id="ftn.idp6180416" class="footnote"><p><a href="#idp6180416" 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.idp7397040" class="footnote"><p><a href="#idp7397040" class="para"><sup class="para">[35] </sup></a>
+</p></div><div id="ftn.idp6193232" class="footnote"><p><a href="#idp6193232" 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.idp7390256" class="footnote"><p><a href="#idp7390256" class="para"><sup class="para">[36] </sup></a>
+</p></div><div id="ftn.idp6186512" class="footnote"><p><a href="#idp6186512" class="para"><sup class="para">[36] </sup></a>
Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002.
-<a class="indexterm" name="idp7408096"></a> <a class="indexterm" name="idp7409104"></a>
-</p></div><div id="ftn.idp7411456" class="footnote"><p><a href="#idp7411456" class="para"><sup class="para">[37] </sup></a>
+<a class="indexterm" name="idp6204272"></a> <a class="indexterm" name="idp6205280"></a>
+</p></div><div id="ftn.idp6207632" class="footnote"><p><a href="#idp6207632" 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.idp7421648" class="footnote"><p><a href="#idp7421648" class="para"><sup class="para">[38] </sup></a>
+</p></div><div id="ftn.idp6217824" class="footnote"><p><a href="#idp6217824" class="para"><sup class="para">[38] </sup></a>
-Intervju med Daley og Barish. <a class="indexterm" name="idp7422416"></a>
-</p></div><div id="ftn.idp7423952" class="footnote"><p><a href="#idp7423952" class="para"><sup class="para">[39] </sup></a>
+Intervju med Daley og Barish. <a class="indexterm" name="idp6218592"></a>
+</p></div><div id="ftn.idp6220128" class="footnote"><p><a href="#idp6220128" class="para"><sup class="para">[39] </sup></a>
ibid.
-</p></div><div id="ftn.idp7491168" class="footnote"><p><a href="#idp7491168" class="para"><sup class="para">[40] </sup></a>
+</p></div><div id="ftn.idp6296384" class="footnote"><p><a href="#idp6296384" 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.idp7494176" class="footnote"><p><a href="#idp7494176" class="para"><sup class="para">[41] </sup></a>
+</p></div><div id="ftn.idp6299392" class="footnote"><p><a href="#idp6299392" 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.idp7498832" class="footnote"><p><a href="#idp7498832" class="para"><sup class="para">[42] </sup></a>
+</p></div><div id="ftn.idp6304048" class="footnote"><p><a href="#idp6304048" 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.idp7518736" class="footnote"><p><a href="#idp7518736" class="para"><sup class="para">[43] </sup></a>
+</p></div><div id="ftn.idp6323856" class="footnote"><p><a href="#idp6323856" 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.idp7489360" class="footnote"><p><a href="#idp7489360" class="para"><sup class="para">[44] </sup></a>
+</p></div><div id="ftn.idp6294576" class="footnote"><p><a href="#idp6294576" class="para"><sup class="para">[44] </sup></a>
Telefonintervju med David Winer, 16. april 2003.
-</p></div><div id="ftn.idp7541184" class="footnote"><p><a href="#idp7541184" class="para"><sup class="para">[45] </sup></a>
+</p></div><div id="ftn.idp6346304" class="footnote"><p><a href="#idp6346304" 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.idp7544848" class="footnote"><p><a href="#idp7544848" class="para"><sup class="para">[46] </sup></a>
+</p></div><div id="ftn.idp6349968" class="footnote"><p><a href="#idp6349968" class="para"><sup class="para">[46] </sup></a>
-<a class="indexterm" name="idp7547712"></a> <a class="indexterm" name="idp7548720"></a> <a class="indexterm" name="idp7549472"></a> <a class="indexterm" name="idp7550224"></a> Se Michael Falcone, <span class="quote">«<span class="quote">Does an Editor's
+<a class="indexterm" name="idp6352832"></a> <a class="indexterm" name="idp6353840"></a> <a class="indexterm" name="idp6354592"></a> <a class="indexterm" name="idp6355344"></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.idp7586864" class="footnote"><p><a href="#idp7586864" class="para"><sup class="para">[47] </sup></a>
+</p></div><div id="ftn.idp6391984" class="footnote"><p><a href="#idp6391984" 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>Ka
taloger</h2></div></div></div><a class="indexterm" name="idp7597488"></a><a class="indexterm" name="idp7598240"></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>Ka
pittel tre: Kataloger</h2></div></div></div><a class="indexterm" name="idp6402608"></a><a class="indexterm" name="idp6403360"></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 2001</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
7617616"></a><p>
+</p><a class="indexterm" name="idp
6422736"></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
7620368"></a><p>
+</p><a class="indexterm" name="idp
6425488"></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
7622400"></a><p>
+</p><a class="indexterm" name="idp
6427520"></a><p>
Dermed listet søkemotorindeksen han produserte opp både bilder, som
studentene kunne legge inn på sine egne nettsider, kopier av notater og
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
7623888"></a><a class="indexterm" name="idp7625552"></a><p>
+</p><a class="indexterm" name="idp
6429008"></a><a class="indexterm" name="idp6430672"></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
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
7634736"></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
6439856"></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
få tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig,
og der det store flertall av dette ikke hadde noe å gjøre med musikk å
gjøre.
-</p><a class="indexterm" name="idp
7640224"></a><a class="indexterm" name="idp7641088"></a><a class="indexterm" name="idp7642096"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp7644944"></a><a class="indexterm" name="idxrecordingindustryassociationofamericariaaintimidationtacticsof"></a><p>
+</p><a class="indexterm" name="idp
6445344"></a><a class="indexterm" name="idp6446208"></a><a class="indexterm" name="idp6447216"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby"></a><a class="indexterm" name="idp6450064"></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
7649568"></a><a class="indexterm" name="idp7650720"></a><p>
+</p><a class="indexterm" name="idp
6455216"></a><a class="indexterm" name="idp6455968"></a><p>
Lignende søksmål ble gjort mot tre andre studenter: en annen student ved
RPI, en ved Michegan Technical University og en ved Princeton. Deres
situasjoner var lik den til Jesse. Selv om hver sak hadde forskjellige
opp disse kravene, ba disse fire søksmålene domstolene i USA å tildele
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.idp7653776" class="footnote" name="idp7653776"><sup class="footnote">[48]</sup></a>
-</p><a class="indexterm" name="idp
7655552"></a><p>
+2001.<a href="#ftn.idp6459024" class="footnote" name="idp6459024"><sup class="footnote">[48]</sup></a>
+</p><a class="indexterm" name="idp
6460800"></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
7657216"></a><p>
+</p><a class="indexterm" name="idp
6462464"></a><p>
RIAA ville at Jesse skulle innrømme at han hadde gjort noe galt. Han
nektet. De ville ha han 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
7660224"></a><p>
+</p><a class="indexterm" name="idp
6465472"></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
7663744"></a><a class="indexterm" name="idp7664640"></a><a class="indexterm" name="idp7665648"></a><p>
+</p><a class="indexterm" name="idp
6468992"></a><a class="indexterm" name="idp6469888"></a><a class="indexterm" name="idp6470896"></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 i følge 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.idp7662160" class="footnote" name="idp7662160"><sup class="footnote">[49]</sup></a> Det er utallige virkemidler som
+dollar.<a href="#ftn.idp6467408" class="footnote" name="idp6467408"><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.idp7669248" class="footnote" name="idp7669248"><sup class="footnote">[50]</sup></a>
-</p><a class="indexterm" name="idp
7670912"></a><a class="indexterm" name="idp7671888"></a><p>
+i å ta penger fra en student for å drive en søkemotor?<a href="#ftn.idp6474496" class="footnote" name="idp6474496"><sup class="footnote">[50]</sup></a>
+</p><a class="indexterm" name="idp
6476160"></a><a class="indexterm" name="idp6477136"></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="idp7677056"></a><a class="indexterm" name="idp7677920"></a><a class="indexterm" name="idp7678896"></a><a class="indexterm" name="idp7679872"></a><a class="indexterm" name="idp7680928"></a><a class="indexterm" name="idp7681904"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7653776" class="footnote"><p><a href="#idp7653776" class="para"><sup class="para">[48] </sup></a>
+</p><a class="indexterm" name="idp6482224"></a><a class="indexterm" name="idp6483088"></a><a class="indexterm" name="idp6484064"></a><a class="indexterm" name="idp6485040"></a><a class="indexterm" name="idp6486096"></a><a class="indexterm" name="idp6487072"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6459024" class="footnote"><p><a href="#idp6459024" 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.idp7662160" class="footnote"><p><a href="#idp7662160" class="para"><sup class="para">[49] </sup></a>
+</p></div><div id="ftn.idp6467408" class="footnote"><p><a href="#idp6467408" 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, <em class="citetitle">More Than One in a Blue Moon</em> (2000).
-</p></div><div id="ftn.idp7669248" class="footnote"><p><a href="#idp7669248" class="para"><sup class="para">[50] </sup></a>
+</p></div><div id="ftn.idp6474496" class="footnote"><p><a href="#idp6474496" 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>
<span class="quote">«<span class="quote">Pirater</span>»</span></h2></div></div></div><a class="indexterm" name="idxpiracyindevelopmentofcontentindustry"></a><a class="indexterm" name="idp7686000"></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="idp6491296"></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
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>
-Filmindustrien i Hollywood var bygget opp av flyktende pirater.<a href="#ftn.idp7691296" class="footnote" name="idp7691296"><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.idp6496592" class="footnote" name="idp6496592"><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
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
7697376"></a><a class="indexterm" name="idp7698016"></a><a class="indexterm" name="idp7698768"></a><p>
+</p><a class="indexterm" name="idp
6502672"></a><a class="indexterm" name="idp6503312"></a><a class="indexterm" name="idp6504064"></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 fil, 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.idp7700432" class="footnote" name="idp7700432"><sup class="footnote">[52]</sup></a>
+kartellet selv etter at hans lisens var trukket tilbake.<a href="#ftn.idp6505728" class="footnote" name="idp6505728"><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 'uhell' som førte til
tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde
-ofte.</span>»</span><a href="#ftn.idp7706240" class="footnote" name="idp7706240"><sup class="footnote">[53]</sup></a> Dette fikk de uavhengige
+ofte.</span>»</span><a href="#ftn.idp6511536" class="footnote" name="idp6511536"><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
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
7715344"></a><p>
+</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="idp
6520640"></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
7717808"></a><p>
+</p><a class="indexterm" name="idp
6523104"></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
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
7720400"></a><p>
+</p><a class="indexterm" name="idp
6525696"></a><p>
Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til
å røve. Som Senator Alfred Kittredge fra Sør-Dakota formulerte
-det,<a class="indexterm" name="idp7723264"></a>
+det,<a class="indexterm" name="idp6528560"></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 musikk-ruller 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.idp7725728" class="footnote" name="idp7725728"><sup class="footnote">[54]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7728512"></a><p>
+om [deres] rettigheter.<a href="#ftn.idp6531024" class="footnote" name="idp6531024"><sup class="footnote">[54]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
6533808"></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.idp7730112" class="footnote" name="idp7730112"><sup class="footnote">[55]</sup></a> og
+komponister,</span>»</span><a href="#ftn.idp6535408" class="footnote" name="idp6535408"><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 i denne
-piratens vold.</span>»</span><a href="#ftn.idp7731680" class="footnote" name="idp7731680"><sup class="footnote">[56]</sup></a> Som John Philip
+piratens vold.</span>»</span><a href="#ftn.idp6536976" class="footnote" name="idp6536976"><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.idp7733168" class="footnote" name="idp7733168"><sup class="footnote">[57]</sup></a>
-</p><a class="indexterm" name="idp
7734192"></a><a class="indexterm" name="idp7734944"></a><a class="indexterm" name="idp7735696"></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.idp6538464" class="footnote" name="idp6538464"><sup class="footnote">[57]</sup></a>
+</p><a class="indexterm" name="idp
6539488"></a><a class="indexterm" name="idp6540240"></a><a class="indexterm" name="idp6540992"></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.idp7743856" class="footnote" name="idp7743856"><sup class="footnote">[58]</sup></a> Uansett,
+salget av noteark.<a href="#ftn.idp6549152" class="footnote" name="idp6549152"><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.idp7746480" class="footnote" name="idp7746480"><sup class="footnote">[59]</sup></a>
-</p><a class="indexterm" name="idp
7747728"></a><p>
+definert i loven.</span>»</span><a href="#ftn.idp6551776" class="footnote" name="idp6551776"><sup class="footnote">[59]</sup></a>
+</p><a class="indexterm" name="idp
6553024"></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
åndsverksloven sier at du ikke har tillatelse til å bruke Grishams verk med
mindre du har tillatelse fra Grisham.
-</p><a class="indexterm" name="idp
7757312"></a><a class="indexterm" name="idp7758288"></a><p>
+</p><a class="indexterm" name="idp
6562608"></a><a class="indexterm" name="idp6563584"></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
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.idp7694960" class="footnote" name="idp7694960"><sup class="footnote">[60]</sup></a>
-</p><a class="indexterm" name="idp
7762336"></a><a class="indexterm" name="idp7763312"></a><a class="indexterm" name="idp7764288"></a><p>
+denne makten skulle kvele påfølgende kreativitet.<a href="#ftn.idp6500256" class="footnote" name="idp6500256"><sup class="footnote">[60]</sup></a>
+</p><a class="indexterm" name="idp
6567632"></a><a class="indexterm" name="idp6568608"></a><a class="indexterm" name="idp6569584"></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.idp7768464" class="footnote" name="idp7768464"><sup class="footnote">[61]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7770240"></a><a class="indexterm" name="idp7771216"></a><a class="indexterm" name="idp7772192"></a><a class="indexterm" name="idp7773168"></a><p>
+valg.<a href="#ftn.idp6573760" class="footnote" name="idp6573760"><sup class="footnote">[61]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
6575536"></a><a class="indexterm" name="idp6576512"></a><a class="indexterm" name="idp6577488"></a><a class="indexterm" name="idp6578464"></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.idp7780080" class="footnote" name="idp7780080"><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.idp6585376" class="footnote" name="idp6585376"><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.
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="idp7788784"></a>
+komponisten av musikken for sitt verk. <a class="indexterm" name="idp6594080"></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
7795136"></a><a class="indexterm" name="idp7796112"></a><p>
+</p><a class="indexterm" name="idp
6600432"></a><a class="indexterm" name="idp6601408"></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
7798240"></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
6603536"></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>
Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster
noen gang gjorde—Napster tok aldri betalt for innholdet som det ble
mulig for andre å gi bort.
-</p><a class="indexterm" name="idp
7802480"></a><a class="indexterm" name="idp7804352"></a><a class="indexterm" name="idp7805104"></a><p>
+</p><a class="indexterm" name="idp
6607776"></a><a class="indexterm" name="idp6609648"></a><a class="indexterm" name="idp6610400"></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.idp7806768" class="footnote" name="idp7806768"><sup class="footnote">[63]</sup></a> Det kan ha vært en
+konkurranse.</span>»</span><a href="#ftn.idp6612064" class="footnote" name="idp6612064"><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.idp7809920" class="footnote" name="idp7809920"><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.idp6615216" class="footnote" name="idp6615216"><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.idp7811632" class="footnote" name="idp7811632"><sup class="footnote">[65]</sup></a>
+for.<a href="#ftn.idp6616928" class="footnote" name="idp6616928"><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.idp7814288" class="footnote" name="idp7814288"><sup class="footnote">[66]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
7815504"></a><p>
+ville passe.<a href="#ftn.idp6619584" class="footnote" name="idp6619584"><sup class="footnote">[66]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
6620800"></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.idp7817312" class="footnote" name="idp7817312"><sup class="footnote">[67]</sup></a>
+skuespillerne</span>»</span><a href="#ftn.idp6622608" class="footnote" name="idp6622608"><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.idp7674608" class="footnote" name="idp7674608"><sup class="footnote">[68]</sup></a> <a class="indexterm" name="idp7822864"></a>
+ha, og hvor langt de kan strekke sin rett på kompensasjon.<a href="#ftn.idp6479776" class="footnote" name="idp6479776"><sup class="footnote">[68]</sup></a> <a class="indexterm" name="idp6628288"></a>
</p></blockquote></div><p>
Opphavsrettinnehaverne tok kabelselskapene for retten. Høyesterett fant to
ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne 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
7826656"></a><a class="indexterm" name="idp7827632"></a><p>
+</p><a class="indexterm" name="idp
6632080"></a><a class="indexterm" name="idp6633056"></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.idp7821600" class="footnote" name="idp7821600"><sup class="footnote">[69]</sup></a>
+det stadig oftere beskrives i dag<a href="#ftn.idp6627024" class="footnote" name="idp6627024"><sup class="footnote">[69]</sup></a>
—da er <span class="emphasis"><em>enhver</em></span> industri påvirket av opphavsrett i
dag er et produkt av og de 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.idp7691296" class="footnote"><p><a href="#idp7691296" 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.idp6496592" class="footnote"><p><a href="#idp6496592" class="para"><sup class="para">[51] </sup></a>
-<a class="indexterm" name="idp7691680"></a> Jeg er takknemlig til Peter DiMauro
+<a class="indexterm" name="idp6496976"></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.idp7700432" class="footnote"><p><a href="#idp7700432" class="para"><sup class="para">[52] </sup></a>
+</p></div><div id="ftn.idp6505728" class="footnote"><p><a href="#idp6505728" 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="idp7703440"></a>
-</p></div><div id="ftn.idp7706240" class="footnote"><p><a href="#idp7706240" class="para"><sup class="para">[53] </sup></a>
+Paper No. 159. <a class="indexterm" name="idp6508736"></a>
+</p></div><div id="ftn.idp6511536" class="footnote"><p><a href="#idp6511536" 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.idp7725728" class="footnote"><p><a href="#idp7725728" class="para"><sup class="para">[54] </sup></a>
+</p></div><div id="ftn.idp6531024" class="footnote"><p><a href="#idp6531024" 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="idp7727120"></a>
-</p></div><div id="ftn.idp7730112" class="footnote"><p><a href="#idp7730112" class="para"><sup class="para">[55] </sup></a>
+Hackensack, N.J.: Rothman Reprints, 1976). <a class="indexterm" name="idp6532416"></a>
+</p></div><div id="ftn.idp6535408" class="footnote"><p><a href="#idp6535408" 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.idp7731680" class="footnote"><p><a href="#idp7731680" class="para"><sup class="para">[56] </sup></a>
+</p></div><div id="ftn.idp6536976" class="footnote"><p><a href="#idp6536976" 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.idp7733168" class="footnote"><p><a href="#idp7733168" class="para"><sup class="para">[57] </sup></a>
+</p></div><div id="ftn.idp6538464" class="footnote"><p><a href="#idp6538464" 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.idp7743856" class="footnote"><p><a href="#idp7743856" class="para"><sup class="para">[58] </sup></a>
+</p></div><div id="ftn.idp6549152" class="footnote"><p><a href="#idp6549152" 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.idp7746480" class="footnote"><p><a href="#idp7746480" class="para"><sup class="para">[59] </sup></a>
+</p></div><div id="ftn.idp6551776" class="footnote"><p><a href="#idp6551776" 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.idp7694960" class="footnote"><p><a href="#idp7694960" class="para"><sup class="para">[60] </sup></a>
+</p></div><div id="ftn.idp6500256" class="footnote"><p><a href="#idp6500256" 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.idp7768464" class="footnote"><p><a href="#idp7768464" class="para"><sup class="para">[61] </sup></a>
+</p></div><div id="ftn.idp6573760" class="footnote"><p><a href="#idp6573760" class="para"><sup class="para">[61] </sup></a>
Endring av åndsverksloven: 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.idp7780080" class="footnote"><p><a href="#idp7780080" class="para"><sup class="para">[62] </sup></a>
+rapporten.</p></div><div id="ftn.idp6585376" class="footnote"><p><a href="#idp6585376" 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="idp7783616"></a> <a class="indexterm" name="idp7784624"></a>
-</p></div><div id="ftn.idp7806768" class="footnote"><p><a href="#idp7806768" class="para"><sup class="para">[63] </sup></a>
+70 (2003): 281. <a class="indexterm" name="idp6588912"></a> <a class="indexterm" name="idp6589920"></a>
+</p></div><div id="ftn.idp6612064" class="footnote"><p><a href="#idp6612064" class="para"><sup class="para">[63] </sup></a>
Endring i åndsverksloven—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="idp7803120"></a>
-</p></div><div id="ftn.idp7809920" class="footnote"><p><a href="#idp7809920" class="para"><sup class="para">[64] </sup></a>
+styreleder i den føderale kommunikasjonskommisjonen.<a class="indexterm" name="idp6608416"></a>
+</p></div><div id="ftn.idp6615216" class="footnote"><p><a href="#idp6615216" class="para"><sup class="para">[64] </sup></a>
Endring i åndsverksloven—Kabel-TV, 116 (uttalelse fra Douglas
A. Anello, sjefsjuristen i Nasjonalforeningen for kringkastere).
-</p></div><div id="ftn.idp7811632" class="footnote"><p><a href="#idp7811632" class="para"><sup class="para">[65] </sup></a>
+</p></div><div id="ftn.idp6616928" class="footnote"><p><a href="#idp6616928" class="para"><sup class="para">[65] </sup></a>
Endring i åndsverksloven—Kabel-TV, 126 (uttalelse fra Ernest
W. Jennes, sjefsjurist ved Association of Maximum Service Telecasters,
Inc.).
-</p></div><div id="ftn.idp7814288" class="footnote"><p><a href="#idp7814288" class="para"><sup class="para">[66] </sup></a>
+</p></div><div id="ftn.idp6619584" class="footnote"><p><a href="#idp6619584" class="para"><sup class="para">[66] </sup></a>
Endring i åndsverksloven—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.idp7817312" class="footnote"><p><a href="#idp7817312" class="para"><sup class="para">[67] </sup></a>
+</p></div><div id="ftn.idp6622608" class="footnote"><p><a href="#idp6622608" 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="idp7817824"></a>
-</p></div><div id="ftn.idp7674608" class="footnote"><p><a href="#idp7674608" class="para"><sup class="para">[68] </sup></a>
+president i Screen Actors Guild). <a class="indexterm" name="idp6623120"></a>
+</p></div><div id="ftn.idp6479776" class="footnote"><p><a href="#idp6479776" class="para"><sup class="para">[68] </sup></a>
Copyright Law Revision—CATV, 216 (uttalelse fra Edwin M. Zimmerman,
-fungerende assisterende justisministeren). <a class="indexterm" name="idp7821728"></a>
-</p></div><div id="ftn.idp7821600" class="footnote"><p><a href="#idp7821600" class="para"><sup class="para">[69] </sup></a>
+fungerende assisterende justisministeren). <a class="indexterm" name="idp6627152"></a>
+</p></div><div id="ftn.idp6627024" class="footnote"><p><a href="#idp6627024" class="para"><sup class="para">[69] </sup></a>
Se for eksempel National Music Publisher's Association, <em class="citetitle">The
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>
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="piracy"></a><span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></h2></div></div></div><p>
+</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
kommersiell piratvirksomhet, det å ta andres innhold uten tillatelse i en
er betydelig 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
7839824"></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
6645280"></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
opphavsrettseieren. Musikkindustrien estimerer at de taper rundt 4,6
-milliarder dollar hvert år på fysisk piratvirksomhet <a href="#ftn.idp7833152" class="footnote" name="idp7833152"><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.idp6638480" class="footnote" name="idp6638480"><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.idp7851120" class="footnote" name="idp7851120"><sup class="footnote">[71]</sup></a> Etter
+immaterielle rettighetslover.<a href="#ftn.idp6656576" class="footnote" name="idp6656576"><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
7855312"></a><p>
+</p><a class="indexterm" name="idp
6660768"></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.idp7856960" class="footnote" name="idp7856960"><sup class="footnote">[72]</sup></a>
+mindre penger enn de ellers ville hatt.<a href="#ftn.idp6662416" class="footnote" name="idp6662416"><sup class="footnote">[72]</sup></a>
</p><p>
Dette er ofte riktig (selv om jeg har venner som har kjøpt flere tusen
piratkopierte DVDer 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
7862608"></a><p>
+</p><a class="indexterm" name="idp
6668064"></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
7867072"></a><a class="indexterm" name="idp7867824"></a><a class="indexterm" name="idp7868832"></a><a class="indexterm" name="idp7869712"></a><a class="indexterm" name="idp7870464"></a><a class="indexterm" name="idp7871216"></a><a class="indexterm" name="idp7872224"></a><a class="indexterm" name="idp7872976"></a><a class="indexterm" name="idp7873984"></a><p>
+</p><a class="indexterm" name="idp
6672528"></a><a class="indexterm" name="idp6673280"></a><a class="indexterm" name="idp6674288"></a><a class="indexterm" name="idp6675168"></a><a class="indexterm" name="idp6675920"></a><a class="indexterm" name="idp6676672"></a><a class="indexterm" name="idp6677680"></a><a class="indexterm" name="idp6678432"></a><a class="indexterm" name="idp6679440"></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
7877456"></a><p>
+</p><a class="indexterm" name="idp
6682912"></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
7879488"></a><a class="indexterm" name="idp7880240"></a><a class="indexterm" name="idp7880992"></a><a class="indexterm" name="idp7881744"></a><p>
+</p><a class="indexterm" name="idp
6684944"></a><a class="indexterm" name="idp6685696"></a><a class="indexterm" name="idp6686448"></a><a class="indexterm" name="idp6687200"></a><p>
Likevel er ikke dette argumentet spesielt overbevistende. 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
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.idp7893760" class="footnote" name="idp7893760"><sup class="footnote">[73]</sup></a> Dette betyr vi må
+profitten.</span>»</span><a href="#ftn.idp6699216" class="footnote" name="idp6699216"><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="idp
7896080"></a> <a class="indexterm" name="idp7896832"></a> <a class="indexterm" name="idxnapster"></a> Peer-to-peer-deling ble
+<a class="indexterm" name="idp
6701536"></a> <a class="indexterm" name="idp6702288"></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="idp7899328"></a>) hadde Shawn Fanning og hans
+Internett<a class="indexterm" name="idp6704784"></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="idp7900592"></a> <a class="indexterm" name="idp7901344"></a> <a class="indexterm" name="idp7902352"></a> Resultatet var en
+<a class="indexterm" name="idp6706048"></a> <a class="indexterm" name="idp6706800"></a> <a class="indexterm" name="idp6707808"></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="idp7903792"></a> Rettsaker skjøt Napster raskt ned, men andre tjenester dukket opp
+millioner registrerte brukere av systemet.<a class="indexterm" name="idp6709248"></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:
ubegrenset antall andre brukere. Med et p2p-system kan du dele dine
favorittsanger med dine beste venner— eller dine 20 000 beste
venner.
-</p><a class="indexterm" name="idp
7883568"></a><p>
+</p><a class="indexterm" name="idp
6689024"></a><p>
I følge en rekke estimater har en stor andel av amerikanere testet
fildelings-teknologi. En studie fra Ipsos-Insight i september 2002
estimerte at 60 millioner amerikanere har lastet ned musikk—28 prosent
-av amerikanerne over 12.<a href="#ftn.idp7905184" class="footnote" name="idp7905184"><sup class="footnote">[74]</sup></a> En
+av amerikanerne over 12.<a href="#ftn.idp6710640" class="footnote" name="idp6710640"><sup class="footnote">[74]</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.idp7909264" class="footnote" name="idp7909264"><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.idp6714720" class="footnote" name="idp6714720"><sup class="footnote">[75]</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
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
7915072"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="idp
6720528"></a><p>
Det er noen som bruker delingsnettverk som erstatning for å kjøpe innhold.
</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.idp7924160" class="footnote" name="idp7924160"><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.idp6729552" class="footnote" name="idp6729552"><sup class="footnote">[76]</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 skadelig for artistene (siden verket ellers ikke er
tilgjengelig. Så det er vanskelig å avgjøre hvordan deling kommer ut totalt
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.idp7930944" class="footnote" name="idp7930944"><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.idp6736336" class="footnote" name="idp6736336"><sup class="footnote">[77]</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
7935568"></a><p>
+</p><a class="indexterm" name="idp
6740960"></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
stor grad vært resultatet av en stagnasjon i musikknyskapningen hos de store
-selskapene.</span>»</span><a href="#ftn.idp7858176" class="footnote" name="idp7858176"><sup class="footnote">[78]</sup></a>
-</p><a class="indexterm" name="idp
7939968"></a><p>
+selskapene.</span>»</span><a href="#ftn.idp6663632" class="footnote" name="idp6663632"><sup class="footnote">[78]</sup></a>
+</p><a class="indexterm" name="idp
6745360"></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
</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.idp7947632" class="footnote" name="idp7947632"><sup class="footnote">[79]</sup></a> Dette bekrefter en trend fra
+prosent.<a href="#ftn.idp6753024" class="footnote" name="idp6753024"><sup class="footnote">[79]</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
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.idp7952720" class="footnote" name="idp7952720"><sup class="footnote">[80]</sup></a> Konkurranse fra andre
+dollar.</span>»</span><a href="#ftn.idp6758112" class="footnote" name="idp6758112"><sup class="footnote">[80]</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.idp7956992" class="footnote" name="idp7956992"><sup class="footnote">[81]</sup></a>
+kan få hele filmen [på DVD] for 19,99 dollar.</span>»</span><a href="#ftn.idp6762384" class="footnote" name="idp6762384"><sup class="footnote">[81]</sup></a>
</p><p>
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
7962320"></a><p>
+</p><a class="indexterm" name="idp
6767712"></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?
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.idp7963552" class="footnote" name="idp7963552"><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.idp6768944" class="footnote" name="idp6768944"><sup class="footnote">[82]</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
7967968"></a><p>
+</p><a class="indexterm" name="idp
6773360"></a><p>
I den virkelige verden—lenge før Internett—hadde markedet et
enkelt svar på dette problemet: bruktbok- og bruktplate-butikker. Det er
-tusenvis av butikker for brukte bøker og plater i Amerika i dag.<a href="#ftn.idp7969232" class="footnote" name="idp7969232"><sup class="footnote">[83]</sup></a> Disse butikkene kjøper innhold fra eierne og selger
+tusenvis av butikker for brukte bøker og plater i Amerika i dag.<a href="#ftn.idp6774624" class="footnote" name="idp6774624"><sup class="footnote">[83]</sup></a> Disse butikkene kjøper innhold fra eierne og selger
så videre innholdet de kjøpte. Og i følge amerikansk åndsverkslov, når de
kjøper og selger dette innholdet, <span class="emphasis"><em>selv om innholdet fortsatt er
vernet av åndsverksloven</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
7976112"></a><a class="indexterm" name="idp7977120"></a><a class="indexterm" name="idxinternetbookson"></a><p>
+</p><a class="indexterm" name="idp
6781504"></a><a class="indexterm" name="idp6782512"></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
bedre fører ikke til at det ville vært en god ide å forby 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
7984144"></a><a class="indexterm" name="idp7984896"></a><p>
+</p><a class="indexterm" name="idxbooksfreeonline1"></a><a class="indexterm" name="idp
6789536"></a><a class="indexterm" name="idp6790288"></a><p>
Til slutt, og kanskje mest viktig, gjør fildelingsnettverk type-D-deling
mulig—delingen av innhold som opphavsrettseierne ønsker å få delt
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
7988960"></a><p>
+</p><a class="indexterm" name="idp
6794352"></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
7992544"></a><p>
+</p><a class="indexterm" name="idp
6797936"></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
-kapittel <a class="xref" href="#pirates" title="«Pirater»">4</a>, så er
+kapittel <a class="xref" href="#pirates" title="Kapittel fire: «Pirater»">4</a>, så er
mye av denne piratvirksomheten motivert av de nye måtene å spre innhold på
som er forårsaket av endringer i distribusjonsteknologien. Dermed, på samme
måte som med tradisjonen som ga oss Hollywood, radio, plateindustrien og
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.idp7998272" class="footnote" name="idp7998272"><sup class="footnote">[84]</sup></a>
+opphavsrettsbruddene <span class="quote">«<span class="quote">ned til null.</span>»</span><a href="#ftn.idp6803664" class="footnote" name="idp6803664"><sup class="footnote">[84]</sup></a>
</p><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
møte den nye teknologien. I denne justeringen har loven forsøkt å sikre
legitime rettigheter til skaperne mens den beskytter nyskapning. Noen gang
har det gitt mer rettigheter til skaperne, og noen ganger mindre.
-</p><a class="indexterm" name="idp
8002992"></a><a class="indexterm" name="idp8004000"></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="idp8010704"></a><a class="indexterm" name="idp8011792"></a><a class="indexterm" name="idp8012800"></a><a class="indexterm" name="idp8013808"></a><a class="indexterm" name="idp8014816"></a><a class="indexterm" name="idp8015568"></a><p>
+</p><a class="indexterm" name="idp
6808384"></a><a class="indexterm" name="idp6809392"></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="idp6816096"></a><a class="indexterm" name="idp6817184"></a><a class="indexterm" name="idp6818192"></a><a class="indexterm" name="idp6819200"></a><a class="indexterm" name="idp6820208"></a><a class="indexterm" name="idp6820960"></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
8021024"></a><p>
+</p><a class="indexterm" name="idp
6826416"></a><p>
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
8024192"></a><a class="indexterm" name="idp8025056"></a><a class="indexterm" name="idp8026032"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></a><p>
+</p><a class="indexterm" name="idp
6829584"></a><a class="indexterm" name="idp6830448"></a><a class="indexterm" name="idp6831424"></a><a class="indexterm" name="idxbetamax"></a><a class="indexterm" name="idxcassettevcrs1"></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
8031616"></a><p>
+</p><a class="indexterm" name="idp
6837008"></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
8036384"></a><p>
+</p><a class="indexterm" name="idxcongressusoncopyrightlaws3"></a><a class="indexterm" name="idp
6841776"></a><p>
MPAA-presidenten Jack Valenti ble studioenes mest synlige
forkjemper. Valenti kalte videospillerne for
<span class="quote">«<span class="quote">*bendelormer*/*båndorm*</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">*bendelormer*</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.idp8039152" class="footnote" name="idp8039152"><sup class="footnote">[85]</sup></a> <span class="quote">«<span class="quote">En må ikke være opplært i sofistikert
+opphavsrettseieren har, hans opphavsrett.</span>»</span><a href="#ftn.idp6844544" class="footnote" name="idp6844544"><sup class="footnote">[85]</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.idp8041792" class="footnote" name="idp8041792"><sup class="footnote">[86]</sup></a> Og ganske riktig, viser senere spørreundersøkelser,
+grunnleggende økonomi og enkel sunn fornuft.</span>»</span><a href="#ftn.idp6847184" class="footnote" name="idp6847184"><sup class="footnote">[86]</sup></a> Og ganske riktig, viser senere spørreundersøkelser,
45 prosent av videospillereierne hadde filmbiblioteker som inneholdt ti
-filmer eller mer.<a href="#ftn.idp8042944" class="footnote" name="idp8042944"><sup class="footnote">[87]</sup></a> — en bruk som
+filmer eller mer.<a href="#ftn.idp6848336" class="footnote" name="idp6848336"><sup class="footnote">[87]</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
a 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.idp8046192" class="footnote" name="idp8046192"><sup class="footnote">[88]</sup></a>
-</p><a class="indexterm" name="idp
8047200"></a><p>
+kopiere dem og dermed nyte godt at deres reproduksjon.</span>»</span><a href="#ftn.idp6851584" class="footnote" name="idp6851584"><sup class="footnote">[88]</sup></a>
+</p><a class="indexterm" name="idp
6852592"></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
den ledende dommeren Alex Kozinski, som er medlem i den domstolen, omtaler
teknologien—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.idp8049488" class="footnote" name="idp8049488"><sup class="footnote">[89]</sup></a> <a class="indexterm" name="idp8051744"></a>
+filmindustri)— en ulovlig teknologi.<a href="#ftn.idp6854880" class="footnote" name="idp6854880"><sup class="footnote">[89]</sup></a> <a class="indexterm" name="idp6857136"></a>
</p><p>
Men høyesterett gjorde om avgjørelsen til niende ankekrets. Og i sin
opphavsrettsbeskyttet materiale. Kongressen har den konstituelle
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.idp8054832" class="footnote" name="idp8054832"><sup class="footnote">[90]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8056624"></a><p>
+av slik ny teknologi.<a href="#ftn.idp6860224" class="footnote" name="idp6860224"><sup class="footnote">[90]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
6862016"></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
8071184"></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
6876576"></a><p>
I hvert tilfelle gjennom vår historie har ny teknologi endret hvordan
-innhold ble distribuert.<a href="#ftn.idp8072624" class="footnote" name="idp8072624"><sup class="footnote">[91]</sup></a> I hvert
+innhold ble distribuert.<a href="#ftn.idp6878016" class="footnote" name="idp6878016"><sup class="footnote">[91]</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 på spill.
-</p><a class="indexterm" name="idp
8081360"></a><p>
+</p><a class="indexterm" name="idp
6886752"></a><p>
Når du tenker over disse eksemplene, og de andre eksemplene som utgjør de
første fire kapittelene 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 et hvert cover-band måtte hyre inn en advokat
for å få tillatelse til å spille inn en sang?
-</p><a class="indexterm" name="idp
8083840"></a><p>
+</p><a class="indexterm" name="idp
6889232"></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.idp8085776" class="footnote" name="idp8085776"><sup class="footnote">[92]</sup></a> I stedet har
+bruk av hans verk.</span>»</span><a href="#ftn.idp6891168" class="footnote" name="idp6891168"><sup class="footnote">[92]</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
nettverk. 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.idp8092416" class="footnote" name="idp8092416"><sup class="footnote">[93]</sup></a>
+forsinket av p2p-kampen.</span>»</span><a href="#ftn.idp6897808" class="footnote" name="idp6897808"><sup class="footnote">[93]</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.idp7833152" class="footnote"><p><a href="#idp7833152" 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.idp6638480" class="footnote"><p><a href="#idp6638480" 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.idp7851120" class="footnote"><p><a href="#idp7851120" class="para"><sup class="para">[71] </sup></a>
+</p></div><div id="ftn.idp6656576" class="footnote"><p><a href="#idp6656576" 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="idp7744496"></a> <a class="indexterm" name="idp7853904"></a>
-</p></div><div id="ftn.idp7856960" class="footnote"><p><a href="#idp7856960" class="para"><sup class="para">[72] </sup></a>
+TRIPS-rammeverket. <a class="indexterm" name="idp6549792"></a> <a class="indexterm" name="idp6659360"></a>
+</p></div><div id="ftn.idp6662416" class="footnote"><p><a href="#idp6662416" 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:
verdien av verket vil 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="idp7858944"></a>
-</p></div><div id="ftn.idp7893760" class="footnote"><p><a href="#idp7893760" class="para"><sup class="para">[73] </sup></a>
+149. <a class="indexterm" name="idp6664400"></a>
+</p></div><div id="ftn.idp6699216" class="footnote"><p><a href="#idp6699216" 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.idp7905184" class="footnote"><p><a href="#idp7905184" class="para"><sup class="para">[74] </sup></a>
+</p></div><div id="ftn.idp6710640" class="footnote"><p><a href="#idp6710640" class="para"><sup class="para">[74] </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 lagred på sine datamaskiner.
-</p></div><div id="ftn.idp7909264" class="footnote"><p><a href="#idp7909264" class="para"><sup class="para">[75] </sup></a>
+</p></div><div id="ftn.idp6714720" class="footnote"><p><a href="#idp6714720" class="para"><sup class="para">[75] </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.idp7924160" class="footnote"><p><a href="#idp7924160" class="para"><sup class="para">[76] </sup></a>
+</p></div><div id="ftn.idp6729552" class="footnote"><p><a href="#idp6729552" class="para"><sup class="para">[76] </sup></a>
Se Liebowitz, <em class="citetitle">Rethinking the Network Economy</em>,
-148–49. <a class="indexterm" name="idp7857920"></a>
-</p></div><div id="ftn.idp7930944" class="footnote"><p><a href="#idp7930944" class="para"><sup class="para">[77] </sup></a>
+148–49. <a class="indexterm" name="idp6663376"></a>
+</p></div><div id="ftn.idp6736336" class="footnote"><p><a href="#idp6736336" class="para"><sup class="para">[77] </sup></a>
-<a class="indexterm" name="idp7931328"></a> Se Cap Gemini Ernst & Young,
+<a class="indexterm" name="idp6736720"></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
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.idp7858176" class="footnote"><p><a href="#idp7858176" class="para"><sup class="para">[78] </sup></a>
+145–56. </p></div><div id="ftn.idp6663632" class="footnote"><p><a href="#idp6663632" class="para"><sup class="para">[78] </sup></a>
U.S. Congress, <em class="citetitle">Copyright and Home Copying</em>, 4.
-</p></div><div id="ftn.idp7947632" class="footnote"><p><a href="#idp7947632" class="para"><sup class="para">[79] </sup></a>
+</p></div><div id="ftn.idp6753024" class="footnote"><p><a href="#idp6753024" class="para"><sup class="para">[79] </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.idp7952720" class="footnote"><p><a href="#idp7952720" class="para"><sup class="para">[80] </sup></a>
+</p></div><div id="ftn.idp6758112" class="footnote"><p><a href="#idp6758112" class="para"><sup class="para">[80] </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="idp7954576"></a>
-</p></div><div id="ftn.idp7956992" class="footnote"><p><a href="#idp7956992" 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="idp6759968"></a>
+</p></div><div id="ftn.idp6762384" class="footnote"><p><a href="#idp6762384" class="para"><sup class="para">[81] </sup></a>
ibid.
-</p></div><div id="ftn.idp7963552" class="footnote"><p><a href="#idp7963552" class="para"><sup class="para">[82] </sup></a>
+</p></div><div id="ftn.idp6768944" class="footnote"><p><a href="#idp6768944" class="para"><sup class="para">[82] </sup></a>
Et estimat forteller at 75 prosent av musikken gitt ut av de store
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.idp7969232" class="footnote"><p><a href="#idp7969232" class="para"><sup class="para">[83] </sup></a>
+</p></div><div id="ftn.idp6774624" class="footnote"><p><a href="#idp6774624" class="para"><sup class="para">[83] </sup></a>
-<a class="indexterm" name="idp7970416"></a> Mens det ikke finnes noen gode
+<a class="indexterm" name="idp6775808"></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.idp7998272" class="footnote"><p><a href="#idp7998272" class="para"><sup class="para">[84] </sup></a>
+</p></div><div id="ftn.idp6803664" class="footnote"><p><a href="#idp6803664" class="para"><sup class="para">[84] </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.idp8039152" class="footnote"><p><a href="#idp8039152" class="para"><sup class="para">[85] </sup></a>
+</p></div><div id="ftn.idp6844544" class="footnote"><p><a href="#idp6844544" class="para"><sup class="para">[85] </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.idp8041792" class="footnote"><p><a href="#idp8041792" class="para"><sup class="para">[86] </sup></a>
+</p></div><div id="ftn.idp6847184" class="footnote"><p><a href="#idp6847184" class="para"><sup class="para">[86] </sup></a>
Copyright Infringements (Audio and Video Recorders), 475.
-</p></div><div id="ftn.idp8042944" class="footnote"><p><a href="#idp8042944" class="para"><sup class="para">[87] </sup></a>
+</p></div><div id="ftn.idp6848336" class="footnote"><p><a href="#idp6848336" class="para"><sup class="para">[87] </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.idp8046192" class="footnote"><p><a href="#idp8046192" class="para"><sup class="para">[88] </sup></a>
+</p></div><div id="ftn.idp6851584" class="footnote"><p><a href="#idp6851584" class="para"><sup class="para">[88] </sup></a>
Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra
Jack Valenti).
-</p></div><div id="ftn.idp8049488" class="footnote"><p><a href="#idp8049488" class="para"><sup class="para">[89] </sup></a>
+</p></div><div id="ftn.idp6854880" class="footnote"><p><a href="#idp6854880" class="para"><sup class="para">[89] </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.idp8054832" class="footnote"><p><a href="#idp8054832" class="para"><sup class="para">[90] </sup></a>
+</p></div><div id="ftn.idp6860224" class="footnote"><p><a href="#idp6860224" class="para"><sup class="para">[90] </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.idp8072624" class="footnote"><p><a href="#idp8072624" class="para"><sup class="para">[91] </sup></a>
+</p></div><div id="ftn.idp6878016" class="footnote"><p><a href="#idp6878016" 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)
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="idp8000608"></a> <a class="indexterm" name="idp8076656"></a>
-</p></div><div id="ftn.idp8085776" class="footnote"><p><a href="#idp8085776" class="para"><sup class="para">[92] </sup></a>
+Review</em> 70 (2003): 293–96. <a class="indexterm" name="idp6806000"></a> <a class="indexterm" name="idp6882048"></a>
+</p></div><div id="ftn.idp6891168" class="footnote"><p><a href="#idp6891168" class="para"><sup class="para">[92] </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.idp8092416" class="footnote"><p><a href="#idp8092416" class="para"><sup class="para">[93] </sup></a>
+</p></div><div id="ftn.idp6897808" class="footnote"><p><a href="#idp6897808" class="para"><sup class="para">[93] </sup></a>
John Schwartz, <span class="quote">«<span class="quote">New Economy: The Attack on Peer-to-Peer Software
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, kjøpe
et bord, og plassere det i min egen bakhage? Hva er tingen jeg tar da?
-</p><a class="indexterm" name="idp
8106144"></a><p>
+</p><a class="indexterm" name="idp
6911536"></a><p>
Poenget er ikke bare om hvorvidt hagebord og idéer er ting, selv om det er
en viktig forskjell. Poenget er istedet at i det vanlige
tilfelle—faktisk i praktisk talt ethvert tilfelle unntatt en begrenset
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.idp8107280" class="footnote" name="idp8107280"><sup class="footnote">[94]</sup></a>
-</p><a class="indexterm" name="idp
8110560"></a><p>
+mørket.</span>»</span><a href="#ftn.idp6912672" class="footnote" name="idp6912672"><sup class="footnote">[94]</sup></a>
+</p><a class="indexterm" name="idp
6915952"></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
form—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">eiendomen</span>»</span> i
-sin rette sammenheng.<a href="#ftn.idp8113920" class="footnote" name="idp8113920"><sup class="footnote">[95]</sup></a>
+sin rette sammenheng.<a href="#ftn.idp6919312" class="footnote" name="idp6919312"><sup class="footnote">[95]</sup></a>
</p><p>
Min strategi for å gjøre dette er den samme som min strategi i den
foregående del. Jeg tilbyr fire historier som bidrar til å plassere
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.idp8107280" class="footnote"><p><a href="#idp8107280" 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.idp6912672" class="footnote"><p><a href="#idp6912672" class="para"><sup class="para">[94] </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.idp8113920" class="footnote"><p><a href="#idp8113920" class="para"><sup class="para">[95] </sup></a>
+</p></div><div id="ftn.idp6919312" class="footnote"><p><a href="#idp6919312" class="para"><sup class="para">[95] </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>
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="idp8127024"></a><a class="indexterm" name="idp8127776"></a><a class="indexterm" name="idp8128528"></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="idp6932416"></a><a class="indexterm" name="idp6933168"></a><a class="indexterm" name="idp6933920"></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
8133088"></a><a class="indexterm" name="idxtonsonjacob"></a><p>
+</p><a class="indexterm" name="idp
6938480"></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.idp8136560" class="footnote" name="idp8136560"><sup class="footnote">[96]</sup></a> Tonson
+utgiver i London, John Tonson. <a href="#ftn.idp6941952" class="footnote" name="idp6941952"><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.idp8141424" class="footnote" name="idp8141424"><sup class="footnote">[97]</sup></a>, som kontrollerte
+Conger</span>»</span><a href="#ftn.idp6946816" class="footnote" name="idp6946816"><sup class="footnote">[97]</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
8143840"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp8146080"></a><a class="indexterm" name="idp8147088"></a><p>
+</p><a class="indexterm" name="idp
6949232"></a><a class="indexterm" name="idxcopyrightdurationof2"></a><a class="indexterm" name="idp6951472"></a><a class="indexterm" name="idp6952480"></a><p>
Men altså, det er noe spennende med året 1774 for alle som vet litt om
opphavsretts-lovgivning. 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.idp8149424" class="footnote" name="idp8149424"><sup class="footnote">[98]</sup></a> På
+en ekstraperiode på 22 tilleggsår.<a href="#ftn.idp6954816" class="footnote" name="idp6954816"><sup class="footnote">[98]</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
8152512"></a><a class="indexterm" name="idp8153488"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp8155952"></a><a class="indexterm" name="idp8156704"></a><p>
+</p><a class="indexterm" name="idp
6957904"></a><a class="indexterm" name="idp6958880"></a><a class="indexterm" name="idxlawcommonvspositive"></a><a class="indexterm" name="idp6961344"></a><a class="indexterm" name="idp6962096"></a><p>
Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva
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
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
8159344"></a><a class="indexterm" name="idp8160320"></a><p>
+</p><a class="indexterm" name="idp
6964736"></a><a class="indexterm" name="idp6965712"></a><p>
At det ikke fantes noen <span class="emphasis"><em>positiv</em></span> lov, betydde ikke at
det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser både
til lover skapt av det lovgivende statsorgen og til lover (prejudikater)
for å erstatte den. Så det egentlige spørsmålet etter at
lisensieringslovene hadde utløpt var om sedvanerett beskyttet en opphavsrett
uavhengig av eventuell positiv lov.
-</p><a class="indexterm" name="idp
8162640"></a><a class="indexterm" name="idp8163616"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp8165600"></a><a class="indexterm" name="idxstatuteofanne"></a><p>
+</p><a class="indexterm" name="idp
6968032"></a><a class="indexterm" name="idp6969008"></a><a class="indexterm" name="idxbritishparliament"></a><a class="indexterm" name="idp6970992"></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 ihvertfall det lovgiverne
hadde tenkt.
-</p><a class="indexterm" name="idp
8173504"></a><p>
+</p><a class="indexterm" name="idp
6978896"></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
8175648"></a><a class="indexterm" name="idp8176624"></a><a class="indexterm" name="idp8177376"></a><p>
+</p><a class="indexterm" name="idp
6981040"></a><a class="indexterm" name="idp6982016"></a><a class="indexterm" name="idp6982768"></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
8180368"></a><p>
+</p><a class="indexterm" name="idp
6985760"></a><p>
Svaret er todel. 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
8182288"></a><p>
+</p><a class="indexterm" name="idp
6987680"></a><p>
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
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
8186592"></a><a class="indexterm" name="idp8187344"></a><p>
+</p><a class="indexterm" name="idp
6991984"></a><a class="indexterm" name="idp6992736"></a><p>
Så selv om f.eks. opphavsretten til Shakespeares verk var evigvarende,
betydde det i følge den opprinnelige betydningen av begrepet at ingen kunne
trykke Shakespeares verk uten tillatelse fra Shakespeares arvinger. Den
fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt
lov til å lage filmer. <span class="quote">«<span class="quote">Kopi-retten</span>»</span> var bare en eksklusiv rett
til å trykke—ikke noe mindre, selvfølgelig, men heller ikke mer.
-</p><a class="indexterm" name="idp
8189792"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp8191776"></a><p>
+</p><a class="indexterm" name="idp
6995184"></a><a class="indexterm" name="idxmonopolycopyrightas"></a><a class="indexterm" name="idp6997168"></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
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
8197632"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp8199616"></a><a class="indexterm" name="idxcopyrightdurationof3"></a><p>
+</p><a class="indexterm" name="idp
7003024"></a><a class="indexterm" name="idxbooksellersenglish"></a><a class="indexterm" name="idp7005008"></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
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.idp8204288" class="footnote" name="idp8204288"><sup class="footnote">[99]</sup></a>
-</p><a class="indexterm" name="idp
8205824"></a><a class="indexterm" name="idp8206576"></a><p>
+nødvendig.</span>»</span><a href="#ftn.idp7009680" class="footnote" name="idp7009680"><sup class="footnote">[99]</sup></a>
+</p><a class="indexterm" name="idp
7011216"></a><a class="indexterm" name="idp7011968"></a><p>
Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap,
var til skade for selve spredningen, men på dette tidspunktet viste
Opplysningen viktigheten av utdannelse og kunnskap for alle. Idéen om at
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.idp8217456" class="footnote" name="idp8217456"><sup class="footnote">[100]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8219936"></a><a class="indexterm" name="idp8220912"></a><a class="indexterm" name="idp8221888"></a><a class="indexterm" name="idp8222640"></a><a class="indexterm" name="idp8223648"></a><p>
+bokhandlernes personlige rikdom.<a href="#ftn.idp7022848" class="footnote" name="idp7022848"><sup class="footnote">[100]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
7025328"></a><a class="indexterm" name="idp7026304"></a><a class="indexterm" name="idp7027280"></a><a class="indexterm" name="idp7028032"></a><a class="indexterm" name="idp7029040"></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
sedvaneretten 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
8227776"></a><p>
+</p><a class="indexterm" name="idp
7033168"></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.idp7937904" class="footnote" name="idp7937904"><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.idp6743296" class="footnote" name="idp6743296"><sup class="footnote">[101]</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
8234400"></a><a class="indexterm" name="idxscottishpublishers"></a><p>
+</p><a class="indexterm" name="idxdonaldsonalexander"></a><a class="indexterm" name="idp
7039792"></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.idp8236784" class="footnote" name="idp8236784"><sup class="footnote">[102]</sup></a>
-</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp
8240528"></a><a class="indexterm" name="idp8241280"></a><p>
+kampen var den skotske bokselgeren Alexander Donaldson.<a href="#ftn.idp7042176" class="footnote" name="idp7042176"><sup class="footnote">[102]</sup></a>
+</p><a class="indexterm" name="idxstatuteofanne3"></a><a class="indexterm" name="idxconger"></a><a class="indexterm" name="idp
7045920"></a><a class="indexterm" name="idp7046672"></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, ihvertfall fri ifølge <span class="quote">«<span class="quote">Statute of
-Anne.</span>»</span><a href="#ftn.idp8243232" class="footnote" name="idp8243232"><sup class="footnote">[103]</sup></a> Donaldsons forlag vokste
+Anne.</span>»</span><a href="#ftn.idp7048624" class="footnote" name="idp7048624"><sup class="footnote">[103]</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.idp8246384" class="footnote" name="idp8246384"><sup class="footnote">[104]</sup></a>
+skotsk samtidspoesi sammen med Donaldson.</span>»</span><a href="#ftn.idp7051776" class="footnote" name="idp7051776"><sup class="footnote">[104]</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.idp8249904" class="footnote" name="idp8249904"><sup class="footnote">[105]</sup></a> Bøkene hans var
+eiendom.</span>»</span> <a href="#ftn.idp7055296" class="footnote" name="idp7055296"><sup class="footnote">[105]</sup></a> Bøkene hans var
mellom 30% og 50% 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
8252976"></a><a class="indexterm" name="idxmillarvtaylor"></a><p>
+</p><a class="indexterm" name="idp
7058368"></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
8256944"></a><a class="indexterm" name="idp8257920"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp8261616"></a><a class="indexterm" name="idp8262368"></a><p>
+</p><a class="indexterm" name="idp
7062336"></a><a class="indexterm" name="idp7063312"></a><a class="indexterm" name="idxthomsonjames"></a><a class="indexterm" name="idxcopyrightinperpetuity2"></a><a class="indexterm" name="idp7067008"></a><a class="indexterm" name="idp7067760"></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.idp8265120" class="footnote" name="idp8265120"><sup class="footnote">[106]</sup></a>
+<span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa.<a href="#ftn.idp7070512" class="footnote" name="idp7070512"><sup class="footnote">[106]</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
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
8270368"></a><a class="indexterm" name="idp8271344"></a><a class="indexterm" name="idp8272320"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
+</p><a class="indexterm" name="idp
7075760"></a><a class="indexterm" name="idp7076736"></a><a class="indexterm" name="idp7077712"></a><a class="indexterm" name="idxbritishparliament3"></a><p>
Ser man på det som et spørsmål innen abstrakt jus - dersom man resonnere som
om rettferdighet bare var logisk deduksjon fra de første bud - kunne
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
8276464"></a><a class="indexterm" name="idxdonaldsonalexander2"></a><a class="indexterm" name="idxscottishpublishers2"></a><p>
+</p><a class="indexterm" name="idp
7081856"></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
8280832"></a><a class="indexterm" name="idp8281584"></a><a class="indexterm" name="idxhouseoflords"></a><a class="indexterm" name="idxsupremecourtushouseoflordsvs"></a><p>
+</p><a class="indexterm" name="idp
7086224"></a><a class="indexterm" name="idp7086976"></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.idp8285632" class="footnote" name="idp8285632"><sup class="footnote">[107]</sup></a> Da ga Donaldson ut en
+Beckett.<a href="#ftn.idp7091024" class="footnote" name="idp7091024"><sup class="footnote">[107]</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
8287616"></a><a class="indexterm" name="idp8288592"></a><a class="indexterm" name="idxdonaldsonvbeckett"></a><a class="indexterm" name="idxcommonlaw2"></a><p>
+</p><a class="indexterm" name="idp
7093008"></a><a class="indexterm" name="idp7093984"></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
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
8295296"></a><p>
+</p><a class="indexterm" name="idp
7100688"></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 justiariusene 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
8297936"></a><a class="indexterm" name="idxcopyrightinperpetuity3"></a><a class="indexterm" name="idxpublicdomainenglishlegalestablishmentof"></a><p>
+</p><a class="indexterm" name="idp
7103328"></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
som om evigvarende beskyttelse fikk flertall. Men det er ingen tvil om
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
8303232"></a><a class="indexterm" name="idp8303984"></a><a class="indexterm" name="idp8304736"></a><a class="indexterm" name="idp8305488"></a><a class="indexterm" name="idp8306240"></a><p>
+</p><a class="indexterm" name="idp
7108624"></a><a class="indexterm" name="idp7109376"></a><a class="indexterm" name="idp7110128"></a><a class="indexterm" name="idp7110880"></a><a class="indexterm" name="idp7111632"></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
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
8309216"></a><a class="indexterm" name="idp8310192"></a><a class="indexterm" name="idp8311168"></a><a class="indexterm" name="idp8312144"></a><a class="indexterm" name="idp8313120"></a><a class="indexterm" name="idp8314096"></a><p>
+</p><a class="indexterm" name="idp
7114608"></a><a class="indexterm" name="idp7115584"></a><a class="indexterm" name="idp7116560"></a><a class="indexterm" name="idp7117536"></a><a class="indexterm" name="idp7118512"></a><a class="indexterm" name="idp7119488"></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.idp8317136" class="footnote" name="idp8317136"><sup class="footnote">[108]</sup></a>
-</p><a class="indexterm" name="idp
8318032"></a><p>
+bålbrenning og pynting med lys.</span>»</span><a href="#ftn.idp7122528" class="footnote" name="idp7122528"><sup class="footnote">[108]</sup></a>
+</p><a class="indexterm" name="idp
7123424"></a><p>
I London, ihvertfall 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.idp8229664" class="footnote" name="idp8229664"><sup class="footnote">[109]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
8322288"></a><a class="indexterm" name="idp8323040"></a><p>
+familien, sitter nå uten en shilling til sine.<a href="#ftn.idp7035056" class="footnote" name="idp7035056"><sup class="footnote">[109]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
7127680"></a><a class="indexterm" name="idp7128432"></a><p>
<span class="quote">«<span class="quote">Ruinert</span>»</span> er en overdrivelse. Men det er ingen overdrivelse å
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
8328432"></a><a class="indexterm" name="idp8329408"></a><p>
+</p><a class="indexterm" name="idp
7133824"></a><a class="indexterm" name="idp7134800"></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="idp8330960"></a><a class="indexterm" name="idp8331936"></a><a class="indexterm" name="idp8332912"></a><a class="indexterm" name="idp8333888"></a><a class="indexterm" name="idp8334864"></a><a class="indexterm" name="idp8335840"></a><a class="indexterm" name="idp8336816"></a><a class="indexterm" name="idp8337792"></a><a class="indexterm" name="idp8338768"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8136560" class="footnote"><p><a href="#idp8136560" class="para"><sup class="para">[96] </sup></a>
+</p><a class="indexterm" name="idp7136352"></a><a class="indexterm" name="idp7137328"></a><a class="indexterm" name="idp7138304"></a><a class="indexterm" name="idp7139280"></a><a class="indexterm" name="idp7140256"></a><a class="indexterm" name="idp7141232"></a><a class="indexterm" name="idp7142208"></a><a class="indexterm" name="idp7143184"></a><a class="indexterm" name="idp7144160"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp6941952" class="footnote"><p><a href="#idp6941952" class="para"><sup class="para">[96] </sup></a>
-<a class="indexterm" name="idp8136944"></a> <a class="indexterm" name="idp8137952"></a> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets
+<a class="indexterm" name="idp6942336"></a> <a class="indexterm" name="idp6943344"></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
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.idp8141424" class="footnote"><p><a href="#idp8141424" class="para"><sup class="para">[97] </sup></a>
+</p></div><div id="ftn.idp6946816" class="footnote"><p><a href="#idp6946816" class="para"><sup class="para">[97] </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.idp8149424" class="footnote"><p><a href="#idp8149424" class="para"><sup class="para">[98] </sup></a>
+</p></div><div id="ftn.idp6954816" class="footnote"><p><a href="#idp6954816" class="para"><sup class="para">[98] </sup></a>
-<a class="indexterm" name="idp8149808"></a> Som Siva Vaidhyanathan så pent
+<a class="indexterm" name="idp6955200"></a> Som Siva Vaidhyanathan så pent
argumenterer, er det feilaktige å kalle dette en
<span class="quote">«<span class="quote">åndsverkslov.</span>»</span> Se Vaidhyanathan, <em class="citetitle">Copyrights and
Copywrongs</em>, 40.
-</p></div><div id="ftn.idp8204288" class="footnote"><p><a href="#idp8204288" class="para"><sup class="para">[99] </sup></a>
+</p></div><div id="ftn.idp7009680" class="footnote"><p><a href="#idp7009680" class="para"><sup class="para">[99] </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.idp8217456" class="footnote"><p><a href="#idp8217456" class="para"><sup class="para">[100] </sup></a>
+</p></div><div id="ftn.idp7022848" class="footnote"><p><a href="#idp7022848" class="para"><sup class="para">[100] </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.idp7937904" class="footnote"><p><a href="#idp7937904" class="para"><sup class="para">[101] </sup></a>
+</p></div><div id="ftn.idp6743296" class="footnote"><p><a href="#idp6743296" class="para"><sup class="para">[101] </sup></a>
-<a class="indexterm" name="idp8230144"></a> <a class="indexterm" name="idp8231152"></a> Lyman Ray Patterson, <span class="quote">«<span class="quote">Free Speech, Copyright, and Fair
+<a class="indexterm" name="idp7035536"></a> <a class="indexterm" name="idp7036544"></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.idp8236784" class="footnote"><p><a href="#idp8236784" class="para"><sup class="para">[102] </sup></a>
+</p></div><div id="ftn.idp7042176" class="footnote"><p><a href="#idp7042176" class="para"><sup class="para">[102] </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.idp8243232" class="footnote"><p><a href="#idp8243232" class="para"><sup class="para">[103] </sup></a>
+</p></div><div id="ftn.idp7048624" class="footnote"><p><a href="#idp7048624" class="para"><sup class="para">[103] </sup></a>
Mark Rose, <em class="citetitle">Authors and Owners</em> (Cambridge: Harvard
-University Press, 1993), 92. <a class="indexterm" name="idp8244000"></a>
-</p></div><div id="ftn.idp8246384" class="footnote"><p><a href="#idp8246384" class="para"><sup class="para">[104] </sup></a>
+University Press, 1993), 92. <a class="indexterm" name="idp7049392"></a>
+</p></div><div id="ftn.idp7051776" class="footnote"><p><a href="#idp7051776" class="para"><sup class="para">[104] </sup></a>
Ibid., 93.
-</p></div><div id="ftn.idp8249904" class="footnote"><p><a href="#idp8249904" class="para"><sup class="para">[105] </sup></a>
+</p></div><div id="ftn.idp7055296" class="footnote"><p><a href="#idp7055296" class="para"><sup class="para">[105] </sup></a>
-<a class="indexterm" name="idp8250288"></a> Lyman Ray Patterson,
+<a class="indexterm" name="idp7055680"></a> Lyman Ray Patterson,
<em class="citetitle">Copyright in Historical Perspective</em>, 167 (der Borwell
blir sitert).
-</p></div><div id="ftn.idp8265120" class="footnote"><p><a href="#idp8265120" class="para"><sup class="para">[106] </sup></a>
+</p></div><div id="ftn.idp7070512" class="footnote"><p><a href="#idp7070512" class="para"><sup class="para">[106] </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.idp8285632" class="footnote"><p><a href="#idp8285632" class="para"><sup class="para">[107] </sup></a>
+</p></div><div id="ftn.idp7091024" class="footnote"><p><a href="#idp7091024" class="para"><sup class="para">[107] </sup></a>
Ibid., 1156.
-</p></div><div id="ftn.idp8317136" class="footnote"><p><a href="#idp8317136" class="para"><sup class="para">[108] </sup></a>
+</p></div><div id="ftn.idp7122528" class="footnote"><p><a href="#idp7122528" class="para"><sup class="para">[108] </sup></a>
Rose, 97.
-</p></div><div id="ftn.idp8229664" class="footnote"><p><a href="#idp8229664" class="para"><sup class="para">[109] </sup></a>
+</p></div><div id="ftn.idp7035056" class="footnote"><p><a href="#idp7035056" class="para"><sup class="para">[109] </sup></a>
ibid.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="recorders"></a>Innspillerne</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>
+</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="recorders"></a>
Kapittel syv: Innspillerne</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>
<span class="strong"><strong>Jon Else</strong></span> er en filmskaper. Han er mest
kjent for sine dokumentarer og har på ypperlig vis klart å spre sin
kunst. Han er også en lærer, som meg selv, og jeg misunner ham den
</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
8351776"></a><p>
+</p><a class="indexterm" name="idxwagnerrichard"></a><a class="indexterm" name="idp
7157168"></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 tegnefilm-innslaget få med det spesielle med scenen.
-</p><a class="indexterm" name="idp
8356512"></a><a class="indexterm" name="idp8357488"></a><p>
+</p><a class="indexterm" name="idp
7161904"></a><a class="indexterm" name="idp7162880"></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
Else kontaktet Fox og forklarte situasjonen; at det var snakk om et 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
8366496"></a><p>
+</p><a class="indexterm" name="idp
7171888"></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 — ihvertfall 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
8369568"></a><a class="indexterm" name="idp8370544"></a><a class="indexterm" name="idxherrerarebecca"></a><p>
+</p><a class="indexterm" name="idp
7174960"></a><a class="indexterm" name="idp7175936"></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
8374240"></a><p>
+</p><a class="indexterm" name="idp
7179632"></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
8378384"></a><a class="indexterm" name="idp8379360"></a><a class="indexterm" name="idp8380112"></a><p>
+</p><a class="indexterm" name="idp
7183776"></a><a class="indexterm" name="idp7184752"></a><a class="indexterm" name="idp7185504"></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.idp8390016" class="footnote" name="idp8390016"><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.idp7195408" class="footnote" name="idp7195408"><sup class="footnote">[110]</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
tillatelse fra noen.
-</p><a class="indexterm" name="idp
8393376"></a><a class="indexterm" name="idp8394352"></a><p>
+</p><a class="indexterm" name="idp
7198768"></a><a class="indexterm" name="idp7199744"></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
8401360"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="1"><li class="listitem"><a class="indexterm" name="idp
7206752"></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
8405936"></a><a class="indexterm" name="idp8406688"></a><a class="indexterm" name="idp8407440"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idxfoxfilmcompany3"></a><a class="indexterm" name="idp
7211328"></a><a class="indexterm" name="idp7212080"></a><a class="indexterm" name="idp7212832"></a><p>
Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste
alt ville koke ned til hvem som hadde flest jurister og dypest lommer, jeg
eller dem.
-</p><a class="indexterm" name="idp
8413424"></a></li><li class="listitem"><p>
+</p><a class="indexterm" name="idp
7218816"></a></li><li class="listitem"><p>
Spørsmålet om rimelig bruk dukker om 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
8415840"></a><p>
+</p></li></ol></div></blockquote></div><a class="indexterm" name="idp
7221232"></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. Men de uklare linjene
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="idp8419296"></a><a class="indexterm" name="idp8420272"></a><a class="indexterm" name="idp8421248"></a><a class="indexterm" name="idp8422224"></a><a class="indexterm" name="idp8423200"></a><a class="indexterm" name="idp8424176"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8390016" class="footnote"><p><a href="#idp8390016" class="para"><sup class="para">[110] </sup></a>
+</p><a class="indexterm" name="idp7224688"></a><a class="indexterm" name="idp7225664"></a><a class="indexterm" name="idp7226640"></a><a class="indexterm" name="idp7227616"></a><a class="indexterm" name="idp7228592"></a><a class="indexterm" name="idp7229568"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7195408" class="footnote"><p><a href="#idp7195408" class="para"><sup class="para">[110] </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>
Omformerne</h2></div></div></div><a class="indexterm" name="idp8426656"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp8428640"></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="idp7232048"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="idp7234032"></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
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.idp8441488" class="footnote" name="idp8441488"><sup class="footnote">[111]</sup></a>
+det.</span>»</span><a href="#ftn.idp7246880" class="footnote" name="idp7246880"><sup class="footnote">[111]</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
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
8450144"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
7255536"></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
Og produktet ble uten tvil særdeles godt. Eastwood elsket det og det solgte
veldig bra.
-</p><a class="indexterm" name="idp
8458304"></a><p>
+</p><a class="indexterm" name="idp
7263696"></a><p>
Men 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.idp8460224" class="footnote" name="idp8460224"><sup class="footnote">[112]</sup></a> Var det noe fornuft i at
+tatt.</span>»</span><a href="#ftn.idp7265616" class="footnote" name="idp7265616"><sup class="footnote">[112]</sup></a> Var det noe fornuft i at
det var slik et nye 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
gjennomsnittlig webdesigner ikke kan drømme om. Så hvis det tok ham et år,
hvor lang tid ville det ta noen andre? Og hvor mye kreativitet får aldri
form på grunn av kostnadene rundt å kartlegge og skaffe rettigheter?
-</p><a class="indexterm" name="idp
8470704"></a><a class="indexterm" name="idp8471568"></a><p>
+</p><a class="indexterm" name="idp
7276192"></a><a class="indexterm" name="idp7277056"></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 krenke
seg, er meningen borte. Ihvertfall 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
8474064"></a><p>
+</p><a class="indexterm" name="idp
7279552"></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 stoppeklokken. Dommerne elsket hvert minutt av den.
-</p><a class="indexterm" name="idp
8477664"></a><p>
+</p><a class="indexterm" name="idp
7283152"></a><p>
Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer,
kanskje den ledende opphavsrettakademiker og utøver i nasjonen. Han hadde en
forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over
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="idp8480256"></a> <a class="indexterm" name="idp8481008"></a> <a class="indexterm" name="idp8481760"></a> <a class="indexterm" name="idp8482768"></a> <a class="indexterm" name="idp8483520"></a> Og selvsagt
+<a class="indexterm" name="idp7285744"></a> <a class="indexterm" name="idp7286496"></a> <a class="indexterm" name="idp7287248"></a> <a class="indexterm" name="idp7288256"></a> <a class="indexterm" name="idp7289008"></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
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 den inn i presentasjonen
din.
-</p><a class="indexterm" name="idp
8487072"></a><p>
+</p><a class="indexterm" name="idp
7292560"></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
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
privilegium forbeholdt de få.
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8441488" class="footnote"><p><a href="#idp8441488" 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.idp7246880" class="footnote"><p><a href="#idp7246880" class="para"><sup class="para">[111] </sup></a>
Teknisk sett var rettighetene som Alben måtte klarere i hovedsak de om
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="idp8443024"></a> <a class="indexterm" name="idp8444288"></a>
-</p></div><div id="ftn.idp8460224" class="footnote"><p><a href="#idp8460224" class="para"><sup class="para">[112] </sup></a>
+demonstrerer. <a class="indexterm" name="idp7248416"></a> <a class="indexterm" name="idp7249680"></a>
+</p></div><div id="ftn.idp7265616" class="footnote"><p><a href="#idp7265616" class="para"><sup class="para">[112] </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>
Samlere</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="idp8507040"></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="idp7312784"></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
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
8510512"></a><p>
+</p><a class="indexterm" name="idp
7316512"></a><p>
I oktober 2001 hadde botene samlet mer enn fem år med kopier. Og ved en
liten kunngjøring ved Berkeley, California, ble arkivet som disse kopiene
utgjorde, Internettarkivet, åpnet for verden. Ved å bruke en teknologi ved
leste tidligere. Siden kan se helt lik ut, men innholdet kan ganske enkelt
vær helt annerledes. Internett er Orwells bibliotek—kontinuerlig
oppdatert, uten en pålitelig hukommelse.
-</p><a class="indexterm" name="idp
8516624"></a><a class="indexterm" name="idp8518656"></a><p>
+</p><a class="indexterm" name="idp
7322976"></a><a class="indexterm" name="idp7325040"></a><p>
I hvert fall før Way Back Machine dukket opp. Ved hjelp av Way Back
Machine, og Internettarkivet 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.idp8520304" class="footnote" name="idp8520304"><sup class="footnote">[113]</sup></a>
-</p><a class="indexterm" name="idp
8523744"></a><p>
+kanskje fortrekker at du glemmer.<a href="#ftn.idp7326752" class="footnote" name="idp7326752"><sup class="footnote">[113]</sup></a>
+</p><a class="indexterm" name="idp
7330544"></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,
kunnskap. Internettarkivet 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
8530720"></a><a class="indexterm" name="idp8531472"></a><a class="indexterm" name="idp8532224"></a><a class="indexterm" name="idp8532976"></a><a class="indexterm" name="idp8533728"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
+</p><a class="indexterm" name="idp
7337680"></a><a class="indexterm" name="idp7338432"></a><a class="indexterm" name="idp7339184"></a><a class="indexterm" name="idp7340000"></a><a class="indexterm" name="idp7340816"></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
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
8540368"></a><a class="indexterm" name="idp8541152"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
7347696"></a><a class="indexterm" name="idp7348512"></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
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
8544368"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
7351728"></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
8547472"></a><a class="indexterm" name="idp8548288"></a><p>
+</p><a class="indexterm" name="idp
7354832"></a><a class="indexterm" name="idp7355648"></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
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 når vernetiden til filmen utløp.
Eksemplaret finnes—hvis det finnes i det hele tatt—i
-arkivbiblioteket til filmselskapet.<a href="#ftn.idp8551040" class="footnote" name="idp8551040"><sup class="footnote">[114]</sup></a>
+arkivbiblioteket til filmselskapet.<a href="#ftn.idp7358400" class="footnote" name="idp7358400"><sup class="footnote">[114]</sup></a>
</p><p>
Det samme er generelt sett sant også for TV. Fjernsynssendinger var
opprinnelig ikke opphavsrettsbeskyttet—det fantes ingen måte å ta opp
til 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
8556160"></a><p>
+</p><a class="indexterm" name="idp
7363520"></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
8558224"></a><a class="indexterm" name="idp8559008"></a><a class="indexterm" name="idp8560112"></a><a class="indexterm" name="idp8561360"></a><a class="indexterm" name="idp8562464"></a><a class="indexterm" name="idp8563280"></a><a class="indexterm" name="idp8564096"></a><a class="indexterm" name="idp8564912"></a><p>
+</p><a class="indexterm" name="idp
7365584"></a><a class="indexterm" name="idp7366368"></a><a class="indexterm" name="idp7367472"></a><a class="indexterm" name="idp7368720"></a><a class="indexterm" name="idp7369824"></a><a class="indexterm" name="idp7370640"></a><a class="indexterm" name="idp7371456"></a><a class="indexterm" name="idp7372272"></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
eller fylle bokser med skjøre gaver eller til å bygge et arkiv med kunnskap
om vår historie. Dette er den andre fasen, der innholdet kan fortsatt
informere selv om informasjonen ikke lenger blir solgt.
-</p><a class="indexterm" name="idp
8573648"></a><p>
+</p><a class="indexterm" name="idp
7381008"></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.idp8575184" class="footnote" name="idp8575184"><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.idp7382544" class="footnote" name="idp7382544"><sup class="footnote">[115]</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
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
8585504"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
7392864"></a><p>
Det ser ut til at det finnes omtrent to til tre millioner opptak av
musikk. Totalt gjennom hele historien. Det er omtrent hundre tusen
kinofilmer utgitt, … og omtrent en til to millioner filmer
av de tingene som menneskeheten ville være mest stolt av. Helt der oppe
blant biblioteket i Alexandria, plassere en mann på månen, og oppfinnelsen
av trykkpressen.
-</p></blockquote></div><a class="indexterm" name="idp
8588704"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
7396064"></a><p>
Kahle er ikke den eneste bibliotekaren. Internettarkivet er ikke det eneste
arkivet. Men Kahle og Internettarkivet antyder hva fremtiden for
<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
eiendoms-lover begrenser friheten til folk som Kahle.
-</p><a class="indexterm" name="idp8594832"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8520304" class="footnote"><p><a href="#idp8520304" class="para"><sup class="para">[113] </sup></a>
+</p><a class="indexterm" name="idp7402224"></a><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp7326752" class="footnote"><p><a href="#idp7326752" class="para"><sup class="para">[113] </sup></a>
-<a class="indexterm" name="idp8520688"></a> <a class="indexterm" name="idp8521696"></a> Fristelsene er dog der fortsatt. Brewster Kahle forteller at Det
+<a class="indexterm" name="idp7327136"></a> <a class="indexterm" name="idp7328240"></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> Epost fra Brewster Kahle, 1. desember 2003.
-</p></div><div id="ftn.idp8551040" class="footnote"><p><a href="#idp8551040" class="para"><sup class="para">[114] </sup></a>
+</p></div><div id="ftn.idp7358400" class="footnote"><p><a href="#idp7358400" class="para"><sup class="para">[114] </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.idp8575184" class="footnote"><p><a href="#idp8575184" class="para"><sup class="para">[115] </sup></a>
+</p></div><div id="ftn.idp7382544" class="footnote"><p><a href="#idp7382544" class="para"><sup class="para">[115] </sup></a>
-<a class="indexterm" name="idp8575568"></a> Dave Barns, <span class="quote">«<span class="quote">Fledgling Career
+<a class="indexterm" name="idp7382928"></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>
<span class="quote">«<span class="quote">Eiendom</span>»</span></h2></div></div></div><a class="indexterm" name="idp8598112"></a><a class="indexterm" name="idp8598928"></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="idp7405488"></a><a class="indexterm" name="idp7406304"></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
snikmordet på president Kennedy befinner Valenti seg i bakgrunnen. I sine
nesten ført 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
8600848"></a><a class="indexterm" name="idp8602544"></a><a class="indexterm" name="idp8603376"></a><a class="indexterm" name="idp8604208"></a><a class="indexterm" name="idp8605024"></a><a class="indexterm" name="idp8605840"></a><a class="indexterm" name="idp8606656"></a><p>
+</p><a class="indexterm" name="idp
7408224"></a><a class="indexterm" name="idp7409920"></a><a class="indexterm" name="idp7410672"></a><a class="indexterm" name="idp7411504"></a><a class="indexterm" name="idp7412320"></a><a class="indexterm" name="idp7413136"></a><a class="indexterm" name="idp7413952"></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
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 saken til hvile på.<a href="#ftn.idp8614608" class="footnote" name="idp8614608"><sup class="footnote">[116]</sup></a>
+legge saken til hvile på.<a href="#ftn.idp7421904" class="footnote" name="idp7421904"><sup class="footnote">[116]</sup></a>
</p></blockquote></div><p>
Strategien for denne retorikken, som strategien til det meste av Valentis
hvert fall i Washington.
</p><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.idp8623216" class="footnote" name="idp8623216"><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.idp7430512" class="footnote" name="idp7430512"><sup class="footnote">[117]</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
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
8648032"></a><p>
+</p><a class="indexterm" name="idp
7455376"></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
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. Hvordan fire forskjellige reguleringsmodaliteter samhandler for å støtte
-eller svekke rettigheten eller reguleringen.</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%" alt="Hvordan fire forskjellige reguleringsmodaliteter samhandler for å støtte eller svekke rettigheten eller reguleringen."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8665696"></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="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="idp7472576"></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
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 *ex post* straff for å bryte en *ex ante* regel. Den pålegges av
-staten.<a class="indexterm" name="idp8566928"></a>
-</p><a class="indexterm" name="idp
8669888"></a><p>
+staten.<a class="indexterm" name="idp7374288"></a>
+</p><a class="indexterm" name="idp
7476768"></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
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
8673536"></a><p>
+</p><a class="indexterm" name="idp
7480464"></a><p>
Til slutt og kanskje for økeblikket 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
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
8679216"></a><a class="indexterm" name="idp8680544"></a><a class="indexterm" name="idp8681872"></a><a class="indexterm" name="idxlawasconstraintmodality2"></a><p>
+</p><a class="indexterm" name="idp
7486144"></a><a class="indexterm" name="idp7487408"></a><a class="indexterm" name="idp7488736"></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
8687168"></a><a class="indexterm" name="idp8687968"></a><a class="indexterm" name="idp8688784"></a><a class="indexterm" name="idxdrivingspeedconstraintson"></a><a class="indexterm" name="idxspeedingconstraintson"></a><p>
+</p><a class="indexterm" name="idp
7494080"></a><a class="indexterm" name="idp7494880"></a><a class="indexterm" name="idp7495696"></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.idp8696448" class="footnote" name="idp8696448"><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.idp7503200" class="footnote" name="idp7503200"><sup class="footnote">[118]</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
til å kreve at andre lover blir mer streng—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
8699264"></a><a class="indexterm" name="idp8702016"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figur 10.2. Lovverket har en spesiell rolle i å påvirke disse tre.</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%" alt="Lovverket har en spesiell rolle i å påvirke disse tre."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8705872"></a><p>
+</p><a class="indexterm" name="idp
7506016"></a><a class="indexterm" name="idp7508736"></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="idp7512240"></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.idp8707664" class="footnote" name="idp8707664"><sup class="footnote">[119]</sup></a>
-</p><a class="indexterm" name="idp
8718032"></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.idp7514080" class="footnote" name="idp7514080"><sup class="footnote">[119]</sup></a>
+</p><a class="indexterm" name="idp
7524448"></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.
Opphavsrettens regulering før Internett</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%" alt="Opphavsrettens regulering før Internett"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxarchitectureconstrainteffectedthrough"></a><a class="indexterm" name="idp8727936"></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="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="idp7534128"></a><a class="indexterm" name="idxnormsregulatoryinfluenceof2"></a><p>
Det er balanse mellom lovverk, normer, marked og arkitektur. Lovverket
det god hende er brudd på opphavsretten, men normene i vår 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
8734624"></a><a class="indexterm" name="idp8735728"></a><a class="indexterm" name="idp8736544"></a><p>
+</p><a class="indexterm" name="idxinternetcopyrightregulatorybalancelostwith"></a><a class="indexterm" name="idp
7540880"></a><a class="indexterm" name="idp7542016"></a><a class="indexterm" name="idp7542832"></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
8738368"></a><a class="indexterm" name="idp8739808"></a><a class="indexterm" name="idp8741136"></a><p>
+</p><a class="indexterm" name="idp
7544656"></a><a class="indexterm" name="idp7546032"></a><a class="indexterm" name="idp7547424"></a><p>
Dermed fornuften i, og begrunnelsen for, krigernes respons. Teknologien er
endret, sier krigerne, og effekten av denne endringen når den kjøres
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.
effektiv tilstand av anarki etter Internett.</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%" alt="effektiv tilstand av anarki etter Internett."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp8746048"></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="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="idp7552256"></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
8750608"></a><a class="indexterm" name="idp8751920"></a><a class="indexterm" name="idp8753248"></a><a class="indexterm" name="idp8754064"></a><p>
+</p><a class="indexterm" name="idp
7556864"></a><a class="indexterm" name="idp7558240"></a><a class="indexterm" name="idp7559568"></a><a class="indexterm" name="idp7560384"></a><p>
Denne blandede strategien var akkurat det opphavsretten trengte—hvis
den skulle bevare den bestemte balansen som eksisterte før endringen som ble
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
8757728"></a><a class="indexterm" name="idp8758976"></a><a class="indexterm" name="idp8760240"></a><p>
+</p><a class="indexterm" name="idp
7564048"></a><a class="indexterm" name="idp7565296"></a><a class="indexterm" name="idp7566624"></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. Og 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
8762640"></a><a class="indexterm" name="idp8763472"></a><a class="indexterm" name="idp8764592"></a><a class="indexterm" name="idp8765408"></a><a class="indexterm" name="idp8766224"></a><a class="indexterm" name="idp8767040"></a><a class="indexterm" name="idp8767856"></a><a class="indexterm" name="idp8768672"></a><p>
+</p><a class="indexterm" name="idp
7569024"></a><a class="indexterm" name="idp7569856"></a><a class="indexterm" name="idp7570976"></a><a class="indexterm" name="idp7571792"></a><a class="indexterm" name="idp7572608"></a><a class="indexterm" name="idp7573424"></a><a class="indexterm" name="idp7574240"></a><a class="indexterm" name="idp7575056"></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. Og 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 film-marked til den fremvoksende teknologien
-digital-kamera. <a href="#ftn.idp8770400" class="footnote" name="idp8770400"><sup class="footnote">[120]</sup></a> Tror noen at
+digital-kamera. <a href="#ftn.idp7576784" class="footnote" name="idp7576784"><sup class="footnote">[120]</sup></a> Tror noen at
myndighetene bør bannlyse digital-kamera 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
8777568"></a><a class="indexterm" name="idp8778384"></a><a class="indexterm" name="idp8779200"></a><a class="indexterm" name="idp8780304"></a><a class="indexterm" name="idp8781120"></a><a class="indexterm" name="idp8781936"></a><p>
+</p><a class="indexterm" name="idxfreemarkettechnologicalchangesin"></a><a class="indexterm" name="idp
7583952"></a><a class="indexterm" name="idp7584768"></a><a class="indexterm" name="idp7585584"></a><a class="indexterm" name="idp7586688"></a><a class="indexterm" name="idp7587504"></a><a class="indexterm" name="idp7588320"></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
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
selskaper har interesse av å ekskludere fremtidige
-konkurrenter.</span>»</span><a href="#ftn.idp8784016" class="footnote" name="idp8784016"><sup class="footnote">[121]</sup></a> Og i forhold til
+konkurrenter.</span>»</span><a href="#ftn.idp7590400" class="footnote" name="idp7590400"><sup class="footnote">[121]</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
8787600"></a><a class="indexterm" name="idp8788688"></a><a class="indexterm" name="idp8789536"></a><p>
+</p><a class="indexterm" name="idp
7593984"></a><a class="indexterm" name="idp7595072"></a><a class="indexterm" name="idp7595920"></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
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
8793344"></a><a class="indexterm" name="idp8794544"></a><p>
+</p><a class="indexterm" name="idp
7599728"></a><a class="indexterm" name="idp7600928"></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
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
8806400"></a><a class="indexterm" name="idp8807216"></a><a class="indexterm" name="idxenvironmentalism"></a><p>
+</p><a class="indexterm" name="idp
7612784"></a><a class="indexterm" name="idp7613600"></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
8811856"></a><a class="indexterm" name="idp8813168"></a><a class="indexterm" name="idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2"></a><p>
+</p><a class="indexterm" name="idp
7618256"></a><a class="indexterm" name="idp7619568"></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.idp8817264" class="footnote" name="idp8817264"><sup class="footnote">[122]</sup></a> Hans poeng, og poenget jeg ønsker å fremheve når jeg *balanserer
+<span class="quote">«<span class="quote">miljøbevegelse</span>»</span> for kulturen.<a href="#ftn.idp7623712" class="footnote" name="idp7623712"><sup class="footnote">[122]</sup></a> Hans poeng, og poenget jeg ønsker å fremheve når jeg *balanserer
dette kapittelet*, er at opphavsretten ikke har feil mål. Eller at
forfattere ikke skal få betalt for sitt arbeide. Eller at musikk bør gis
bort <span class="quote">«<span class="quote">gratis.</span>»</span> Poenget er at noen av måtene som vi kan bruke
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
8820736"></a><p>
+</p><a class="indexterm" name="idp
7627184"></a><p>
Mitt argument, i *dette kapittelets balanse*, forsøker å kartlegge akkurat
denne effekten. Det er ingen tvil om at teknologien til Internett har hatt
dramatisk effekt på muligheten for opphavsrettseierne til å beskytte
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="idp
8823088"></a><p>
+</p><a class="indexterm" name="idp
7629600"></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
8825296"></a><a class="indexterm" name="idp8826544"></a><a class="indexterm" name="idp8827920"></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="idp8830400"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp8835264"></a><a class="indexterm" name="idp8836416"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp8841040"></a><p>
+</p><a class="indexterm" name="idp
7631808"></a><a class="indexterm" name="idp7633120"></a><a class="indexterm" name="idp7634560"></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="idp7637088"></a><a class="indexterm" name="idxconstitutionuscopyrightpurposeestablishedin"></a><a class="indexterm" name="idxconstitutionusprogressclauseof"></a><a class="indexterm" name="idp7642080"></a><a class="indexterm" name="idp7643232"></a><a class="indexterm" name="idxcreativepropertyconstitutionaltraditionon2"></a><a class="indexterm" name="idxprogressclause"></a><a class="indexterm" name="idp7647696"></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
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="idp
8849904"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
+</p><a class="indexterm" name="idp
7656448"></a><a class="indexterm" name="idxcopyrightlawasprotectionofcreators"></a><a class="indexterm" name="idxcopyrightlawhistoryofamerican"></a><p>
Fremskritts-bestemmelsen begrenser uttrykkelig varigheten for
-opphavsretten. Som vi så i kapittel <a class="xref" href="#founders" title="Grunnleggerne">6</a>, begrenset engelskmennene varigheten i opphavsretten
+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
kulturen ved å utøve uforholdsmessig kontroll over publisering. Vi kan anta
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
8857632"></a><a class="indexterm" name="idp8858448"></a><a class="indexterm" name="idp8859568"></a><p>
+</p><a class="indexterm" name="idp
7664128"></a><a class="indexterm" name="idp7664944"></a><a class="indexterm" name="idp7666064"></a><p>
Utformingen av Fremskritts-bestemmelsen 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
<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
8861280"></a><a class="indexterm" name="idp8864160"></a><p>
+</p><a class="indexterm" name="idp
7667776"></a><a class="indexterm" name="idp7670656"></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
8867472"></a><a class="indexterm" name="idp8868912"></a><a class="indexterm" name="idp8870224"></a><a class="indexterm" name="idp8871552"></a><p>
+</p><a class="indexterm" name="idp
7673904"></a><a class="indexterm" name="idp7675280"></a><a class="indexterm" name="idp7676592"></a><a class="indexterm" name="idp7677920"></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.
Opphavsrettens regulering før Internett</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%" alt="Opphavsrettens regulering før Internett"></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="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>
Vi kommer til å ende opp her:
-</p><div class="figure"><a name="fig-1442"></a><p class="title"><b>Figur 10.6. <
span class="quote">«<span class="quote">Opphavsrett</span>»</span> i dag.</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%" alt="«Opphavsrett» i dag."></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="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>
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
8886640"></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
7692352"></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.idp8890576" class="footnote" name="idp8890576"><sup class="footnote">[123]</sup></a> Dette betød at
+kreativt forfatterskap.<a href="#ftn.idp7696288" class="footnote" name="idp7696288"><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
8894448"></a><a class="indexterm" name="idxlawfederalvsstate"></a><p>
+</p><a class="indexterm" name="idp
7700256"></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
8901344"></a><p>
+</p><a class="indexterm" name="idp
7707088"></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.idp8903584" class="footnote" name="idp8903584"><sup class="footnote">[124]</sup></a>
-</p><a class="indexterm" name="idp
8907888"></a><a class="indexterm" name="idp8909168"></a><p>
+14 år.<a href="#ftn.idp7709328" class="footnote" name="idp7709328"><sup class="footnote">[124]</sup></a>
+</p><a class="indexterm" name="idp
7713632"></a><a class="indexterm" name="idp7714912"></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.idp8912688" class="footnote" name="idp8912688"><sup class="footnote">[125]</sup></a>
-</p><a class="indexterm" name="idp
8916400"></a><a class="indexterm" name="idp8917616"></a><a class="indexterm" name="idp8918720"></a><p>
+tillot deres verk å falle i det fri.<a href="#ftn.idp7718432" class="footnote" name="idp7718432"><sup class="footnote">[125]</sup></a>
+</p><a class="indexterm" name="idp
7722144"></a><a class="indexterm" name="idp7723296"></a><a class="indexterm" name="idp7724400"></a><p>
Selv i dag gir denne strukturen mening. De fleste av 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.idp8920448" class="footnote" name="idp8920448"><sup class="footnote">[126]</sup></a> Når det skjer
+forlaget etter ett år.<a href="#ftn.idp7726128" class="footnote" name="idp7726128"><sup class="footnote">[126]</sup></a> Når det skjer
kjøpes og selges de brukte bøkene helt uten opphavsrettslige reguleringer.
Dermed er bøkene <span class="emphasis"><em>i effekt</em></span> ikke lenger kontrollert av
opphavsretten. Den eneste praktiske kommersielle bruken av bøkene på dette
opphavsretter med nitten år. Og i 1998 ble <span class="quote">«<span class="quote">Sonny Bono utvidelse av
opphavsrettsvernetid</span>»</span>-loven vedtatt som utvidet vernetiden for
eksisterende og fremtidige opphavsretter med tyve år.
-</p><a class="indexterm" name="idp
8934176"></a><p>
+</p><a class="indexterm" name="idp
7739792"></a><p>
Effekten av disse utvidelsene er ganske enkelt *å skattelegge*, eller
forsinke, når verk faller i det fri og blir allemannseie. Denne siste
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
8936752"></a><p>
+</p><a class="indexterm" name="idp
7742368"></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 to-delt opphavsrettsregime, som krevde at
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
8939344"></a><a class="indexterm" name="idp8940208"></a><a class="indexterm" name="idp8941328"></a><p>
+</p><a class="indexterm" name="idp
7744960"></a><a class="indexterm" name="idp7745824"></a><a class="indexterm" name="idp7746944"></a><p>
USA forlot dette fornuftige systemet i 1976. For alle verk skapt etter 1978
var det kun en vernetid—maksimal vernetid. For
<span class="quote">«<span class="quote">naturlige</span>»</span> forfattere var vernetiden livstid pluss femti år.
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
8945712"></a><a class="indexterm" name="idp8946928"></a><p>
+</p><a class="indexterm" name="idp
7751328"></a><a class="indexterm" name="idp7752544"></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.idp8949120" class="footnote" name="idp8949120"><sup class="footnote">[127]</sup></a>
-</p><a class="indexterm" name="idp
8951024"></a><a class="indexterm" name="idp8952272"></a><a class="indexterm" name="idp8953600"></a><a class="indexterm" name="idp8954944"></a><a class="indexterm" name="idp8956224"></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.idp7754864" class="footnote" name="idp7754864"><sup class="footnote">[127]</sup></a>
+</p><a class="indexterm" name="idp
7756768"></a><a class="indexterm" name="idp7758016"></a><a class="indexterm" name="idp7759344"></a><a class="indexterm" name="idp7760624"></a><a class="indexterm" name="idp7761968"></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
8962256"></a><a class="indexterm" name="idxderivativeworkshistoricalshiftincopyrightcoverageof"></a><p>
+</p><a class="indexterm" name="idp
7768064"></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
8978880"></a><p>
+</p><a class="indexterm" name="idp
7784512"></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
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
8983072"></a><p>
+</p><a class="indexterm" name="idp
7788704"></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
8984800"></a><a class="indexterm" name="idp8986960"></a><a class="indexterm" name="idp8988160"></a><p>
+</p><a class="indexterm" name="idp
7790336"></a><a class="indexterm" name="idp7792496"></a><a class="indexterm" name="idp7793696"></a><p>
La oss se på et praktisk eksempel for å forstå omfanget av disse
forskjellene.
</p><a class="indexterm" name="idxcopyrightact2"></a><p>
registrerte opphavsretten for den boken, så ville opphavsrettsloven beskytte
deg mot at andre utgivere tok boken din og publiserte den på nytt uten din
tillatelse. Målet med loven var å regulere utgivere for å hindre denne
-typen urimelig konkurranse. I 1790 var det 174 utgivere i USA.<a href="#ftn.idp8991824" class="footnote" name="idp8991824"><sup class="footnote">[128]</sup></a> Opphavsrettslovgivingen var dermed en liten
+typen urimelig konkurranse. I 1790 var det 174 utgivere i USA.<a href="#ftn.idp7797344" class="footnote" name="idp7797344"><sup class="footnote">[128]</sup></a> Opphavsrettslovgivingen var dermed en liten
regulering av en liten andel av et liten del av det kreative 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
9002048"></a><p>
+</p><a class="indexterm" name="idp
7807520"></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
epost, hver notat til din kjære, hver krusedull, <span class="emphasis"><em>hver
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
9007920"></a><p>
+</p><a class="indexterm" name="idp
7813328"></a><p>
Det er denne retten til avledede verk som ville synes mest sært for de som
laget grunnloven vår, selv om det har blitt helt naturlig for oss. I
utgangspunktet ble denne utvidelsen laget for å håndtere de åpenbare
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 vår lovverk, slik grunnlovsforfatterne formulerte
-den, ikke skulle beskytte avledede verk i det hele tatt.<a href="#ftn.idp9011920" class="footnote" name="idp9011920"><sup class="footnote">[129]</sup></a> Uansett om du går så langt eller ikke, så virker
+den, ikke skulle beskytte avledede verk i det hele tatt.<a href="#ftn.idp7817168" class="footnote" name="idp7817168"><sup class="footnote">[129]</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.idp9017056" class="footnote" name="idp9017056"><sup class="footnote">[130]</sup></a> Disse
+din omformende bruk av min bok.<a href="#ftn.idp7822208" class="footnote" name="idp7822208"><sup class="footnote">[130]</sup></a> Disse
to ulike bruksmåtene for mitt kreative verk behandles likt.
-</p><a class="indexterm" name="idp
9020672"></a><a class="indexterm" name="idp9022064"></a><a class="indexterm" name="idp9022880"></a><p>
+</p><a class="indexterm" name="idp
7825856"></a><a class="indexterm" name="idp7827200"></a><a class="indexterm" name="idp7828016"></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
9026192"></a><a class="indexterm" name="idp9027456"></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
7831328"></a><a class="indexterm" name="idp7832528"></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.idp9034624" class="footnote" name="idp9034624"><sup class="footnote">[131]</sup></a>
-</p><a class="indexterm" name="idp
9038848"></a><a class="indexterm" name="idxcreativepropertyotherpropertyrightsvs2"></a><p>
+kopier.<a href="#ftn.idp7839808" class="footnote" name="idp7839808"><sup class="footnote">[131]</sup></a>
+</p><a class="indexterm" name="idp
7844032"></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
ettertanke være åpenbart i verden med Internet, så bør 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
9046320"></a><p>
+</p><a class="indexterm" name="idp
7851568"></a><p>
Dette er kanskje den sentrale påstanden i denne boken, så la meg ta dette
veldig sakte slik at en ikke går enkelt 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.idp9048480" class="footnote" name="idp9048480"><sup class="footnote">[132]</sup></a> da det er klart at dagens rekkevidde for
+opphavsrettsloven automatisk kommer til anvendelse,<a href="#ftn.idp7853728" class="footnote" name="idp7853728"><sup class="footnote">[132]</sup></a> da det er klart at dagens rekkevidde for
opphavsretten aldri ble vurdert, og lang mindre valgt, av lovgiverne som
vedtok opphavsrettsloven.
-</p><a class="indexterm" name="idp
9050224"></a><a class="indexterm" name="idp9051392"></a><p>
+</p><a class="indexterm" name="idp
7855472"></a><a class="indexterm" name="idp7856640"></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.
Alle potensielle bruksmåter for en bok.</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%" alt="Alle potensielle bruksmåter for en bok."></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-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>
Tenk på en bok i den virkelige verden, og forestill deg at denne sirkelen
boken håndteres). Hvis du sover på boken eller bruker den til å holde oppe
en lampe, eller lar valpen din tygge den opp, så er dette bruksmåter som
ikke er regulert av åndsverksloven, da de ikke lager en kopi.
-</p><div class="figure"><a name="fig-1531"></a><p class="title"><b>Figur 10.8.
Eksempler på uregulert brukmåter for en bok.</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%" alt="Eksempler på uregulert brukmåter for en bok."></td></tr></table></div></div></div><br class="figure-break"><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 en opphavsrettsbeskyttet verk
er regulert av åndsverksloven. Å publisere boken på nytt, for eksempel,
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 <a class="xref" href="#fig-1541" title="Figur 10.9. Å utgi på nytt står i midten av denne sirkelen av mulige bruksmåter for et opphavsrettsbeskyttet verk.">Figur 10.9, «Å utgi på nytt står i midten av denne sirkelen av mulige bruksmåter for et
-opphavsrettsbeskyttet verk.»</a>).
-</p><a class="indexterm" name="idp9074256"></a><a class="indexterm" name="idp9075616"></a><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
+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="idp7879408"></a><a class="indexterm" name="idp7880768"></a><a class="indexterm" name="idxfairuse"></a><a class="indexterm" name="idxcopyrightlawfairuseand2"></a><p>
Til slutt er det en tynn skive av ellers regulert kopierings-bruk som
forblir uregulert på grunn av at loven anser dette som <span class="quote">«<span class="quote">rimelig
bruk.</span>»</span>
-</p><div class="figure"><a name="fig-1541"></a><p class="title"><b>Figur 10.9. Å utgi på nytt står i midten av denne sirkelen av mulige bruksmåter for et
-opphavsrettsbeskyttet verk.</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%" alt="Å utgi på nytt står i midten av denne sirkelen av mulige bruksmåter for et opphavsrettsbeskyttet verk."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp9084144"></a><a class="indexterm" name="idp9085264"></a><p>
+</p><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="idp7889104"></a><a class="indexterm" name="idp7890224"></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
er tillatt eller ikke, men loven nekter eieren enhver eksklusiv rett over
slik <span class="quote">«<span class="quote">rimelig bruk</span>»</span> av samfunns- (og muligens første
grunnlovstilleggs)-hensyn.
-</p><div class="figure"><a name="fig-1542"></a><p class="title"><b>Figur 10.10.
Uregulert kopiering anses som <span class="quote">«<span class="quote">rimelig bruk.</span>»</span></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/1542.svg" align="middle" width="100%" alt="Uregulert kopiering anses som «rimelig bruk.»"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto"></a><p>
+</p><div class="figure"><a name="fig-1542"></a><p class="title"><b>Figur 10.10.
</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/1542.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto"></a><p>
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
9093600"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp9098672"></a><p>
+</p><a class="indexterm" name="idp
7898048"></a><a class="indexterm" name="idxbooksoninternet"></a><a class="indexterm" name="idxinternetbookson2"></a><a class="indexterm" name="idp7903008"></a><p>
Så kom Internett—et distribuert, digitalt nettverk hvor enhver bruk av
-et opphavsrettsbeskyttet verk produserer en kopi.<a href="#ftn.idp9035824" class="footnote" name="idp9035824"><sup class="footnote">[133]</sup></a> Og på grunn av denne ene, vilkårlige egenskapen i
+et opphavsrettsbeskyttet verk produserer en kopi.<a href="#ftn.idp7841008" class="footnote" name="idp7841008"><sup class="footnote">[133]</sup></a> Og 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 uregulert
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
9100064"></a><a class="indexterm" name="idp9104752"></a><p>
+</p><a class="indexterm" name="idp
7906480"></a><a class="indexterm" name="idp7909232"></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
bok ti ganger, og bruksvilkårene sier at du kun kan lese den fem ganger, så
vil du lage en kopi i strid med opphavsrettsinnehaverens ønske hver gang du
leser bruken (eller deler av den) ut over den femte gangen.
-</p><div class="figure"><a name="fig-1551"></a><p class="title"><b>Figur 10.11. Bruk som tidligere var antatt å ikke være regulert er nå antatt å være
-regulert.</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/1551.svg" align="middle" width="100%" alt="Bruk som tidligere var antatt å ikke være regulert er nå antatt å være regulert."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1551"></a><p class="title"><b>Figur 10.11. </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/1551.svg" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Det er noen folk som mener at dette gir fullstendig mening. Mitt mål
akkurat nå er ikke å argumentere om hvorvidt dette gir mening eller ikke.
Mitt mål er kun å gjøre det klart at dette er en endring. Når du forstår
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
9130832"></a><a class="indexterm" name="idp9132176"></a><a class="indexterm" name="idp9133504"></a><a class="indexterm" name="idp9134832"></a><a class="indexterm" name="idp9136160"></a><p>
+</p><a class="indexterm" name="idp
7935024"></a><a class="indexterm" name="idp7936368"></a><a class="indexterm" name="idp7937696"></a><a class="indexterm" name="idp7939024"></a><a class="indexterm" name="idp7940416"></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
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
9139456"></a><a class="indexterm" name="idp9140640"></a><a class="indexterm" name="idp9141840"></a><a class="indexterm" name="idp9143088"></a><a class="indexterm" name="idp9144336"></a><a class="indexterm" name="idp9145728"></a><a class="indexterm" name="idp9147072"></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
7943712"></a><a class="indexterm" name="idp7944960"></a><a class="indexterm" name="idp7946160"></a><a class="indexterm" name="idp7947472"></a><a class="indexterm" name="idp7948784"></a><a class="indexterm" name="idp7950112"></a><a class="indexterm" name="idp7951392"></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
9154720"></a><p>
+</p><a class="indexterm" name="idp
7959152"></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.
Idéen var å utvide deres <span class="quote">«<span class="quote">selge ved å vise prøver</span>»</span>-teknikk ved
<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
9159312"></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
7963696"></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 Internet (i stedet for å sende kassetter)
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
9164832"></a><a class="indexterm" name="idp9167584"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp9172896"></a><p>
+</p><a class="indexterm" name="idp
7969248"></a><a class="indexterm" name="idp7972000"></a><a class="indexterm" name="idxcopyrightusagerestrictionsattachedto2"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitswillfulinfringementfindingsin"></a><a class="indexterm" name="idp7977328"></a><p>
Disney sendte inn motsøksmål—om 100 millioner dollar i skader. 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
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
9176464"></a><p>
+</p><a class="indexterm" name="idp
7980896"></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
9179392"></a><a class="indexterm" name="idp9180656"></a><a class="indexterm" name="idp9181904"></a><a class="indexterm" name="idp9183232"></a><a class="indexterm" name="idp9184624"></a><a class="indexterm" name="idp9186000"></a><a class="indexterm" name="idp9187344"></a><a class="indexterm" name="idp9188160"></a><a class="indexterm" name="idp9188976"></a><p>
+</p><a class="indexterm" name="idp
7983824"></a><a class="indexterm" name="idp7985088"></a><a class="indexterm" name="idp7986400"></a><a class="indexterm" name="idp7987792"></a><a class="indexterm" name="idp7989184"></a><a class="indexterm" name="idp7990496"></a><a class="indexterm" name="idp7991840"></a><a class="indexterm" name="idp7992656"></a><a class="indexterm" name="idp7993472"></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
9194896"></a><a class="indexterm" name="idp9196064"></a><p>
+</p><a class="indexterm" name="idp
7999328"></a><a class="indexterm" name="idp8000496"></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
9198256"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
+</p><a class="indexterm" name="idp
8002688"></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.idp9203456" class="footnote" name="idp9203456"><sup class="footnote">[134]</sup></a>
+juridiske konsekvenser hvis de gikk videre med sin plan.<a href="#ftn.idp8007840" class="footnote" name="idp8007840"><sup class="footnote">[134]</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.idp9206512" class="footnote" name="idp9206512"><sup class="footnote">[135]</sup></a> Marx-brødrene eide derfor
+det.</span>»</span><a href="#ftn.idp8010896" class="footnote" name="idp8010896"><sup class="footnote">[135]</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>.
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 over hodet ikke morsomt.
-</p><a class="indexterm" name="idp
9214112"></a><a class="indexterm" name="idp9215424"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
+</p><a class="indexterm" name="idp
8018496"></a><a class="indexterm" name="idp8019808"></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
bruker til å levere e-bøker. Den bidrar med teknologien, og utgiveren
leverer innholdet ved hjelp av teknologien.
</p><p>
-I <a class="xref" href="#fig-example-adobe-ebook-reader" title="Figur 10.12. Bilde av en gammel versjon av Adobe eBook Reader.">Figur 10.12, «Bilde av en gammel versjon av Adobe eBook Reader.»</a> er et bilde av en eldre
-versjon av min Adobe eBook Reader.
+I figur <a class="xref" href="#fig-example-adobe-ebook-reader" title="Figur 10.12.">10.12</a> er et bilde av en eldre versjon
+av min Adobe eBook Reader.
</p><p>
Som du kan se har jeg en liten samling med e-bøker i dette
<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><div class="figure"><a name="fig-example-adobe-ebook-reader"></a><p class="title"><b>Figur 10.12.
Bilde av en gammel versjon av Adobe eBook Reader.</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/example-adobe-ebook-reader.png" align="middle" width="100%" alt="Bilde av en gammel versjon av Adobe eBook Reader."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-example-adobe-ebook-reader"></a><p class="title"><b>Figur 10.12.
</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/example-adobe-ebook-reader.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Hvis du klikker på Tillatelser-knappen, så får du se en liste med
tillatelser som utgiveren ønsker å tildele med denne boken.
-</p><div class="figure"><a name="fig-1612"></a><p class="title"><b>Figur 10.13.
Liste med tillatelser som utgiveren har til hensikt å gi.</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/1612.png" align="middle" width="100%" alt="Liste med tillatelser som utgiveren har til hensikt å gi."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1612"></a><p class="title"><b>Figur 10.13.
</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/1612.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
I henholdt til min eBook Reader, så har jeg tillatelse til å kopiere til
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
9231680"></a><a class="indexterm" name="idp9232496"></a><p>
+</p><a class="indexterm" name="idp
8036032"></a><a class="indexterm" name="idp8036848"></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.
E-bok av Aristoteles <span class="quote">«<span class="quote">Politikk</span>»</span></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/1621.png" align="middle" width="100%" alt="E-bok av Aristoteles «Politikk»"></td></tr></table></div></div></div><br class="figure-break"><p>
+</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/1621.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
I henholdt 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.
Liste med tillatelser for Aristoteles <span class="quote">«<span class="quote">Politikk</span>»</span>.</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%" alt="Liste med tillatelser for Aristoteles «Politikk»."></td></tr></table></div></div></div><br class="figure-break"><a class="indexterm" name="idp9240736"></a><a class="indexterm" name="idp9241568"></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="idp8044096"></a><a class="indexterm" name="idp8044928"></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>:
-</p><div class="figure"><a name="fig-1631"></a><p class="title"><b>Figur 10.16.
Liste med tillatelser for <span class="quote">«<span class="quote">The Future of Ideas.</span>»</span></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/1631.png" align="middle" width="100%" alt="Liste med tillatelser for «The Future of Ideas.»"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1631"></a><p class="title"><b>Figur 10.16.
</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/1631.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Ingen kopiering, ingen utskrift, og våg ikke å prøve å lytte til denne
boken!
</p><p>
opphavsretten har opphavsrettsinnehaveren 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.idp9247488" class="footnote" name="idp9247488"><sup class="footnote">[136]</sup></a> Når min e-bok
+myndighet.<a href="#ftn.idp8050448" class="footnote" name="idp8050448"><sup class="footnote">[136]</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
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
9252608"></a><a class="indexterm" name="idp9255184"></a><p>
+</p><a class="indexterm" name="idp
8055568"></a><a class="indexterm" name="idp8058144"></a><p>
Dette er kontroller, ikke tillatelser. Forestill deg en verden der
kopi av <em class="citetitle">Alice i eventyrland</em>. Denne vidunderlige boken
er allemannseie. Likevel fikk du se følgende oversikt når du trykket på
Tillatelser for denne boken:
-</p><div class="figure"><a name="fig-1641"></a><p class="title"><b>Figur 10.17.
Liste med tillatelser for <span class="quote">«<span class="quote">Alice i Eventyrland.</span>»</span></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/1641.png" align="middle" width="100%" alt="Liste med tillatelser for «Alice i Eventyrland.»"></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1641"></a><p class="title"><b>Figur 10.17.
</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/1641.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Her var en barnebok som var falt i det fri som du ikke fikk lov til å
kopiere, ikke lov til å låne bort, ikke lov til å gi bort, og som
<span class="quote">«<span class="quote">tillatelsene</span>»</span> indikerte, ikke fikk lov til å <span class="quote">«<span class="quote">lese
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
9274512"></a><a class="indexterm" name="idp9275840"></a><p>
+</p><a class="indexterm" name="idp
8076912"></a><a class="indexterm" name="idp8078304"></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
9278160"></a><a class="indexterm" name="idp9279424"></a><p>
+</p><a class="indexterm" name="idp
8080688"></a><a class="indexterm" name="idp8081888"></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
9290928"></a><p>
+</p><a class="indexterm" name="idp
8093424"></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 skrekkfiler
til å danse jass. 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
9297360"></a><a class="indexterm" name="idp9298672"></a><a class="indexterm" name="idp9299984"></a><p>
+</p><a class="indexterm" name="idp
8099856"></a><a class="indexterm" name="idp8101104"></a><a class="indexterm" name="idp8102416"></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
9303232"></a><p>
+</p><a class="indexterm" name="idp
8105728"></a><p>
La oss la den hunden sove et øyeblikk, og snu oss mot et
ponni-show—ikke bokstavelig, men heller en artikkel som akademikeren
Ed Felten ved Princeton skrev til en konferanse. Denne
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.idp9306336" class="footnote" name="idp9306336"><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.idp8108832" class="footnote" name="idp8108832"><sup class="footnote">[137]</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.
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
9328288"></a><a class="indexterm" name="idp9329600"></a><a class="indexterm" name="idp9330912"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
8130736"></a><a class="indexterm" name="idp8131984"></a><a class="indexterm" name="idp8133232"></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:
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
9341440"></a><a class="indexterm" name="idp9342256"></a><a class="indexterm" name="idp9343072"></a><p>
+</p><a class="indexterm" name="idp
8143760"></a><a class="indexterm" name="idp8144576"></a><a class="indexterm" name="idp8145392"></a><p>
Aibopet.com og Felten demonstrerer dette poenget. Aibo-hacket omgikk et
opphavsrettsbeskyttelses-system med det formål å gjøre det mulig for hunden
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
9346928"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
+</p><a class="indexterm" name="idp
8149248"></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
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
ønsket folk skulle stå fritt til å ta opp Mr. Rogers
-Neighborhood. <a class="indexterm" name="idp9351328"></a>
+Neighborhood. <a class="indexterm" name="idp8153600"></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
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.idp9356112" class="footnote" name="idp9356112"><sup class="footnote">[138]</sup></a>
+hennes liv, på en sunn måte, er viktig.<a href="#ftn.idp8158384" class="footnote" name="idp8158384"><sup class="footnote">[138]</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 <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. Vitsetegning om videospiller/håndvåpen">Figur 10.18, «Vitsetegning om videospiller/håndvåpen»</a>, som vi også kan ta i bruk for
-DMCA. <a class="indexterm" name="idp9363040"></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 rettsvesene 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="idp8165600"></a>
</p><p>
Intet argument jeg har kan overgå dette bildet, men la meg forsøke å komme i
nærheten.
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><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. Vitsetegning om videospiller/håndvåpen</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/1711.png" align="middle" width="100%" alt="Vitsetegning om videospiller/håndvåpen"></td></tr></table></div></div></div><br class="figure-break"></div><a class="indexterm" name="idp9371184"></a><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 rettsvesene 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="100%"><tr><td align="center"><img src="images/1711.png" align="middle" width="100%" alt="— For hvilken enhet har rettsvesene bedømt at produsenter og forhandlere skal holdes ansvarlig for å ha forsynt utstyret?"></td></tr></table></div></div></div><br class="figure-break"></div><a class="indexterm" name="idp8173984"></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
videspillere (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
9373728"></a><a class="indexterm" name="idp9374992"></a><a class="indexterm" name="idp9376304"></a><a class="indexterm" name="idp9377120"></a><a class="indexterm" name="idp9377936"></a><p>
+</p><a class="indexterm" name="idp
8176528"></a><a class="indexterm" name="idp8177792"></a><a class="indexterm" name="idp8179104"></a><a class="indexterm" name="idp8179920"></a><a class="indexterm" name="idp8180736"></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
kanskje rollespille en slags tilhenger-fantasi 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.idp9384880" class="footnote" name="idp9384880"><sup class="footnote">[139]</sup></a>
+historien.<a href="#ftn.idp8187680" class="footnote" name="idp8187680"><sup class="footnote">[139]</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
9388160"></a><p>
+</p><a class="indexterm" name="idp
8190960"></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
</p><p>
Det er to typer endringer her: omfanget av konsentrering, og dets
egenskaper.
-</p><a class="indexterm" name="idp
9398304"></a><a class="indexterm" name="idp9399088"></a><a class="indexterm" name="idp9399872"></a><a class="indexterm" name="idp9400704"></a><a class="indexterm" name="idp9401520"></a><a class="indexterm" name="idp9402336"></a><p>
+</p><a class="indexterm" name="idp
8201104"></a><a class="indexterm" name="idp8201888"></a><a class="indexterm" name="idp8202672"></a><a class="indexterm" name="idp8203504"></a><a class="indexterm" name="idp8204320"></a><a class="indexterm" name="idp8205136"></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.idp9404112" class="footnote" name="idp9404112"><sup class="footnote">[140]</sup></a> De fem
+mediekilder.</span>»</span><a href="#ftn.idp8206912" class="footnote" name="idp8206912"><sup class="footnote">[140]</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.idp9405488" class="footnote" name="idp9405488"><sup class="footnote">[141]</sup></a> De <span class="quote">«<span class="quote">fem største
+USA.<a href="#ftn.idp8208288" class="footnote" name="idp8208288"><sup class="footnote">[141]</sup></a> De <span class="quote">«<span class="quote">fem største
kabel-selskapene formidler sendinger til 74 prosent av kabel-TV-abonnenter
-over hele landet.</span>»</span><a href="#ftn.idp9407664" class="footnote" name="idp9407664"><sup class="footnote">[142]</sup></a>
+over hele landet.</span>»</span><a href="#ftn.idp8210464" class="footnote" name="idp8210464"><sup class="footnote">[142]</sup></a>
</p><p>
Radioens historie er enda mer dramatisk. Før avreguleringen, eide landets
største 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
9411776"></a><p>
+</p><a class="indexterm" name="idp
8214576"></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
kabel-inntekt. 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
9412784"></a><p>
+</p><a class="indexterm" name="idp
8215584"></a><p>
Størrelseskonsentrering er en ting. En mer betenkelig endring er i
egenskapene til den konsentreringen. Som forfatter James Fallows formulerer
det i en fersk artikkel om Rupert Murdoch,
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.idp9416000" class="footnote" name="idp9416000"><sup class="footnote">[143]</sup></a>
+funksjon i USA.<a href="#ftn.idp8218800" class="footnote" name="idp8218800"><sup class="footnote">[143]</sup></a>
</p></blockquote></div><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
mønsteret:
-</p><div class="figure"><a name="fig-1761-pattern-modern-media-ownership"></a><p class="title"><b>Figur 10.19.
Mønster for moderne mediaeierskap.</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="90%"><tr><td align="center"><img src="images/pattern-modern-media-ownership.png" align="middle" width="100%" alt="Mønster for moderne mediaeierskap."></td></tr></table></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1761-pattern-modern-media-ownership"></a><p class="title"><b>Figur 10.19.
</b></p><div class="figure-contents"><div align="center"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="90%"><tr><td align="center"><img src="images/pattern-modern-media-ownership.png" align="middle" width="100%"></td></tr></table></div></div></div><br class="figure-break"><p>
Betyr denne konsentreringen noe? Påvirker det hva som blir laget, eller hva
</p><p>
Her er en representativ historie som kan foreslå hvorfor denne integreringen
er viktig.
-</p><a class="indexterm" name="idp
9425648"></a><a class="indexterm" name="idp9426432"></a><a class="indexterm" name="idp9427216"></a><p>
+</p><a class="indexterm" name="idp
8228240"></a><a class="indexterm" name="idp8229024"></a><a class="indexterm" name="idp8229808"></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
-nettverk-kontroll.<a href="#ftn.idp9430240" class="footnote" name="idp9430240"><sup class="footnote">[144]</sup></a>
+nettverk-kontroll.<a href="#ftn.idp8232784" class="footnote" name="idp8232784"><sup class="footnote">[144]</sup></a>
</p><p>
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 konglomerat-kontroll. I fjor var det kun en.</span>»</span><a href="#ftn.idp9436752" class="footnote" name="idp9436752"><sup class="footnote">[145]</sup></a> I 2002 var 75 prosent av kjernetids-TV eid av
+av konglomerat-kontroll. I fjor var det kun en.</span>»</span><a href="#ftn.idp8239296" class="footnote" name="idp8239296"><sup class="footnote">[145]</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%, mens
antall timer per uke med kjernetids-TV produsert av uavhengige studioer ble
-redusert med 63%.</span>»</span><a href="#ftn.idp9439520" class="footnote" name="idp9439520"><sup class="footnote">[146]</sup></a>
-</p><a class="indexterm" name="idp
9440512"></a><p>
+redusert med 63%.</span>»</span><a href="#ftn.idp8242064" class="footnote" name="idp8242064"><sup class="footnote">[146]</sup></a>
+</p><a class="indexterm" name="idp
8243056"></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
9442592"></a><a class="indexterm" name="idp9443408"></a><p>
+</p><a class="indexterm" name="idp
8245136"></a><a class="indexterm" name="idp8245952"></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 distribusjons-system, 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.idp9446208" class="footnote" name="idp9446208"><sup class="footnote">[147]</sup></a>
+enn en håndfull.<a href="#ftn.idp8248752" class="footnote" name="idp8248752"><sup class="footnote">[147]</sup></a>
</p></blockquote></div><p>
Denne innsnevringen har en effekt på det som blir produsert. Produktet fra
slike store og konsentrerte nettverk er stadig mer ensrettet. Stadig mer
konsekvenser—ikke nødvendigvis forvisning til Sibir, men likefullt
straff. Uavhengige, kritiske, avvikende syn blir skvist ut. Dette er ikke
en omgivelse for demokrati.
-</p><a class="indexterm" name="idp
9449488"></a><p>
+</p><a class="indexterm" name="idp
8252032"></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.idp9453344" class="footnote" name="idp9453344"><sup class="footnote">[148]</sup></a>
+ignorere nye kulturelle trender.<a href="#ftn.idp8255888" class="footnote" name="idp8255888"><sup class="footnote">[148]</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="idp9456912"></a>
+løping. <a class="indexterm" name="idp8259456"></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
og det er gjennom avstemming 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
9468144"></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
8270480"></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
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
9473568"></a><a class="indexterm" name="idp9474656"></a><a class="indexterm" name="idp9475504"></a><a class="indexterm" name="idp9476640"></a><p>
+</p><a class="indexterm" name="idp
8275904"></a><a class="indexterm" name="idp8276992"></a><a class="indexterm" name="idp8277840"></a><a class="indexterm" name="idp8278976"></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
rett til å velge hva de sender. Dermed vil de store kommersielle
mediekanalene blokkere muligheten 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.idp9479568" class="footnote" name="idp9479568"><sup class="footnote">[149]</sup></a>
-</p><a class="indexterm" name="idp
9493200"></a><a class="indexterm" name="idp9494448"></a><p>
+så ensidig.<a href="#ftn.idp8281904" class="footnote" name="idp8281904"><sup class="footnote">[149]</sup></a>
+</p><a class="indexterm" name="idp
8295536"></a><a class="indexterm" name="idp8296784"></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
noe. Det kan hende du liker holdningene som denne *håndfullen* 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
9497328"></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
8299664"></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 ide
er det åpenbart riktig, og vanligvis helt ufarlig. Ingen fornuftig person
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.idp9511984" class="footnote" name="idp9511984"><sup class="footnote">[150]</sup></a>
+kjent.<a href="#ftn.idp8314336" class="footnote" name="idp8314336"><sup class="footnote">[150]</sup></a>
</p><p>
<span class="strong"><strong>Det har vært</strong></span> et langt kapittel. Dets
poeng kan nå formuleres ganske kort.
kopiering. Men jeg har heller ingen tvil om at det gjør mer skade en 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="Innspillerne">7</a> og <a class="xref" href="#transformers" title="Omformerne">8</a>, kan en godt undre på hvorvidt den gjør mer skade
+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
vært skapt hvis avledede rettigheter var skarpere begrenset.
</p><p>
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.idp9557856" class="footnote" name="idp9557856"><sup class="footnote">[151]</sup></a>) vært utformet for å
+eiendomsretter<a href="#ftn.idp8360096" class="footnote" name="idp8360096"><sup class="footnote">[151]</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 for nesten 180 år beskyttet
vårt land konsistent en pulserende og rik fri kultur.
-</p><a class="indexterm" name="idp
9562864"></a><p>
+</p><a class="indexterm" name="idp
8365104"></a><p>
Vi oppnådde den frie kulturen på grunn av at vårt lovverk respekterte
viktige begrensninger i rekkevidden av interessene beskyttet av
<span class="quote">«<span class="quote">eiendom.</span>»</span> Selve fødselen til <span class="quote">«<span class="quote">opphavsretten</span>»</span> som
en lovfestet rett gjenkjente disse begrensningene, ved å å gi
opphavsrettseierne beskyttelse kun for en begrenset tidsperiode (historien i
-kapittel <a class="xref" href="#founders" title="Grunnleggerne">6</a>).
+kapittel <a class="xref" href="#founders" title="Kapittel seks: Grunnleggerne">6</a>).
Tradisjonen til <span class="quote">«<span class="quote">rimelig bruk</span>»</span> er drevet av en lignende
bekymring som i stadig større grad er under press etter hver som kostnaden
ved å utøve en hvilken som helst rimelig bruk blir uunngåelig høy (historien
-i kapittel <a class="xref" href="#recorders" title="Innspillerne">7</a>). Å
+i kapittel <a class="xref" href="#recorders" title="Kapittel syv: Innspillerne">7</a>). Å
legge til lovbestemte rettigheter der markeder kan hemme nyskapning er en
annen kjent begrensning på eiendomsrettigheten som opphavsretten utgjør
-(kapittel <a class="xref" href="#transformers" title="Omformerne">8</a>).
+(kapittel <a class="xref" href="#transformers" title="Kapittel åtte: Omformerne">8</a>).
Og 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="Samlere">9</a>).
+(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.
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.idp8614608" class="footnote"><p><a href="#idp8614608" 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.idp7421904" class="footnote"><p><a href="#idp7421904" class="para"><sup class="para">[116] </sup></a>
Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R. 4794,
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.idp8623216" class="footnote"><p><a href="#idp8623216" class="para"><sup class="para">[117] </sup></a>
+</p></div><div id="ftn.idp7430512" class="footnote"><p><a href="#idp7430512" class="para"><sup class="para">[117] </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.idp8696448" class="footnote"><p><a href="#idp8696448" class="para"><sup class="para">[118] </sup></a>
+</p></div><div id="ftn.idp7503200" class="footnote"><p><a href="#idp7503200" class="para"><sup class="para">[118] </sup></a>
Ved å beskrive hvordan loven påvirker de andre tre modalitetene, mener jeg
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.idp8707664" class="footnote"><p><a href="#idp8707664" class="para"><sup class="para">[119] </sup></a>
+</p></div><div id="ftn.idp7514080" class="footnote"><p><a href="#idp7514080" class="para"><sup class="para">[119] </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
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="idp8714192"></a> <a class="indexterm" name="idp8715344"></a> <a class="indexterm" name="idp8716128"></a> <a class="indexterm" name="idp8716960"></a>
-</p></div><div id="ftn.idp8770400" class="footnote"><p><a href="#idp8770400" class="para"><sup class="para">[120] </sup></a>
+møter. <a class="indexterm" name="idp7520608"></a> <a class="indexterm" name="idp7521760"></a> <a class="indexterm" name="idp7522544"></a> <a class="indexterm" name="idp7523376"></a>
+</p></div><div id="ftn.idp7576784" class="footnote"><p><a href="#idp7576784" class="para"><sup class="para">[120] </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.idp8784016" class="footnote"><p><a href="#idp8784016" class="para"><sup class="para">[121] </sup></a>
+</p></div><div id="ftn.idp7590400" class="footnote"><p><a href="#idp7590400" class="para"><sup class="para">[121] </sup></a>
Fred Warshofsky, <em class="citetitle">The Patent Wars</em> (New York: Wiley,
1994), 170–71.
-</p></div><div id="ftn.idp8817264" class="footnote"><p><a href="#idp8817264" class="para"><sup class="para">[122] </sup></a>
+</p></div><div id="ftn.idp7623712" class="footnote"><p><a href="#idp7623712" class="para"><sup class="para">[122] </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.idp8890576" class="footnote"><p><a href="#idp8890576" class="para"><sup class="para">[123] </sup></a>
+</p></div><div id="ftn.idp7696288" class="footnote"><p><a href="#idp7696288" class="para"><sup class="para">[123] </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">extinguish[ing], by plain implication of `the
supreme 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="idp8892448"></a>
-</p></div><div id="ftn.idp8903584" class="footnote"><p><a href="#idp8903584" class="para"><sup class="para">[124] </sup></a>
+(emphasis added). <a class="indexterm" name="idp7698256"></a>
+</p></div><div id="ftn.idp7709328" class="footnote"><p><a href="#idp7709328" class="para"><sup class="para">[124] </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.idp8912688" class="footnote"><p><a href="#idp8912688" 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.idp7718432" class="footnote"><p><a href="#idp7718432" class="para"><sup class="para">[125] </sup></a>
Få opphavsrettsinnehavere valgte noensinne å fornye sine opphavsretter. For
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.idp8920448" class="footnote"><p><a href="#idp8920448" class="para"><sup class="para">[126] </sup></a>
+70 (2003): 471, 498–501, og tilhørende figurer. </p></div><div id="ftn.idp7726128" class="footnote"><p><a href="#idp7726128" class="para"><sup class="para">[126] </sup></a>
-Se Ringer, kap. 9, n. 2. </p></div><div id="ftn.idp8949120" class="footnote"><p><a href="#idp8949120" class="para"><sup class="para">[127] </sup></a>
+Se Ringer, kap. 9, n. 2. </p></div><div id="ftn.idp7754864" class="footnote"><p><a href="#idp7754864" class="para"><sup class="para">[127] </sup></a>
Disse statistikkene er undervurdert. Mellom årene 1910 og 1962 (det første
året fornyings-vernetiden ble utvidet), var gjennomsnittelig 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.idp8991824" class="footnote"><p><a href="#idp8991824" class="para"><sup class="para">[128] </sup></a>
+</p></div><div id="ftn.idp7797344" class="footnote"><p><a href="#idp7797344" class="para"><sup class="para">[128] </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.idp9011920" class="footnote"><p><a href="#idp9011920" class="para"><sup class="para">[129] </sup></a>
+</p></div><div id="ftn.idp7817168" class="footnote"><p><a href="#idp7817168" class="para"><sup class="para">[129] </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="idp9014656"></a>
-</p></div><div id="ftn.idp9017056" class="footnote"><p><a href="#idp9017056" class="para"><sup class="para">[130] </sup></a>
+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="idp7819808"></a>
+</p></div><div id="ftn.idp7822208" class="footnote"><p><a href="#idp7822208" class="para"><sup class="para">[130] </sup></a>
Professor Rubenfeld har presentert en 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="idp9019120"></a>
-</p></div><div id="ftn.idp9034624" class="footnote"><p><a href="#idp9034624" class="para"><sup class="para">[131] </sup></a>
+(2002): 1–60 (se spesielt sidene 53–59). <a class="indexterm" name="idp7824272"></a>
+</p></div><div id="ftn.idp7839808" class="footnote"><p><a href="#idp7839808" class="para"><sup class="para">[131] </sup></a>
Dette er en forenkling av loven, men ikke en særlig stor en. Loven
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.idp9048480" class="footnote"><p><a href="#idp9048480" class="para"><sup class="para">[132] </sup></a>
+</p></div><div id="ftn.idp7853728" class="footnote"><p><a href="#idp7853728" class="para"><sup class="para">[132] </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 bassert på
vilkårlige og automatiske endringer forårsaket av teknologi.
-</p></div><div id="ftn.idp9035824" class="footnote"><p><a href="#idp9035824" class="para"><sup class="para">[133] </sup></a>
+</p></div><div id="ftn.idp7841008" class="footnote"><p><a href="#idp7841008" class="para"><sup class="para">[133] </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.idp9203456" class="footnote"><p><a href="#idp9203456" class="para"><sup class="para">[134] </sup></a>
+</p></div><div id="ftn.idp8007840" class="footnote"><p><a href="#idp8007840" class="para"><sup class="para">[134] </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.idp9206512" class="footnote"><p><a href="#idp9206512" class="para"><sup class="para">[135] </sup></a>
+</p></div><div id="ftn.idp8010896" class="footnote"><p><a href="#idp8010896" class="para"><sup class="para">[135] </sup></a>
-<a class="indexterm" name="idp9206896"></a> Ibid. Se også Vaidhyanathan,
+<a class="indexterm" name="idp8011280"></a> Ibid. Se også Vaidhyanathan,
<em class="citetitle">Copyrights and Copywrongs</em>, 1–3.
-</p></div><div id="ftn.idp9247488" class="footnote"><p><a href="#idp9247488" class="para"><sup class="para">[136] </sup></a>
+</p></div><div id="ftn.idp8050448" class="footnote"><p><a href="#idp8050448" class="para"><sup class="para">[136] </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.idp9306336" class="footnote"><p><a href="#idp9306336" class="para"><sup class="para">[137] </sup></a>
+</p></div><div id="ftn.idp8108832" class="footnote"><p><a href="#idp8108832" class="para"><sup class="para">[137] </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="idp9312976"></a>
-</p></div><div id="ftn.idp9356112" class="footnote"><p><a href="#idp9356112" 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="idp8115472"></a>
+</p></div><div id="ftn.idp8158384" class="footnote"><p><a href="#idp8158384" class="para"><sup class="para">[138] </sup></a>
-<a class="indexterm" name="idp9356496"></a> <em class="citetitle">Sony Corporation of
+<a class="indexterm" name="idp8158768"></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="idp9359456"></a>
-</p></div><div id="ftn.idp9384880" class="footnote"><p><a href="#idp9384880" class="para"><sup class="para">[139] </sup></a>
+1987), 27071. <a class="indexterm" name="idp8161728"></a>
+</p></div><div id="ftn.idp8187680" class="footnote"><p><a href="#idp8187680" class="para"><sup class="para">[139] </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.idp9404112" class="footnote"><p><a href="#idp9404112" class="para"><sup class="para">[140] </sup></a>
+</p></div><div id="ftn.idp8206912" class="footnote"><p><a href="#idp8206912" class="para"><sup class="para">[140] </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.idp9405488" class="footnote"><p><a href="#idp9405488" class="para"><sup class="para">[141] </sup></a>
+McCain). </p></div><div id="ftn.idp8208288" class="footnote"><p><a href="#idp8208288" class="para"><sup class="para">[141] </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.idp9407664" class="footnote"><p><a href="#idp9407664" class="para"><sup class="para">[142] </sup></a>
+</p></div><div id="ftn.idp8210464" class="footnote"><p><a href="#idp8210464" class="para"><sup class="para">[142] </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.idp9416000" class="footnote"><p><a href="#idp9416000" class="para"><sup class="para">[143] </sup></a>
+</p></div><div id="ftn.idp8218800" class="footnote"><p><a href="#idp8218800" class="para"><sup class="para">[143] </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="idp9418096"></a>
-</p></div><div id="ftn.idp9430240" class="footnote"><p><a href="#idp9430240" class="para"><sup class="para">[144] </sup></a>
+Monthly</em> (September 2003): 89. <a class="indexterm" name="idp8221104"></a>
+</p></div><div id="ftn.idp8232784" class="footnote"><p><a href="#idp8232784" class="para"><sup class="para">[144] </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.idp9436752" class="footnote"><p><a href="#idp9436752" class="para"><sup class="para">[145] </sup></a>
+</p></div><div id="ftn.idp8239296" class="footnote"><p><a href="#idp8239296" class="para"><sup class="para">[145] </sup></a>
NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media
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.idp9439520" class="footnote"><p><a href="#idp9439520" class="para"><sup class="para">[146] </sup></a>
+</p></div><div id="ftn.idp8242064" class="footnote"><p><a href="#idp8242064" class="para"><sup class="para">[146] </sup></a>
ibid.
-</p></div><div id="ftn.idp9446208" class="footnote"><p><a href="#idp9446208" class="para"><sup class="para">[147] </sup></a>
+</p></div><div id="ftn.idp8248752" class="footnote"><p><a href="#idp8248752" class="para"><sup class="para">[147] </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
tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
#31</a>.
-</p></div><div id="ftn.idp9453344" class="footnote"><p><a href="#idp9453344" class="para"><sup class="para">[148] </sup></a>
+</p></div><div id="ftn.idp8255888" class="footnote"><p><a href="#idp8255888" class="para"><sup class="para">[148] </sup></a>
Clayton M. Christensen, <em class="citetitle">The Innovator's Dilemma: The
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.idp9479568" class="footnote"><p><a href="#idp9479568" class="para"><sup class="para">[149] </sup></a>
+2001). </p></div><div id="ftn.idp8281904" class="footnote"><p><a href="#idp8281904" class="para"><sup class="para">[149] </sup></a>
-<a class="indexterm" name="idp9479952"></a> <a class="indexterm" name="idp9481056"></a> <a class="indexterm" name="idp9481840"></a> <a class="indexterm" name="idp9482672"></a> <a class="indexterm" name="idp9483504"></a>
-<a class="indexterm" name="idp9484320"></a> <a class="indexterm" name="idp9485104"></a> Marihuana-politikkprosjektet forsøkte i februar 2003 å få plassert
+<a class="indexterm" name="idp8282288"></a> <a class="indexterm" name="idp8283392"></a> <a class="indexterm" name="idp8284176"></a> <a class="indexterm" name="idp8285008"></a> <a class="indexterm" name="idp8285840"></a>
+<a class="indexterm" name="idp8286656"></a> <a class="indexterm" name="idp8287440"></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
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.idp9511984" class="footnote"><p><a href="#idp9511984" class="para"><sup class="para">[150] </sup></a>
+</p></div><div id="ftn.idp8314336" class="footnote"><p><a href="#idp8314336" class="para"><sup class="para">[150] </sup></a>
-<a class="indexterm" name="idp9513200"></a> Siva Vaidhyanathan fanger et lignende
+<a class="indexterm" name="idp8315552"></a> Siva Vaidhyanathan fanger et lignende
poeng i hans <span class="quote">«<span class="quote">fire kapitulasjoner</span>»</span> for åndsverksloven i den
digitale tidsalder. Se Vaidhyanathan, 159–60.
-</p></div><div id="ftn.idp9557856" class="footnote"><p><a href="#idp9557856" class="para"><sup class="para">[151] </sup></a>
+</p></div><div id="ftn.idp8360096" class="footnote"><p><a href="#idp8360096" class="para"><sup class="para">[151] </sup></a>
-<a class="indexterm" name="idp9558240"></a> Det å demonstrere at alle
+<a class="indexterm" name="idp8360480"></a> Det å demonstrere at alle
eiendomsrettigheter alltid har vært uformet for å balansere interessene til
fellesskapet og private var det viktigste enkeltbidra 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>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.idp9583168" class="footnote" name="idp9583168"><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.idp8385520" class="footnote" name="idp8385520"><sup class="footnote">[152]</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
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
9603696"></a><a class="indexterm" name="idp9604912"></a><p>
+</p><a class="indexterm" name="idp
8406208"></a><a class="indexterm" name="idp8407488"></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
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="idp9615456"></a>
+eksemplar fra Tower.<a class="indexterm" name="idp8418048"></a>
</p><p>
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.idp9619792" class="footnote" name="idp9619792"><sup class="footnote">[153]</sup></a>
+blitt foreslått eller er allerede gjennomført.<a href="#ftn.idp8422384" class="footnote" name="idp8422384"><sup class="footnote">[153]</sup></a>
-</p><a class="indexterm" name="idp
9630800"></a><p>
+</p><a class="indexterm" name="idp
8433392"></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
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.idp9640912" class="footnote" name="idp9640912"><sup class="footnote">[154]</sup></a>
+hemme veksten i dette markedet og skade alles interesser.<a href="#ftn.idp8443504" class="footnote" name="idp8443504"><sup class="footnote">[154]</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="idp9643792"></a>
+nå endret seg. <a class="indexterm" name="idp8446384"></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.idp9583168" class="footnote"><p><a href="#idp9583168" 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.idp8385520" class="footnote"><p><a href="#idp8385520" class="para"><sup class="para">[152] </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.idp9619792" class="footnote"><p><a href="#idp9619792" class="para"><sup class="para">[153] </sup></a>
+</p></div><div id="ftn.idp8422384" class="footnote"><p><a href="#idp8422384" class="para"><sup class="para">[153] </sup></a>
-<a class="indexterm" name="idp9620176"></a> For an excellent summary, see the
+<a class="indexterm" name="idp8422768"></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
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="idp9628912"></a> <a class="indexterm" name="idp9629728"></a>
-</p></div><div id="ftn.idp9640912" class="footnote"><p><a href="#idp9640912" class="para"><sup class="para">[154] </sup></a>
+#36</a>. <a class="indexterm" name="idp8431504"></a> <a class="indexterm" name="idp8432320"></a>
+</p></div><div id="ftn.idp8443504" class="footnote"><p><a href="#idp8443504" class="para"><sup class="para">[154] </sup></a>
WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital
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
-in 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>Skader</h2></div></div></div><p>
+in 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
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 en
den noen gang har vært i vår historie.
-</p><a class="indexterm" name="idp
9652496"></a><a class="indexterm" name="idp9653312"></a><p>
+</p><a class="indexterm" name="idp
8455136"></a><a class="indexterm" name="idp8455952"></a><p>
Likevel ser ikke <span class="quote">«<span class="quote">sunn fornuft</span>»</span> det slik. Sunn fornuft er
fortsatt enig med Causby-ene 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
9655776"></a><p>
+</p><a class="indexterm" name="idp
8458416"></a><p>
Det vil være mange konsekvenser ved å fortsette denne krigen. Jeg ønsker å
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
9666208"></a><a class="indexterm" name="idp9666992"></a><a class="indexterm" name="idp9668192"></a><a class="indexterm" name="idp9669360"></a><a class="indexterm" name="idp9670192"></a><p>
+</p><a class="indexterm" name="idp
8468800"></a><a class="indexterm" name="idp8469584"></a><a class="indexterm" name="idp8470784"></a><a class="indexterm" name="idp8471952"></a><a class="indexterm" name="idp8472784"></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
tillatt og hva som ikke er det, og samtidig er straffene for å krysse linjen
forbløffende harde. De fire studentene som ble truet av RIAA (Jesse Jordan
-i kapittel <a class="xref" href="#catalogs" title="Kataloger">3</a> er
+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
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.idp9673328" class="footnote" name="idp9673328"><sup class="footnote">[155]</sup></a> Og i henhold til lovgiving som fremmes i Kongressen akkurat nå, kan
+bot som kun var på 750 millioner dollar.<a href="#ftn.idp8475920" class="footnote" name="idp8475920"><sup class="footnote">[155]</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.idp9677728" class="footnote" name="idp9677728"><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.idp8480320" class="footnote" name="idp8480320"><sup class="footnote">[156]</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
9682864"></a><p>
+</p><a class="indexterm" name="idp
8485456"></a><p>
Konsekvensen av denne juridiske usikkerheten, sammen med disse ekstreme høye
straffene, er at en ekstraordinær mengde kreativitet aldri vil gjennomføres,
eller aldri vil gjennomføres åpnelyst. Vi tvinger denne kreative prosessen
se en verden av undergrunns-kunst—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. Allerede har utstillinger med
-<span class="quote">«<span class="quote">ulovlig kunst</span>»</span> vært på turné i USA.<a href="#ftn.idp9685280" class="footnote" name="idp9685280"><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> vært på turné i USA.<a href="#ftn.idp8487872" class="footnote" name="idp8487872"><sup class="footnote">[157]</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
9690976"></a><p>
+</p><a class="indexterm" name="idp
8493568"></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="«Eiendom»">10</a>. Men en enda større
+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
opphavsrettsbrudd. Slik brukerne av fildelings-systemer oppdaget i 2002, er
det en triviell sak for opphavsrettseiere å få domstolene til å beordre
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
9694160"></a><p>
+</p><a class="indexterm" name="idp
8496752"></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
tilsvarende fritt.
</p><p>
Advokater ser sjelden dette på grunn av at advokater sjeldent er empiriske.
-Som jeg beskrev i kapittel <a class="xref" href="#recorders" title="Innspillerne">7</a>, som respons på historien om dokumentarfilmskaper Jon
+Som jeg beskrev i kapittel <a class="xref" href="#recorders" title="Kapittel syv: Innspillerne">7</a>, som respons på historien om dokumentarfilmskaper Jon
Else, har jeg blitt belært gang på gang av advokater som insisterer på at
Elses bruk var rimelig bruk. Og at jeg derfor tok feil når jeg sa at loven
regulerer slik bruk.
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
9720576"></a><a class="indexterm" name="idp9723056"></a><a class="indexterm" name="idp9723872"></a><p>
+</p><a class="indexterm" name="idp
8523056"></a><a class="indexterm" name="idp8525600"></a><a class="indexterm" name="idp8526416"></a><p>
Dette er den ene mest dramatiske effekten fra skiftet i regulatorisk
-strategi som jeg beskrev i kapittel <a class="xref" href="#property-i" title="«Eiendom»">10</a>. Konsekvensen av denne massive trusselen om
+strategi som jeg beskrev i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>. Konsekvensen av denne massive trusselen om
erstatningsansvar knyttet til de skumle grensene til opphavsrettsloven er at
oppfinnere som ønsker å skape noe nytt innen dette området kun trygt kan
lage noe nytt hvis de har aksept fra siste generasjons dominerende
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
9727568"></a><a class="indexterm" name="idp9728320"></a><p>
+</p><a class="indexterm" name="idp
8530112"></a><a class="indexterm" name="idp8530864"></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
9733408"></a><p>
+</p><a class="indexterm" name="idxmpcom"></a><a class="indexterm" name="idxmympcom"></a><a class="indexterm" name="idp
8535888"></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
9735392"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
+</p><a class="indexterm" name="idp
8537872"></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.
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
9742320"></a><p>
+</p><a class="indexterm" name="idp
8544736"></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
9746752"></a><a class="indexterm" name="idp9747968"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp9751152"></a><a class="indexterm" name="idp9752304"></a><a class="indexterm" name="idp9753424"></a><p>
+</p><a class="indexterm" name="idxvivendiuniversal"></a><a class="indexterm" name="idp
8549104"></a><a class="indexterm" name="idp8550320"></a><a class="indexterm" name="idxcopyrightinfringementlawsuitsinrecordingindustry3"></a><a class="indexterm" name="idp8553520"></a><a class="indexterm" name="idp8554672"></a><a class="indexterm" name="idp8555792"></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
vært åpenbart at domstolene ville anse denne oppførselen for ulovlig.
Dermed forsøkte dette søksmålet å straffe enhver advokat som våget å foreslå
at loven var mindre restriktiv en plateselskapene krevde.
-</p><a class="indexterm" name="idp
9757456"></a><p>
+</p><a class="indexterm" name="idp
8559824"></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
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
9760128"></a><a class="indexterm" name="idp9761344"></a><a class="indexterm" name="idp9762656"></a><a class="indexterm" name="idp9764096"></a><a class="indexterm" name="idp9764912"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp9769120"></a><a class="indexterm" name="idp9769904"></a><a class="indexterm" name="idp9770720"></a><a class="indexterm" name="idp9771536"></a><a class="indexterm" name="idp9772352"></a><a class="indexterm" name="idp9773168"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp9775840"></a><a class="indexterm" name="idp9776656"></a><p>
+</p><a class="indexterm" name="idp
8562496"></a><a class="indexterm" name="idp8563776"></a><a class="indexterm" name="idp8565088"></a><a class="indexterm" name="idp8566464"></a><a class="indexterm" name="idp8567280"></a><a class="indexterm" name="idxbmw"></a><a class="indexterm" name="idxcarsmpsoundsystemsin"></a><a class="indexterm" name="idp8571440"></a><a class="indexterm" name="idp8572224"></a><a class="indexterm" name="idp8573040"></a><a class="indexterm" name="idp8573856"></a><a class="indexterm" name="idp8574672"></a><a class="indexterm" name="idp8575488"></a><a class="indexterm" name="idxneedlemanrafe"></a><a class="indexterm" name="idp8578112"></a><a class="indexterm" name="idp8578928"></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.idp9778336" class="footnote" name="idp9778336"><sup class="footnote">[158]</sup></a> Påstanden her var også VC-en burde ha forstått at
+medstifter (John Hummer) og dets generelle partner (Hank Berry).<a href="#ftn.idp8580608" class="footnote" name="idp8580608"><sup class="footnote">[158]</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 innebyggede 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.idp9706272" class="footnote" name="idp9706272"><sup class="footnote">[159]</sup></a>
-</p></blockquote></div><a class="indexterm" name="idp
9789056"></a><a class="indexterm" name="idp9790368"></a><a class="indexterm" name="idp9791680"></a><p>
+MP3-spiller. … <a href="#ftn.idp8508864" class="footnote" name="idp8508864"><sup class="footnote">[159]</sup></a>
+</p></blockquote></div><a class="indexterm" name="idp
8591328"></a><a class="indexterm" name="idp8592640"></a><a class="indexterm" name="idp8593952"></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
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
9797376"></a><p>
+</p><a class="indexterm" name="idp
8599648"></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 sammenhengen tilsvarende. Dette vilt
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
9807136"></a><p>
+</p><a class="indexterm" name="idp
8609408"></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.idp9808800" class="footnote" name="idp9808800"><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.idp8611072" class="footnote" name="idp8611072"><sup class="footnote">[160]</sup></a> Kongressen har allerede lansert forslag om å
utforske et påkrevd <span class="quote">«<span class="quote">kringkastings-flagg</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.idp9812080" class="footnote" name="idp9812080"><sup class="footnote">[161]</sup></a>
+datamaskinene deres.<a href="#ftn.idp8614352" class="footnote" name="idp8614352"><sup class="footnote">[161]</sup></a>
</p><p>
På en måte virker disse løsningene fornuftige. Hvis problemet er koden,
teknologi. Den vil påføre teknologien betydelig byrder og kostnader, men
vil mest sannsynlig omgått av fremskritt når det gjelder akkurat disse
kravene.
-</p><a class="indexterm" name="idp
9814432"></a><p>
+</p><a class="indexterm" name="idp
8616704"></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.idp9815776" class="footnote" name="idp9815776"><sup class="footnote">[162]</sup></a> Argumentet deres var selvsagt ikke
+til.<a href="#ftn.idp8618048" class="footnote" name="idp8618048"><sup class="footnote">[162]</sup></a> Argumentet deres var selvsagt ikke
at opphavsrett ikke skulle bli beskyttet. Istedet argumenterte de med at en
beskyttelse ikke måtte gjøre mer skade enn gavn.
</p><p>
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
9820240"></a><a class="indexterm" name="idp9821312"></a><a class="indexterm" name="idp9822128"></a><a class="indexterm" name="idp9822944"></a><p>
-Som jeg beskrev i kapittel <a class="xref" href="#property-i" title="«Eiendom»">10</a>, og på tross av denne egenskapen av opphavsrett som
+</p><a class="indexterm" name="idp
8622512"></a><a class="indexterm" name="idp8623584"></a><a class="indexterm" name="idp8624400"></a><a class="indexterm" name="idp8625216"></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.idp9825968" class="footnote" name="idp9825968"><sup class="footnote">[163]</sup></a>, så er i det
+Copyright</em>,<a href="#ftn.idp8628176" class="footnote" name="idp8628176"><sup class="footnote">[163]</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="«Eiendom»">10</a> forteller mer om, har Kongressen funnet en balanse
+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
lovbestemte lisenser har vært del av denne strategien. Gratis bruk (slik
tilfellet er for videoopptakeren) har vært en annen.
både domstolene og Kongressen innført juridiske restriksjoner som vil ha
effekten 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 det samme.<a href="#ftn.idp9835760" class="footnote" name="idp9835760"><sup class="footnote">[164]</sup></a> Det har vært speilet i responsen som Kongressen har
+Tilbakemeldingene fra domstolene har omtrent det samme.<a href="#ftn.idp8638000" class="footnote" name="idp8638000"><sup class="footnote">[164]</sup></a> Det har vært speilet i responsen som Kongressen har
truet med og implementert. Jeg vil ikke liste opp alle tilbakemeldingene
-her.<a href="#ftn.idp9840816" class="footnote" name="idp9840816"><sup class="footnote">[165]</sup></a> Men det er et eksempel som
+her.<a href="#ftn.idp8643056" class="footnote" name="idp8643056"><sup class="footnote">[165]</sup></a> Men det er et eksempel som
inneholder essensen av dem alle. Dette er historien om utryddelsen av
Internettradio.
-</p><a class="indexterm" name="idp
9848352"></a><a class="indexterm" name="idp9849440"></a><p>
+</p><a class="indexterm" name="idp
8650592"></a><a class="indexterm" name="idp8651680"></a><p>
-Som jeg beskrev i kapittel <a class="xref" href="#pirates" title="«Pirater»">4</a>, når en radiostasjon spiller en sang, får ikke
+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>—for
til et relativt stort antall brukere over hele verden. I følge 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
9858576"></a><p>
+</p><a class="indexterm" name="idp
8660816"></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
-kaste lenkene sine.<a href="#ftn.idp9785680" class="footnote" name="idp9785680"><sup class="footnote">[166]</sup></a>
+kaste lenkene sine.<a href="#ftn.idp8587952" class="footnote" name="idp8587952"><sup class="footnote">[166]</sup></a>
</p></blockquote></div><p>
Dette potensialet for FM-radio ble aldri realisert—ikke på grunn av at
Armstrong tok feil av teknologien, men fordi han undervurderte kraften til
-<span class="quote">«<span class="quote">egeninteresser, vaner, skikker og lovgiving</span>»</span><a href="#ftn.idp9864912" class="footnote" name="idp9864912"><sup class="footnote">[167]</sup></a> i å hemme veksten av denne konkurrerende
+<span class="quote">«<span class="quote">egeninteresser, vaner, skikker og lovgiving</span>»</span><a href="#ftn.idp8667152" class="footnote" name="idp8667152"><sup class="footnote">[167]</sup></a> i å hemme veksten av denne konkurrerende
teknologien.
</p><p>
Akkurat den samme påstanden kan nå fremmes om Internettradio. Og også denne
blir pålagt av lovverket. Opphavsrettsloven er en slik lov. Så det første
spørsmålet vi bør stille er, hvilke opphavsrettsregler bør styre
Internettradio?
-</p><a class="indexterm" name="idxartistsrecordingindustrypaymentsto3"></a><a class="indexterm" name="idp
9868880"></a><a class="indexterm" name="idp9870000"></a><a class="indexterm" name="idp9871104"></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
8671120"></a><a class="indexterm" name="idp8672240"></a><a class="indexterm" name="idp8673344"></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. Internettradio er en ny
industri. Plateartistene derimot har en svært mektig lobby, RIAA. Dermed
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.idp9885664" class="footnote" name="idp9885664"><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.idp8687856" class="footnote" name="idp8687856"><sup class="footnote">[168]</sup></a> En radiostasjon som kringkaster det samme innholdet
ville ikke måtte betale et tilsvarende beløp.
-</p><a class="indexterm" name="idp
9891328"></a><a class="indexterm" name="idp9892656"></a><a class="indexterm" name="idp9893984"></a><a class="indexterm" name="idp9895312"></a><a class="indexterm" name="idp9896688"></a><p>
+</p><a class="indexterm" name="idp
8693520"></a><a class="indexterm" name="idp8694912"></a><a class="indexterm" name="idp8696304"></a><a class="indexterm" name="idp8697632"></a><a class="indexterm" name="idp8699008"></a><p>
Byrden er ikke kun økonomisk. I følge det opprinnelige forslag til regler,
måtte en Internettradiostasjon (men ikke en bakkebasert radiostasjon) samle
inn følgende informasjon for <span class="emphasis"><em>hver eneste
unik bruker-identifikator;
</p></li><li class="listitem"><p>
landet til brukeren som mottok sendingene.
-</p></li></ol></div><a class="indexterm" name="idp
9915360"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp
8717744"></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
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
9918576"></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
8720960"></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 raten så høyt vil du
tvinge de små webcasterne til å måtte gi opp. …</span>»</span>
-</p><a class="indexterm" name="idp
9929744"></a><p>
+</p><a class="indexterm" name="idp
8732192"></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
9932384"></a><a class="indexterm" name="idp9933632"></a><a class="indexterm" name="idp9935120"></a><a class="indexterm" name="idp9936512"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
8734912"></a><a class="indexterm" name="idp8736160"></a><a class="indexterm" name="idp8737504"></a><a class="indexterm" name="idp8738832"></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
en eksplosjon i mangfold og omfang av tilgjengelig innhold, ikke forårsaker
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
9938880"></a><a class="indexterm" name="idp9940208"></a><a class="indexterm" name="idp9941472"></a><a class="indexterm" name="idp9942848"></a><a class="indexterm" name="idp9944096"></a><a class="indexterm" name="idp9945408"></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
8741264"></a><a class="indexterm" name="idp8742592"></a><a class="indexterm" name="idp8743984"></a><a class="indexterm" name="idp8745296"></a><a class="indexterm" name="idp8746544"></a><a class="indexterm" name="idp8747856"></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. I følge
<em class="citetitle">The New York Times</em>, lastet 43 millioner amerikanere
-ned musikk i mai 2002.<a href="#ftn.idp9950992" class="footnote" name="idp9950992"><sup class="footnote">[169]</sup></a> I følge RIAA
+ned musikk i mai 2002.<a href="#ftn.idp8753376" class="footnote" name="idp8753376"><sup class="footnote">[169]</sup></a> I følge 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
søksmålet. Den samme strategien driver RIAAs søksmål mot individuelle
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 ide om hva fildeling var.<a href="#ftn.idp9884336" class="footnote" name="idp9884336"><sup class="footnote">[170]</sup></a> Som disse offerlammene oppdaget, vil det alltid
+dame som ikke hadde noe ide om hva fildeling var.<a href="#ftn.idp8686528" class="footnote" name="idp8686528"><sup class="footnote">[170]</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.) Vårt
Det setter vår tradisjon i forlegenhet. Og konsekvensen er at vårt
rettssystem gjør det mulig for de med makt å utnytte domstolene til å knuse
enhver rettighet de er i mot.
-</p><a class="indexterm" name="idp
9957792"></a><p>
+</p><a class="indexterm" name="idp
8760176"></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 literpr. 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.idp9961200" class="footnote" name="idp9961200"><sup class="footnote">[171]</sup></a> Vi har satt igang en krig
+kriminelle.<a href="#ftn.idp8763584" class="footnote" name="idp8763584"><sup class="footnote">[171]</sup></a> Vi har satt igang 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.idp9963296" class="footnote" name="idp9963296"><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.idp8765680" class="footnote" name="idp8765680"><sup class="footnote">[172]</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.idp9965408" class="footnote" name="idp9965408"><sup class="footnote">[173]</sup></a> Vi er stolte over å leve i
+regelmessig.<a href="#ftn.idp8767792" class="footnote" name="idp8767792"><sup class="footnote">[173]</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
9968192"></a><p>
+</p><a class="indexterm" name="idp
8770576"></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
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
9985280"></a><a class="indexterm" name="idxcdsmix"></a><p>
+</p><a class="indexterm" name="idp
8787664"></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 alle mine og min kones CD-er, og
lagrer dem i et arkiv. Dermed kan vi, vet hjelp av iTunes fra Apple eller
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
9993216"></a><p>
+</p><a class="indexterm" name="idp
8795600"></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
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
10000528"></a><a class="indexterm" name="idxisps"></a><p>
+</p><a class="indexterm" name="idp
8802912"></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
10005520"></a><p>
+</p><a class="indexterm" name="idp
8807792"></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, sa
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.idp10012816" class="footnote" name="idp10012816"><sup class="footnote">[174]</sup></a>
+som de hadde saksøkt Jesse Jordan.<a href="#ftn.idp8815024" class="footnote" name="idp8815024"><sup class="footnote">[174]</sup></a>
</p><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.idp10019472" class="footnote" name="idp10019472"><sup class="footnote">[175]</sup></a> Ved å
+for å spore Napster-brukere.<a href="#ftn.idp8821648" class="footnote" name="idp8821648"><sup class="footnote">[175]</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>
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.idp10024992" class="footnote" name="idp10024992"><sup class="footnote">[176]</sup></a> så kan din
+i gang med å rulle ut,<a href="#ftn.idp8827232" class="footnote" name="idp8827232"><sup class="footnote">[176]</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
10033344"></a><a class="indexterm" name="idp10034592"></a><p>
+</p><a class="indexterm" name="idp
8835584"></a><a class="indexterm" name="idp8836832"></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
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.idp9673328" class="footnote"><p><a href="#idp9673328" class="para"><sup class="para">[155] </sup></a>
+</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8475920" class="footnote"><p><a href="#idp8475920" class="para"><sup class="para">[155] </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="idp9676064"></a>
-</p></div><div id="ftn.idp9677728" class="footnote"><p><a href="#idp9677728" class="para"><sup class="para">[156] </sup></a>
+#37</a>. <a class="indexterm" name="idp8478656"></a>
+</p></div><div id="ftn.idp8480320" class="footnote"><p><a href="#idp8480320" class="para"><sup class="para">[156] </sup></a>
Lovforslaget, som var modellerert etter Califorias
erstatningsrettreform-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
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 erstatningsrettreform de siste
-månedene. <a class="indexterm" name="idp9681104"></a>
-</p></div><div id="ftn.idp9685280" class="footnote"><p><a href="#idp9685280" class="para"><sup class="para">[157] </sup></a>
+månedene. <a class="indexterm" name="idp8483696"></a>
+</p></div><div id="ftn.idp8487872" class="footnote"><p><a href="#idp8487872" class="para"><sup class="para">[157] </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.idp9778336" class="footnote"><p><a href="#idp9778336" class="para"><sup class="para">[158] </sup></a>
+</p></div><div id="ftn.idp8580608" class="footnote"><p><a href="#idp8580608" class="para"><sup class="para">[158] </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.idp9706272" class="footnote"><p><a href="#idp9706272" class="para"><sup class="para">[159] </sup></a>
+</p></div><div id="ftn.idp8508864" class="footnote"><p><a href="#idp8508864" class="para"><sup class="para">[159] </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="idp9787568"></a>
-</p></div><div id="ftn.idp9808800" class="footnote"><p><a href="#idp9808800" class="para"><sup class="para">[160] </sup></a>
+Dr. Mohammad Al-Ubaydli for dette eksemplet. <a class="indexterm" name="idp8589840"></a>
+</p></div><div id="ftn.idp8611072" class="footnote"><p><a href="#idp8611072" class="para"><sup class="para">[160] </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.idp9812080" class="footnote"><p><a href="#idp9812080" class="para"><sup class="para">[161] </sup></a>
+</p></div><div id="ftn.idp8614352" class="footnote"><p><a href="#idp8614352" class="para"><sup class="para">[161] </sup></a>
GartnerG2, 26–27.
-</p></div><div id="ftn.idp9815776" class="footnote"><p><a href="#idp9815776" class="para"><sup class="para">[162] </sup></a>
+</p></div><div id="ftn.idp8618048" class="footnote"><p><a href="#idp8618048" class="para"><sup class="para">[162] </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.idp9825968" class="footnote"><p><a href="#idp9825968" class="para"><sup class="para">[163] </sup></a>
+</p></div><div id="ftn.idp8628176" class="footnote"><p><a href="#idp8628176" class="para"><sup class="para">[163] </sup></a>
Jessica Litman, <em class="citetitle">Digital Copyright</em> (Amherst, N.Y.:
-Prometheus Books, 2001). <a class="indexterm" name="idp9826864"></a>
-<a class="indexterm" name="idp9828016"></a>
-</p></div><div id="ftn.idp9835760" class="footnote"><p><a href="#idp9835760" class="para"><sup class="para">[164] </sup></a>
+Prometheus Books, 2001). <a class="indexterm" name="idp8629072"></a>
+<a class="indexterm" name="idp8630224"></a>
+</p></div><div id="ftn.idp8638000" class="footnote"><p><a href="#idp8638000" class="para"><sup class="para">[164] </sup></a>
-<a class="indexterm" name="idp9836144"></a> Det eneste ankekretsunntaket finnes i
+<a class="indexterm" name="idp8638384"></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.idp9840816" class="footnote"><p><a href="#idp9840816" class="para"><sup class="para">[165] </sup></a>
+</p></div><div id="ftn.idp8643056" class="footnote"><p><a href="#idp8643056" class="para"><sup class="para">[165] </sup></a>
-<a class="indexterm" name="idp9841200"></a> <a class="indexterm" name="idp9842304"></a> <a class="indexterm" name="idp9843120"></a> <a class="indexterm" name="idp9843936"></a> I juli 2002 introduserte for eksempel representant
+<a class="indexterm" name="idp8643440"></a> <a class="indexterm" name="idp8644544"></a> <a class="indexterm" name="idp8645360"></a> <a class="indexterm" name="idp8646176"></a> I juli 2002 introduserte for eksempel representant
Howard Berman *Peer-to-Peer Piracy Prevention Act* (H.R. 5211) som ville
frita opphavsrettsinnehavere fra erstatningsansvar for skade gjort på
datamaskiner når opphavsrettsinnehaverne brukte teknologi til å stoppe
krevde opphavsrettsbeskyttelsesteknologi i alle digitale 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.idp9785680" class="footnote"><p><a href="#idp9785680" class="para"><sup class="para">[166] </sup></a>
+</p></div><div id="ftn.idp8587952" class="footnote"><p><a href="#idp8587952" class="para"><sup class="para">[166] </sup></a>
Lessing, 239.
-</p></div><div id="ftn.idp9864912" class="footnote"><p><a href="#idp9864912" class="para"><sup class="para">[167] </sup></a>
+</p></div><div id="ftn.idp8667152" class="footnote"><p><a href="#idp8667152" class="para"><sup class="para">[167] </sup></a>
Ibid., 229.
-</p></div><div id="ftn.idp9885664" class="footnote"><p><a href="#idp9885664" class="para"><sup class="para">[168] </sup></a>
+</p></div><div id="ftn.idp8687856" class="footnote"><p><a href="#idp8687856" class="para"><sup class="para">[168] </sup></a>
This example was derived from fees set by the original Copyright Arbitration
Royalty Panel (CARP) proceedings, and is drawn from an example offered by
protected from digital entrants, reducing entry in 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="idp9888960"></a>
-<a class="indexterm" name="idp9890064"></a>
-</p></div><div id="ftn.idp9950992" class="footnote"><p><a href="#idp9950992" class="para"><sup class="para">[169] </sup></a>
+media-neutral way.</span>»</span> <a class="indexterm" name="idp8691152"></a>
+<a class="indexterm" name="idp8692256"></a>
+</p></div><div id="ftn.idp8753376" class="footnote"><p><a href="#idp8753376" class="para"><sup class="para">[169] </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.idp9884336" class="footnote"><p><a href="#idp9884336" class="para"><sup class="para">[170] </sup></a>
+</p></div><div id="ftn.idp8686528" class="footnote"><p><a href="#idp8686528" class="para"><sup class="para">[170] </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.idp9961200" class="footnote"><p><a href="#idp9961200" class="para"><sup class="para">[171] </sup></a>
+</p></div><div id="ftn.idp8763584" class="footnote"><p><a href="#idp8763584" class="para"><sup class="para">[171] </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.idp9963296" class="footnote"><p><a href="#idp9963296" class="para"><sup class="para">[172] </sup></a>
+</p></div><div id="ftn.idp8765680" class="footnote"><p><a href="#idp8765680" class="para"><sup class="para">[172] </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.idp9965408" class="footnote"><p><a href="#idp9965408" class="para"><sup class="para">[173] </sup></a>
+</p></div><div id="ftn.idp8767792" class="footnote"><p><a href="#idp8767792" class="para"><sup class="para">[173] </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.idp10012816" class="footnote"><p><a href="#idp10012816" class="para"><sup class="para">[174] </sup></a>
+</p></div><div id="ftn.idp8815024" class="footnote"><p><a href="#idp8815024" class="para"><sup class="para">[174] </sup></a>
See Frank Ahrens, <span class="quote">«<span class="quote">RIAA's Lawsuits Meet Surprised Targets; Single
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.idp10019472" class="footnote"><p><a href="#idp10019472" class="para"><sup class="para">[175] </sup></a>
+</p></div><div id="ftn.idp8821648" class="footnote"><p><a href="#idp8821648" class="para"><sup class="para">[175] </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.idp10024992" class="footnote"><p><a href="#idp10024992" class="para"><sup class="para">[176] </sup></a>
+</p></div><div id="ftn.idp8827232" class="footnote"><p><a href="#idp8827232" class="para"><sup class="para">[176] </sup></a>
See Jeff Adler, <span class="quote">«<span class="quote">Cambridge: On Campus, Pirates Are Not
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
å lykkes.
-</p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred"></a>Eldred</h2></div></div></div><a class="indexterm" name="idxeldrederic"></a><a class="indexterm" name="idxhawthornenathaniel"></a><p>
+</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
døtre ikke syntes å like Hawthorne. Det eksisterte uten tvil mer enn en
slik far, men i hvert fall én gjorde noe med det. Eric Eldred, en
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
10066144"></a><p>
+</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="idp
8868368"></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
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
10068064"></a><p>
+</p><a class="indexterm" name="idp
8870288"></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
10072112"></a><a class="indexterm" name="idp10073424"></a><p>
+</p><a class="indexterm" name="idp
8874336"></a><a class="indexterm" name="idp8875584"></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
<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.idp10076608" class="footnote" name="idp10076608"><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
10085120"></a><a class="indexterm" name="idp10085936"></a><a class="indexterm" name="idp10086752"></a><a class="indexterm" name="idxpatentsfuturepatentsvsfuturecopyrightsin"></a><p>
+grupper som er dedikert til å spre kultur generelt.<a href="#ftn.idp8878704" class="footnote" name="idp8878704"><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
8887200"></a><a class="indexterm" name="idp8888016"></a><a class="indexterm" name="idp8888832"></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="«Eiendom»">10</a>, utvidet kongressen
+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 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 million patenter falle i det fri i samme periode.
-</p><a class="indexterm" name="idp
10093040"></a><a class="indexterm" name="idp10094288"></a><a class="indexterm" name="idp10095680"></a><a class="indexterm" name="idp10096496"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
+</p><a class="indexterm" name="idp
8895120"></a><a class="indexterm" name="idp8896368"></a><a class="indexterm" name="idp8897696"></a><a class="indexterm" name="idp8898448"></a><a class="indexterm" name="idxcopyrightinperpetuity4"></a><a class="indexterm" name="idxsonnybonocopyrighttermextensionactctea2"></a><p>
Dette var Sonny Bono utvidelse av opphavsrettsvernetid-loven (CTEA), lagt
frem til minne om kongressrepresentant og tidligere musiker Sonny Bony, som
i følge hans enke Mari Bony mente at <span class="quote">«<span class="quote">opphavsretten bør vare
-evig.</span>»</span><a href="#ftn.idp10101808" class="footnote" name="idp10101808"><sup class="footnote">[178]</sup></a>
-</p><a class="indexterm" name="idp
10105712"></a><a class="indexterm" name="idp10107104"></a><a class="indexterm" name="idp10108224"></a><a class="indexterm" name="idp10109008"></a><a class="indexterm" name="idp10109856"></a><p>
+evig.</span>»</span><a href="#ftn.idp8903808" class="footnote" name="idp8903808"><sup class="footnote">[178]</sup></a>
+</p><a class="indexterm" name="idp
8907712"></a><a class="indexterm" name="idp8909104"></a><a class="indexterm" name="idp8910224"></a><a class="indexterm" name="idp8911008"></a><a class="indexterm" name="idp8911856"></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
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
10111232"></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
8913232"></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">Fremskritts-bestemmelsen</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
10123296"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
8925408"></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
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
10129040"></a><a class="indexterm" name="idp10130368"></a><a class="indexterm" name="idp10131568"></a><a class="indexterm" name="idp10132880"></a><p>
+</p><a class="indexterm" name="idp
8931104"></a><a class="indexterm" name="idp8932432"></a><a class="indexterm" name="idp8933632"></a><a class="indexterm" name="idp8935008"></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
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
avbetaling</span>»</span> som professor Peter Jaszi så pent formulerte det.
-</p><a class="indexterm" name="idp
10136192"></a><a class="indexterm" name="idp10137488"></a><a class="indexterm" name="idp10138768"></a><p>
+</p><a class="indexterm" name="idp
8938320"></a><a class="indexterm" name="idp8939616"></a><a class="indexterm" name="idp8940960"></a><p>
Som akademiker var min første reaksjon å rette meg mot bøkene. Jeg husker
at jeg satt kontoret en kveld og søkte gjennom nett-databaser etter enhver
seriøs vurdering av spørsmålet. Ingen hadde noen gang utfordret kongressens
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.idp10163216" class="footnote" name="idp10163216"><sup class="footnote">[179]</sup></a> RIAA og MPAA er estimert å ha
+bidrag.<a href="#ftn.idp8965584" class="footnote" name="idp8965584"><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.idp10155104" class="footnote" name="idp10155104"><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.idp10165232" class="footnote" name="idp10165232"><sup class="footnote">[181]</sup></a>
+mer enn 200 000 dollar i kampanjebidrag.<a href="#ftn.idp8957472" class="footnote" name="idp8957472"><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.idp8967600" class="footnote" name="idp8967600"><sup class="footnote">[181]</sup></a>
</p><p>
<span class="strong"><strong>Forfatningsrett</strong></span> er ikke uvitende om det
utvide eksisterende vernetid, så ville det ikke være noen grunnlovsmessig
krav om at vernetiden skulle være <span class="quote">«<span class="quote">begrenset.</span>»</span> Hvis de kunne
utvide den en gang, så kunne de utvide den igjen og igjen og igjen.
-</p><a class="indexterm" name="idp
10172112"></a><a class="indexterm" name="idp10173440"></a><a class="indexterm" name="idp10174640"></a><p>
+</p><a class="indexterm" name="idp
8974368"></a><a class="indexterm" name="idp8975696"></a><a class="indexterm" name="idp8976896"></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
siden omtrent hver eneste aktivitet, når en vurderte det på nasjonal skala,
påvirker mellomstatlig handel. En grunnlov utformet for å begrense
kongressens myndighet ble istedet tolket til å ikke ha noen grense.
-</p><a class="indexterm" name="idp
10180704"></a><p>
+</p><a class="indexterm" name="idp
8982960"></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.idp10184512" class="footnote" name="idp10184512"><sup class="footnote">[182]</sup></a> Hvis alt Kongressen sier er mellomstatlig handel
+argumenter,</span>»</span> skrev høyesterettsjustitiariusen.<a href="#ftn.idp8986768" class="footnote" name="idp8986768"><sup class="footnote">[182]</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.idp10187936" class="footnote" name="idp10187936"><sup class="footnote">[183]</sup></a>
+<em class="citetitle">Morrison</em>.<a href="#ftn.idp8990192" class="footnote" name="idp8990192"><sup class="footnote">[183]</sup></a>
</p><p>
Hvis det er et prinsipp som anvendes her, så bør det være like gyldig for
-Fremskritts-bestemmelsen som for Handels-bestemmelsen.<a href="#ftn.idp10190688" class="footnote" name="idp10190688"><sup class="footnote">[184]</sup></a> Og hvis det anvendes på Fremskritts-bestemmelsen,
+Fremskritts-bestemmelsen som for Handels-bestemmelsen.<a href="#ftn.idp8992944" class="footnote" name="idp8992944"><sup class="footnote">[184]</sup></a> Og hvis det anvendes på Fremskritts-bestemmelsen,
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
høyesterett avgjorde saker basert på sin politiske overbevisning slo meg som
å 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
10197872"></a><a class="indexterm" name="idp10198976"></a><a class="indexterm" name="idp10200128"></a><a class="indexterm" name="idp10201232"></a><p>
+</p><a class="indexterm" name="idp
9000304"></a><a class="indexterm" name="idp9001440"></a><a class="indexterm" name="idp9002592"></a><a class="indexterm" name="idp9003696"></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
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
10203584"></a><p>
+</p><a class="indexterm" name="idp
9006048"></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.idp10207184" class="footnote" name="idp10207184"><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.idp9009648" class="footnote" name="idp9009648"><sup class="footnote">[185]</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.
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.idp10215008" class="footnote" name="idp10215008"><sup class="footnote">[186]</sup></a>
+utvidet vernetiden til opphavsretten generelt.<a href="#ftn.idp9017392" class="footnote" name="idp9017392"><sup class="footnote">[186]</sup></a>
</p><p>
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
10219568"></a><p>
+</p><a class="indexterm" name="idp
9021952"></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
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
10231888"></a><a class="indexterm" name="idp10232704"></a><a class="indexterm" name="idp10233520"></a><p>
+</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="idp
9034272"></a><a class="indexterm" name="idp9035088"></a><a class="indexterm" name="idp9035904"></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. I følge et
estimat, <span class="quote">«<span class="quote">har Roach solgt omtrent 60 000 videokassetter og
-50 000 DVDer av filmene til denne stumfilmduoen.</span>»</span><a href="#ftn.idp10236368" class="footnote" name="idp10236368"><sup class="footnote">[187]</sup></a>
+50 000 DVDer av filmene til denne stumfilmduoen.</span>»</span><a href="#ftn.idp9038752" class="footnote" name="idp9038752"><sup class="footnote">[187]</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
teknologi har redusert disse kostnadene betydelig. Mens det i 1993 kostet
mer enn 10 000 dollar for å restaurere en nittiminutters
sort-hvit-film, så kan det nå koste så lite som 100 dollar a digitalisere en
-times 8-millimeterfilm.<a href="#ftn.idp10167248" class="footnote" name="idp10167248"><sup class="footnote">[188]</sup></a>
+times 8-millimeterfilm.<a href="#ftn.idp8969616" class="footnote" name="idp8969616"><sup class="footnote">[188]</sup></a>
</p><p>
Restaureringsteknologien er ikke den eneste kostnaden, og heller ikke den
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
10252608"></a><p>
+</p><a class="indexterm" name="idp
9054992"></a><p>
Men innen opphavsretten for disse filmene er utløpt, vil filmen ha gått
tapt. Disse filmene ble produsert på nitrat-baserte filmruller, og
nitratfilm går i oppløsning over tid. De vil være borte, og metalleskene
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
10275232"></a><p>
+</p><a class="indexterm" name="idp
9077616"></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
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.idp10278208" class="footnote" name="idp10278208"><sup class="footnote">[189]</sup></a>
+prosent en svikt hvis tilgang er et måleparameter.<a href="#ftn.idp9080592" class="footnote" name="idp9080592"><sup class="footnote">[189]</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 spesifikk 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
10288832"></a><p>
+</p><a class="indexterm" name="idp
9091216"></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
vunnet. Det burde ha vært vunnet. Og uansett hvor hardt jeg prøver å
fortelle den historien til meg selv, kan jeg aldri unnslippe troen på at det
er min feil at vi ikke vant.
-</p><a class="indexterm" name="idp
10295632"></a><p>
+</p><a class="indexterm" name="idp
9098016"></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
ignorert dette presset (noe veldig få advokatfirmaer noen sinne ville
gjøre), og ga alt de hadde gjennom hele saken.
-</p><a class="indexterm" name="idp
10298496"></a><a class="indexterm" name="idp10299312"></a><a class="indexterm" name="idp10300128"></a><p>
+</p><a class="indexterm" name="idp
9100880"></a><a class="indexterm" name="idp9101696"></a><a class="indexterm" name="idp9102512"></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
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
10312320"></a><a class="indexterm" name="idp10312992"></a><p>
+</p><a class="indexterm" name="idp
9114704"></a><a class="indexterm" name="idp9115376"></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
fantes det ingen begrensninger i Kongressens myndighet til å fastsette
vernetiden. Dette sterkt konservative argumentet overbeviste en sterk og
konservativ dommer, Dommer Sentelle.
-</p><a class="indexterm" name="idp
10317248"></a><a class="indexterm" name="idp10318080"></a><a class="indexterm" name="idp10318896"></a><a class="indexterm" name="idp10319712"></a><p>
+</p><a class="indexterm" name="idp
9119632"></a><a class="indexterm" name="idp9120464"></a><a class="indexterm" name="idp9121280"></a><a class="indexterm" name="idp9122096"></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
innlegg fra verdens ekspert på historien til Fremskritts-bestemmelsen. Og
naturligvis var det et innlegg fra Ørneforumet, som gjentok og styrket sitt
argument.
-</p><a class="indexterm" name="idp
10322528"></a><a class="indexterm" name="idp10323344"></a><p>
+</p><a class="indexterm" name="idp
9124912"></a><a class="indexterm" name="idp9125728"></a><p>
Disse innleggene rammet inn 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 og den nasjonale skribentunionen.
-</p><a class="indexterm" name="idp
10325104"></a><p>
+</p><a class="indexterm" name="idp
9127488"></a><p>
Men to innlegg *rammet best inn argumentet*. Et *rammet inn* 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="idp
10326912"></a><a class="indexterm" name="idp10327728"></a><a class="indexterm" name="idp10328544"></a><a class="indexterm" name="idp10329360"></a><a class="indexterm" name="idp10330176"></a><p>
+</p><a class="indexterm" name="idp
9129296"></a><a class="indexterm" name="idp9130112"></a><a class="indexterm" name="idp9130928"></a><a class="indexterm" name="idp9131744"></a><a class="indexterm" name="idp9132560"></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 Nobel-vinnere
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 særinteresse-lovgiving på
villspor.
-</p><a class="indexterm" name="idp
10332672"></a><a class="indexterm" name="idp10333456"></a><a class="indexterm" name="idp10334272"></a><a class="indexterm" name="idp10335088"></a><p>
+</p><a class="indexterm" name="idp
9135056"></a><a class="indexterm" name="idp9135840"></a><a class="indexterm" name="idp9136656"></a><a class="indexterm" name="idp9137472"></a><p>
Den samme *innsats for balanse* ble reflektert i den juridiske gruppen vi
samlet for å forfatte våre innlegg i saken. Advokatene fra Jones Day hadde
saker for domstolen og som tidlig hadde gitt oss råd om en Første
grunnlovstillegg-strategi. Til sist, tidligere regjeringssadvokat Charles
Fried.
-</p><a class="indexterm" name="idp
10337424"></a><a class="indexterm" name="idp10338208"></a><a class="indexterm" name="idp10339328"></a><p>
+</p><a class="indexterm" name="idp
9139808"></a><a class="indexterm" name="idp9140592"></a><a class="indexterm" name="idp9141712"></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
var naturligvis ikke overraskende at opphavsrettsinnehaverne ville forsvare
ideen om at de skulle fortsette å retten til å kontrollere hvem som gjorde
hva med innhold de ønsket å kontrollere.
-</p><a class="indexterm" name="idp
10344016"></a><a class="indexterm" name="idp10345824"></a><a class="indexterm" name="idp10346640"></a><p>
+</p><a class="indexterm" name="idp
9146400"></a><a class="indexterm" name="idp9148208"></a><a class="indexterm" name="idp9149024"></a><p>
Representanter for Dr. Seuss argumenterte for eksempel med at det var bedre
at *boet* 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.idp10348960" class="footnote" name="idp10348960"><sup class="footnote">[190]</sup></a> Dette var også motivet til *boet* etter Gershwin,
+<span class="quote">«<span class="quote">forherlige narkotika og skape pornografi.</span>»</span><a href="#ftn.idp9151408" class="footnote" name="idp9151408"><sup class="footnote">[190]</sup></a> Dette var også motivet til *boet* 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">Progy and
Bess</em> til enhver som nektet å bruke Afrikans-amerikanere i
-rollelista.<a href="#ftn.idp10351968" class="footnote" name="idp10351968"><sup class="footnote">[191]</sup></a> Det var deres syn på
+rollelista.<a href="#ftn.idp9154432" class="footnote" name="idp9154432"><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.
</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
10359216"></a><a class="indexterm" name="idp10360032"></a><p>
+</p><a class="indexterm" name="idp
9161680"></a><a class="indexterm" name="idp9162496"></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
10363424"></a><a class="indexterm" name="idxginsburg"></a><p>
+</p><a class="indexterm" name="idp
9165888"></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,
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
10368832"></a><p>
+</p><a class="indexterm" name="idp
9171184"></a><p>
Tett bak dommer Gunsburg 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
10370720"></a><p>
+</p><a class="indexterm" name="idp
9173040"></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. Han stemmer har vært konsistent selektiv, hvilket bare betyr at
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="idp
10387312"></a><a class="indexterm" name="idp10388128"></a><a class="indexterm" name="idp10388944"></a><p>
+</p><a class="indexterm" name="idp
9189728"></a><a class="indexterm" name="idp9190544"></a><a class="indexterm" name="idp9191360"></a><p>
En opponeringsrunde 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
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 ingen
sjanse til å vinne.</span>»</span>
-</p><a class="indexterm" name="idp
10391408"></a><p>
+</p><a class="indexterm" name="idp
9193824"></a><p>
Han hadde kanskje lagt frem mange saker foran denne domstolen, tenkte jeg,
men han hadde ikke forstått dens sjel. Som en *clerk* hadde jeg sett
dommerne gjøre det riktige — ikke på grunn av politikk, men fordi det
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
10399728"></a><p>
+</p><a class="indexterm" name="idp
9202144"></a><p>
Dommer O'Connor stoppet meg før det jeg var kommet et minutt inn i
åpningsforedraget mitt. Historien plaget henne.
</p><div class="blockquote"><blockquote class="blockquote"><p>
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.
-</p></blockquote></div><a class="indexterm" name="idp
10409328"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
9211744"></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 innlegg
hadde blitt skrevet om den. Han ønsket å høre det. Og det var her rådet
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
10415616"></a><p>
+</p></blockquote></div><a class="indexterm" name="idp
9218032"></a><p>
Ting gikk bedre for oss når regjeringen presenterte sitt åpningsforedrag.
For nå tok retten tak i kjernen i våre påstander. Dommer Scalia spurte
regjeringsadvokat Olson,
fant ikke argumentet noe sted. Saken var ikke en gang sitert. Argumentet
som var kjerneargumentet i vår sak var ikke en gang tilstede i domstolens
domsavsigelsen.
-</p><a class="indexterm" name="idp
10429440"></a><p>
+</p><a class="indexterm" name="idp
9231856"></a><p>
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
10435264"></a><p>
+</p><a class="indexterm" name="idp
9237680"></a><p>
Dommerne Breyer og Stevens skrev en svært sterk dissens. Stevens betenkning
var utformet basert på lovverket: Han argumenterte med at tradisjonen til
immateriallretten ikke burde støtte denne uberettigede utvidelsen av
Fremskritts-bestemmelsen kunne bety noe helt annet avhengig av hvorvidt de
handlet om patenter eller opphavsrett. Domstolen lot dommer Stevens påstand
stå ubesvart.
-</p><a class="indexterm" name="idp
10437328"></a><p>
+</p><a class="indexterm" name="idp
9239744"></a><p>
Dommer Breyers betenkning, kanskje den beste betenkningen han noensinne har
<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
10445072"></a><p>
+</p><a class="indexterm" name="idp
9247488"></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
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
10453216"></a><p>
+</p><a class="indexterm" name="idp
9255632"></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
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
10457696"></a><a class="indexterm" name="idp10458480"></a><p>
+</p><a class="indexterm" name="idp
9260112"></a><a class="indexterm" name="idp9260896"></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?
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
10462224"></a><p>
+</p><a class="indexterm" name="idp
9264640"></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
</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
-mitt ståsted i saken, var fra Ruben Bolling, gjengitt i <a class="xref" href="#fig-18" title="Figur 13.1. Tom the Dancing Bug-tegneserie">Figur 13.1, «Tom the Dancing Bug-tegneserie»</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="idp10472288"></a>
-</p><div class="figure-float" style="float: left;"><div class="figure"><a name="fig-18"></a><p class="title"><b>Figur 13.1. Tom the Dancing Bug-tegneserie</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%" alt="Tom the Dancing Bug-tegneserie"></td></tr></table></div><a class="indexterm" name="idp10475680"></a></div></div><br class="figure-break"></div><p>
+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="idp9275056"></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="idp9278272"></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 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.idp10076608" class="footnote"><p><a href="#idp10076608" class="para"><sup class="para">[177] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp8878704" class="footnote"><p><a href="#idp8878704" class="para"><sup class="para">[177] </sup></a>
-<a class="indexterm" name="idp10076992"></a> Det er en parallell her til
+<a class="indexterm" name="idp8879088"></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
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.idp10101808" class="footnote"><p><a href="#idp10101808" class="para"><sup class="para">[178] </sup></a>
+ikke-kommersielle pornografer.</p></div><div id="ftn.idp8903808" class="footnote"><p><a href="#idp8903808" class="para"><sup class="para">[178] </sup></a>
-<a class="indexterm" name="idp10102512"></a> <a class="indexterm" name="idp10103584"></a> Hele teksten er: <span class="quote">«<span class="quote">Sonny [Bono] ønsket at vernetiden i
+<a class="indexterm" name="idp8904512"></a> <a class="indexterm" name="idp8905584"></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.idp10163216" class="footnote"><p><a href="#idp10163216" class="para"><sup class="para">[179] </sup></a>
+</p></div><div id="ftn.idp8965584" class="footnote"><p><a href="#idp8965584" class="para"><sup class="para">[179] </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.idp10155104" class="footnote"><p><a href="#idp10155104" class="para"><sup class="para">[180] </sup></a>
+</p></div><div id="ftn.idp8957472" class="footnote"><p><a href="#idp8957472" class="para"><sup class="para">[180] </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.idp10165232" class="footnote"><p><a href="#idp10165232" class="para"><sup class="para">[181] </sup></a>
+</p></div><div id="ftn.idp8967600" class="footnote"><p><a href="#idp8967600" class="para"><sup class="para">[181] </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.idp10184512" class="footnote"><p><a href="#idp10184512" class="para"><sup class="para">[182] </sup></a>
+</p></div><div id="ftn.idp8986768" class="footnote"><p><a href="#idp8986768" class="para"><sup class="para">[182] </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.idp10187936" class="footnote"><p><a href="#idp10187936" class="para"><sup class="para">[183] </sup></a>
+</p></div><div id="ftn.idp8990192" class="footnote"><p><a href="#idp8990192" class="para"><sup class="para">[183] </sup></a>
<em class="citetitle">United States</em> mot <em class="citetitle">Morrison</em>,
529 U.S. 598 (2000).
-</p></div><div id="ftn.idp10190688" class="footnote"><p><a href="#idp10190688" class="para"><sup class="para">[184] </sup></a>
+</p></div><div id="ftn.idp8992944" class="footnote"><p><a href="#idp8992944" class="para"><sup class="para">[184] </sup></a>
Hvis det er et prinsipp om opplistede kompetanser, så bør dette prinsippet
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
begrenset tidsrom.</span>»</span>
-</p></div><div id="ftn.idp10207184" class="footnote"><p><a href="#idp10207184" class="para"><sup class="para">[185] </sup></a>
+</p></div><div id="ftn.idp9009648" class="footnote"><p><a href="#idp9009648" class="para"><sup class="para">[185] </sup></a>
Innlegg fra Nashvillesangforfatterforening, <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.idp10215008" class="footnote"><p><a href="#idp10215008" class="para"><sup class="para">[186] </sup></a>
+</p></div><div id="ftn.idp9017392" class="footnote"><p><a href="#idp9017392" class="para"><sup class="para">[186] </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.idp10236368" class="footnote"><p><a href="#idp10236368" class="para"><sup class="para">[187] </sup></a>
+</p></div><div id="ftn.idp9038752" class="footnote"><p><a href="#idp9038752" class="para"><sup class="para">[187] </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.idp10167248" class="footnote"><p><a href="#idp10167248" class="para"><sup class="para">[188] </sup></a>
+</p></div><div id="ftn.idp8969616" class="footnote"><p><a href="#idp8969616" class="para"><sup class="para">[188] </sup></a>
Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the
12. See also Brief of Amicus Curiae 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.idp10278208" class="footnote"><p><a href="#idp10278208" class="para"><sup class="para">[189] </sup></a>
+</p></div><div id="ftn.idp9080592" class="footnote"><p><a href="#idp9080592" class="para"><sup class="para">[189] </sup></a>
Jason Schultz, <span class="quote">«<span class="quote">The Myth of the 1976 Copyright `Chaos' Theory,</span>»</span>
20 December 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #54</a>.
-</p></div><div id="ftn.idp10348960" class="footnote"><p><a href="#idp10348960" class="para"><sup class="para">[190] </sup></a>
+</p></div><div id="ftn.idp9151408" class="footnote"><p><a href="#idp9151408" class="para"><sup class="para">[190] </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.idp10351968" class="footnote"><p><a href="#idp10351968" class="para"><sup class="para">[191] </sup></a>
+</p></div><div id="ftn.idp9154432" class="footnote"><p><a href="#idp9154432" class="para"><sup class="para">[191] </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. mars
1998, B7.
-</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="eldred-ii"></a>Eldred II</h2></div></div></div><p>
+</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
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
10484432"></a><p>
+</p><a class="indexterm" name="idp
9287040"></a><p>
Det var en botsøvelse. 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
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
10491744"></a><p>
+</p><a class="indexterm" name="idp
9294352"></a><p>
Reaksjonen på denne idéen var utrolig sterk. Steve Forbes gikk god for den
i en leder, og jeg mottok et skred av epost og brev med støtte. Når du
fokuserer temaet på tapt kreativitet, så ser folk at opphavsrettssystemet
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
10495296"></a><a class="indexterm" name="idp10496112"></a><p>
+</p><a class="indexterm" name="idp
9297904"></a><a class="indexterm" name="idp9298720"></a><p>
-Som jeg beskrev i kapittel <a class="xref" href="#property-i" title="«Eiendom»">10</a> ble formaliteter fjernet fra opphavsrettsloven i
+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.idp10498480" class="footnote" name="idp10498480"><sup class="footnote">[192]</sup></a>
+før opphavsretten ble innvilget.<a href="#ftn.idp9301088" class="footnote" name="idp9301088"><sup class="footnote">[192]</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 anglo-amerikanske som har krevd at opphavsrettseiere må
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
måte å vite hva som er beskyttet og hva som ikke er det.
-</p><a class="indexterm" name="idp
10505568"></a><p>
+</p><a class="indexterm" name="idp
9308176"></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
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="idp10517280"></a>
+<span class="emphasis"><em>advokat</em></span>-transaksjoner trer inn i stedet. <a class="indexterm" name="idp9319888"></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
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
10528032"></a><p>
+</p><a class="indexterm" name="idp
9330640"></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
10530464"></a><p>
+</p><a class="indexterm" name="idp
9333072"></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
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 hos motstanden.
-</p><a class="indexterm" name="idp
10544448"></a><p>
+</p><a class="indexterm" name="idp
9347056"></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
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
10552912"></a><a class="indexterm" name="idp10553696"></a><p>
+</p><a class="indexterm" name="idp
9355520"></a><a class="indexterm" name="idp9356304"></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
<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.idp10498480" class="footnote"><p><a href="#idp10498480" class="para"><sup class="para">[192] </sup></a>
+</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp9301088" class="footnote"><p><a href="#idp9301088" class="para"><sup class="para">[192] </sup></a>
-<a class="indexterm" name="idp10499152"></a> Until the 1908 Berlin Act of the
+<a class="indexterm" name="idp9301760"></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 the author's claim of copyright. However, starting
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.idp10572608" class="footnote" name="idp10572608"><sup class="footnote">[193]</sup></a>
+utilgjengelig.<a href="#ftn.idp9375152" class="footnote" name="idp9375152"><sup class="footnote">[193]</sup></a>
</p><a class="indexterm" name="idxpatentsonpharmaceuticals"></a><a class="indexterm" name="idxpharmaceuticalpatents"></a><p>
hvis legemidler var solgt i India, så kunne den 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.idp10588704" class="footnote" name="idp10588704"><sup class="footnote">[194]</sup></a>
-</p><a class="indexterm" name="idp
10591952"></a><p>
+europeiske union.<a href="#ftn.idp9391152" class="footnote" name="idp9391152"><sup class="footnote">[194]</sup></a>
+</p><a class="indexterm" name="idp
9394352"></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.idp10039104" class="footnote" name="idp10039104"><sup class="footnote">[195]</sup></a> Gjennom kontoret til USAs handelsrepresentant
+tvungen lisensiering eller parallellimport</span>»</span><a href="#ftn.idp8841344" class="footnote" name="idp8841344"><sup class="footnote">[195]</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
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.idp10596528" class="footnote" name="idp10596528"><sup class="footnote">[196]</sup></a>
-</p><a class="indexterm" name="idp
10599808"></a><p>
+Sør-Afrika.<a href="#ftn.idp9398928" class="footnote" name="idp9398928"><sup class="footnote">[196]</sup></a>
+</p><a class="indexterm" name="idp
9402432"></a><p>
Vi bør sette intervensjonen til USA 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
</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.idp10605216" class="footnote" name="idp10605216"><sup class="footnote">[197]</sup></a> Det var på
+eiendoms ukrenkelighet.<a href="#ftn.idp9407552" class="footnote" name="idp9407552"><sup class="footnote">[197]</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
10612976"></a><p>
+</p><a class="indexterm" name="idp
9415296"></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
kanskje millioner dør. Og den rasjonelle strategien rammes dermed inn ved
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
10624640"></a><a class="indexterm" name="idp10627088"></a><a class="indexterm" name="idp10628288"></a><a class="indexterm" name="idp10629600"></a><a class="indexterm" name="idp10630976"></a><a class="indexterm" name="idp10632224"></a><a class="indexterm" name="idp10633536"></a><p>
+</p><a class="indexterm" name="idp
9427008"></a><a class="indexterm" name="idp9429456"></a><a class="indexterm" name="idp9430720"></a><a class="indexterm" name="idp9432032"></a><a class="indexterm" name="idp9433472"></a><a class="indexterm" name="idp9434720"></a><a class="indexterm" name="idp9435968"></a><p>
Så når du *konfronteres av 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 opphavsrett- og
patentpolitikken i denne forstand vært balansert.
-</p><a class="indexterm" name="idp
10637616"></a><a class="indexterm" name="idp10638896"></a><a class="indexterm" name="idp10640240"></a><p>
+</p><a class="indexterm" name="idp
9440080"></a><a class="indexterm" name="idp9441232"></a><a class="indexterm" name="idp9442576"></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
alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk
enkeltavgjørelse vi som demokrati kan fatte.
-</p><a class="indexterm" name="idp
10641760"></a><p>
+</p><a class="indexterm" name="idp
9444096"></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
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="idp
10650192"></a><a class="indexterm" name="idp10651008"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp10653776"></a><a class="indexterm" name="idp10654880"></a><a class="indexterm" name="idp10655712"></a><a class="indexterm" name="idp10656560"></a><a class="indexterm" name="idp10657408"></a><a class="indexterm" name="idp10658528"></a><a class="indexterm" name="idp10659360"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp10661888"></a><a class="indexterm" name="idp10662704"></a><a class="indexterm" name="idp10663536"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
+</p><a class="indexterm" name="idp
9452464"></a><a class="indexterm" name="idp9453280"></a><a class="indexterm" name="idxintellectualpropertyrightsinternationalorganizationonissuesof"></a><a class="indexterm" name="idp9456096"></a><a class="indexterm" name="idp9457200"></a><a class="indexterm" name="idp9458032"></a><a class="indexterm" name="idp9458880"></a><a class="indexterm" name="idp9459728"></a><a class="indexterm" name="idp9460848"></a><a class="indexterm" name="idp9461680"></a><a class="indexterm" name="idxworldintellectualpropertyorganizationwipo"></a><a class="indexterm" name="idp9464208"></a><a class="indexterm" name="idp9465024"></a><a class="indexterm" name="idp9465856"></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.idp10667248" class="footnote" name="idp10667248"><sup class="footnote">[198]</sup></a> På forespørsel fra en lang rekke
+møte.<a href="#ftn.idp9469632" class="footnote" name="idp9469632"><sup class="footnote">[198]</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
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">16</a>.Det inkluderte
+<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
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="idp
10676720"></a><p>
+</p><a class="indexterm" name="idp
9479104"></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 forholdt til perspektivet i denne boken, denne konferansen
-ideell.<a href="#ftn.idp10681264" class="footnote" name="idp10681264"><sup class="footnote">[199]</sup></a> Prosjektene innenfor temaet var
+ideell.<a href="#ftn.idp9483744" class="footnote" name="idp9483744"><sup class="footnote">[199]</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
10689696"></a><a class="indexterm" name="idp10691120"></a><a class="indexterm" name="idp10692560"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp10695616"></a><a class="indexterm" name="idxmicrosoftonfreesoftware"></a><p>
+</p><a class="indexterm" name="idp
9492176"></a><a class="indexterm" name="idp9493600"></a><a class="indexterm" name="idp9494976"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss"></a><a class="indexterm" name="idp9497968"></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
programvare.</span>»</span> Microsoft spesielt er skeptisk til diskusjon om
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
10700640"></a><a class="indexterm" name="idp10701744"></a><a class="indexterm" name="idp10702576"></a><a class="indexterm" name="idp10703392"></a><p>
+</p><a class="indexterm" name="idp
9502992"></a><a class="indexterm" name="idp9504096"></a><a class="indexterm" name="idp9504928"></a><a class="indexterm" name="idp9505744"></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
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.idp10706384" class="footnote" name="idp10706384"><sup class="footnote">[200]</sup></a>
-</p><a class="indexterm" name="idp
10712432"></a><a class="indexterm" name="idp10713920"></a><a class="indexterm" name="idp10714752"></a><p>
+å drive programvareutvikling som er forskjellig fra Microsofts.<a href="#ftn.idp9508736" class="footnote" name="idp9508736"><sup class="footnote">[200]</sup></a>
+</p><a class="indexterm" name="idp
9514784"></a><a class="indexterm" name="idp9516208"></a><a class="indexterm" name="idp9517040"></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
10724144"></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
9526560"></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 i følge 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.idp10726816" class="footnote" name="idp10726816"><sup class="footnote">[201]</sup></a> Og uten støtte fra USA ble
+slikt møte.<a href="#ftn.idp9529232" class="footnote" name="idp9529232"><sup class="footnote">[201]</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
åpenbart i samsvar med loven. Det er ikke noe overraskende her med deres
lobbyvirksomhet, og ikke veldig overraskende at den mektigste
programvareprodusenten i USA har lyktes med sin lobbyvirksomhet.
-</p><a class="indexterm" name="idp
10730160"></a><a class="indexterm" name="idp10731488"></a><p>
+</p><a class="indexterm" name="idp
9532576"></a><a class="indexterm" name="idp9533968"></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
sagt, <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
10734400"></a><p>
+</p><a class="indexterm" name="idp
9536880"></a><p>
Disse utsagnene er forbløffende på flere nivåer.
-</p><a class="indexterm" name="idp
10736176"></a><p>
+</p><a class="indexterm" name="idp
9538656"></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
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
10705376"></a><a class="indexterm" name="idp10741248"></a><a class="indexterm" name="idp10742368"></a><a class="indexterm" name="idp10743184"></a><p>
+</p><a class="indexterm" name="idp
9507728"></a><a class="indexterm" name="idp9543728"></a><a class="indexterm" name="idp9544848"></a><a class="indexterm" name="idp9545664"></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
10745984"></a><p>
+</p><a class="indexterm" name="idp
9548464"></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
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
10759760"></a><a class="indexterm" name="idp10760576"></a><p>
+</p><a class="indexterm" name="idp
9562192"></a><a class="indexterm" name="idp9563008"></a><p>
Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget
-vi nå gjør om immaterielle rettigheter.<a href="#ftn.idp10761904" class="footnote" name="idp10761904"><sup class="footnote">[202]</sup></a>
+vi nå gjør om immaterielle rettigheter.<a href="#ftn.idp9564336" class="footnote" name="idp9564336"><sup class="footnote">[202]</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
10765344"></a><a class="indexterm" name="idp10766656"></a><p>
+</p><a class="indexterm" name="idp
9567776"></a><a class="indexterm" name="idp9569088"></a><p>
Da denne bataljen 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
10769280"></a><a class="indexterm" name="idp10770640"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="idp
9571712"></a><a class="indexterm" name="idp9573072"></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
10775424"></a><p>
+</p><a class="indexterm" name="idp
9577792"></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
mesteparten av vår historie—fri kultur.
</p><p>
Hvis dette er galskap, så la det bli flere gærninger. Snart.
-</p><a class="indexterm" name="idp
10783344"></a><a class="indexterm" name="idp10784128"></a><a class="indexterm" name="idp10784944"></a><p>
+</p><a class="indexterm" name="idp
9585712"></a><a class="indexterm" name="idp9586496"></a><a class="indexterm" name="idp9587312"></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
</p><p>
Hvis vi var Akilles, så ville dette være vår hæl. Dette ville være stedet
for våre tragedie.
-</p><a class="indexterm" name="idp
10795776"></a><p>
+</p><a class="indexterm" name="idp
9598144"></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.idp10797760" class="footnote" name="idp10797760"><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.idp10805120" class="footnote" name="idp10805120"><sup class="footnote">[204]</sup></a> Historien om hvordan Bob Dylan har
+individer.<a href="#ftn.idp9600128" class="footnote" name="idp9600128"><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.idp9607568" class="footnote" name="idp9607568"><sup class="footnote">[204]</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.idp10807792" class="footnote" name="idp10807792"><sup class="footnote">[205]</sup></a> En på innsiden i
+over.<a href="#ftn.idp9610240" class="footnote" name="idp9610240"><sup class="footnote">[205]</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
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
10812240"></a><a class="indexterm" name="idp10812992"></a><a class="indexterm" name="idp10813808"></a><a class="indexterm" name="idp10814592"></a><a class="indexterm" name="idp10815408"></a><a class="indexterm" name="idp10816224"></a><a class="indexterm" name="idp10817040"></a><p>
+</p><a class="indexterm" name="idp
9614688"></a><a class="indexterm" name="idp9615440"></a><a class="indexterm" name="idp9616256"></a><a class="indexterm" name="idp9617040"></a><a class="indexterm" name="idp9617856"></a><a class="indexterm" name="idp9618672"></a><a class="indexterm" name="idp9619488"></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.idp10819344" class="footnote" name="idp10819344"><sup class="footnote">[206]</sup></a> Og i Brasil har kulturministeren, Gilberto Gil, i
+BBC-innhold fra, og rippe, mikse og brenne det ut.<a href="#ftn.idp9621744" class="footnote" name="idp9621744"><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.idp10821776" class="footnote" name="idp10821776"><sup class="footnote">[207]</sup></a> Jeg har fortalt en mørk
+landet.<a href="#ftn.idp9624176" class="footnote" name="idp9624176"><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
-</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idp10572608" class="footnote"><p><a href="#idp10572608" 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.idp9375152" class="footnote"><p><a href="#idp9375152" class="para"><sup class="para">[193] </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),
#55</a>. I følge 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.idp10588704" class="footnote"><p><a href="#idp10588704" class="para"><sup class="para">[194] </sup></a>
+</p></div><div id="ftn.idp9391152" class="footnote"><p><a href="#idp9391152" class="para"><sup class="para">[194] </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="idp10589776"></a> <a class="indexterm" name="idp10590880"></a>
-</p></div><div id="ftn.idp10039104" class="footnote"><p><a href="#idp10039104" class="para"><sup class="para">[195] </sup></a>
+37. <a class="indexterm" name="idp9392176"></a> <a class="indexterm" name="idp9393280"></a>
+</p></div><div id="ftn.idp8841344" class="footnote"><p><a href="#idp8841344" class="para"><sup class="para">[195] </sup></a>
International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
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.idp10596528" class="footnote"><p><a href="#idp10596528" class="para"><sup class="para">[196] </sup></a>
+</p></div><div id="ftn.idp9398928" class="footnote"><p><a href="#idp9398928" 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>
-(Washington, D.C., 2000), 15. </p></div><div id="ftn.idp10605216" class="footnote"><p><a href="#idp10605216" class="para"><sup class="para">[197] </sup></a>
+(Washington, D.C., 2000), 15. </p></div><div id="ftn.idp9407552" class="footnote"><p><a href="#idp9407552" class="para"><sup class="para">[197] </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 May 1999, A1, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #57</a> (<span class="quote">«<span class="quote">compulsory
-licenses and gray markets pose a threat to the entire system of intellectual
-property protection</span>»</span>); Robert Weissman, <span class="quote">«<span class="quote">AIDS and Developing
+Se Sabin Russel, <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. mai 1999, A1, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #57</a> (<span class="quote">«<span class="quote">tvangslisenser
+og gråmarkeder utgjør en trussel for hele systemet for beskyttelse av
+immateriell eiendom</span>»</span>); Robert Weissman, <span class="quote">«<span class="quote">AIDS and Developing
Countries: Democratizing Access to Essential Medicines,</span>»</span>
-<em class="citetitle">Foreign Policy in Focus</em> 4:23 (August 1999), available
-at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #58</a> (describing
-U.S. policy); John A. Harrelson, <span class="quote">«<span class="quote">TRIPS, Pharmaceutical Patents, and
-the HIV/AIDS Crisis: Finding the Proper Balance Between 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.idp10667248" class="footnote"><p><a href="#idp10667248" class="para"><sup class="para">[198] </sup></a>
+<em class="citetitle">Foreign Policy in Focus</em> 4:23 (august 1999),
+tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #58</a>
+(beskriver USAs policy); John A. Harrelson, <span class="quote">«<span class="quote">TRIPS, Pharmaceutical
+Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between
+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.idp9469632" class="footnote"><p><a href="#idp9469632" class="para"><sup class="para">[198] </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.idp10681264" class="footnote"><p><a href="#idp10681264" class="para"><sup class="para">[199] </sup></a>
+</p></div><div id="ftn.idp9483744" class="footnote"><p><a href="#idp9483744" class="para"><sup class="para">[199] </sup></a>
Jeg bør nevne at jeg var en av folkene som ba WIPO om dette møtet.
-</p></div><div id="ftn.idp10706384" class="footnote"><p><a href="#idp10706384" class="para"><sup class="para">[200] </sup></a>
+</p></div><div id="ftn.idp9508736" class="footnote"><p><a href="#idp9508736" class="para"><sup class="para">[200] </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.idp10726816" class="footnote"><p><a href="#idp10726816" class="para"><sup class="para">[201] </sup></a>
+</p></div><div id="ftn.idp9529232" class="footnote"><p><a href="#idp9529232" class="para"><sup class="para">[201] </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.idp10761904" class="footnote"><p><a href="#idp10761904" class="para"><sup class="para">[202] </sup></a>
+</p></div><div id="ftn.idp9564336" class="footnote"><p><a href="#idp9564336" class="para"><sup class="para">[202] </sup></a>
Se Drahos with Braithwaite, <em class="citetitle">Information Feudalism</em>,
-210–20. <a class="indexterm" name="idp10596368"></a>
-</p></div><div id="ftn.idp10797760" class="footnote"><p><a href="#idp10797760" class="para"><sup class="para">[203] </sup></a>
+210–20. <a class="indexterm" name="idp9398768"></a>
+</p></div><div id="ftn.idp9600128" class="footnote"><p><a href="#idp9600128" class="para"><sup class="para">[203] </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.idp10805120" class="footnote"><p><a href="#idp10805120" class="para"><sup class="para">[204] </sup></a>
+</p></div><div id="ftn.idp9607568" class="footnote"><p><a href="#idp9607568" class="para"><sup class="para">[204] </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.idp10807792" class="footnote"><p><a href="#idp10807792" class="para"><sup class="para">[205] </sup></a>
+</p></div><div id="ftn.idp9610240" class="footnote"><p><a href="#idp9610240" class="para"><sup class="para">[205] </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.idp10819344" class="footnote"><p><a href="#idp10819344" class="para"><sup class="para">[206] </sup></a>
+</p></div><div id="ftn.idp9621744" class="footnote"><p><a href="#idp9621744" class="para"><sup class="para">[206] </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.idp10821776" class="footnote"><p><a href="#idp10821776" class="para"><sup class="para">[207] </sup></a>
+</p></div><div id="ftn.idp9624176" class="footnote"><p><a href="#idp9624176" class="para"><sup class="para">[207] </sup></a>
<span class="quote">«<span class="quote">Creative Commons and Brazil,</span>»</span> Creative Commons Weblog,
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
6.1. 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><p>
<span class="strong"><strong>Sunn fornuft</strong></span> er på same side som
opphavsrettskrigerne på grunn av at debatten så langt har vært rammet inn
rundt ytterpunktene—som en stor enten/eller: enten eiendom eller
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
10848192"></a><a class="indexterm" name="idp10849584"></a><p>
+</p><a class="indexterm" name="idp
9650592"></a><a class="indexterm" name="idp9651984"></a><p>
Det som trengs er en måte å si noe i midten—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
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
6.1.1. 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>
+</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>
Hvis du trer tilbake fra slaget jeg har beskrevet her, så vil du kjenne
igjen dette problemet fra andre omgivelser. Tenk på personvern. Før
Internett trengte ikke de fleste av oss å bekymre oss over hvor mye data om
Hva gjorde at det var sikret?
</p><p>
Vel, hvis vi tenker på begrepene til modalitetene jeg beskrev i kapittel
-<a class="xref" href="#property-i" title="«Eiendom»">10</a>, så var ditt
+<a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>, så var ditt
privatliv sikret på grunn av en ineffektiv arkitektur for innsamling av
data, og dermed en markedbegrensning (kostnad) for enhver som ønsket å samle
disse dataene. Hvis du var en mistenkt spion for Nord-Korea som arbeidet
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
10867104"></a><a class="indexterm" name="idxinternetprivacyprotectionon"></a><p>
+</p><a class="indexterm" name="idxamazon"></a><a class="indexterm" name="idp
9669664"></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
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
10872208"></a><p>
+</p><a class="indexterm" name="idp
9674816"></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
overvåkning angår deg. Hvis det blir enkelt å samle inn og sortere hvem som
gjør hva i det elektroniske rom, så forsvinner det friksjons-induserte
privatliv fra tidligere tider.
-</p><a class="indexterm" name="idp
10875040"></a><a class="indexterm" name="idp10876352"></a><p>
+</p><a class="indexterm" name="idp
9677648"></a><a class="indexterm" name="idp9678960"></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.idp10879168" class="footnote" name="idp10879168"><sup class="footnote">[208]</sup></a> Og
+som gjør det friksjonen gjorde.<a href="#ftn.idp9681776" class="footnote" name="idp9681776"><sup class="footnote">[208]</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
10883376"></a><a class="indexterm" name="idp10884656"></a><a class="indexterm" name="idp10885984"></a><a class="indexterm" name="idp10886800"></a><a class="indexterm" name="idxfreesoftwareopensourcesoftwarefsoss2"></a><p>
+</p><a class="indexterm" name="idp
9685984"></a><a class="indexterm" name="idp9687264"></a><a class="indexterm" name="idp9688656"></a><a class="indexterm" name="idp9689472"></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
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
10898224"></a><a class="indexterm" name="idp10899504"></a><p>
+</p><a class="indexterm" name="idp
9700720"></a><a class="indexterm" name="idp9701936"></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="idp10901600"></a>
-<a class="indexterm" name="idp10902432"></a>
+produsere GNU/Linux-operativsystemet. <a class="indexterm" name="idp9704032"></a>
+<a class="indexterm" name="idp9704864"></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
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
10905552"></a><a class="indexterm" name="idp10906944"></a><a class="indexterm" name="idxacademicjournals"></a><a class="indexterm" name="idxscientificjournals"></a><p>
+</p><a class="indexterm" name="idp
9707984"></a><a class="indexterm" name="idp9709312"></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 resonerer 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
10915520"></a><a class="indexterm" name="idp10916624"></a><p>
+</p><a class="indexterm" name="idxlexisandwestlaw"></a><a class="indexterm" name="idxlawdatabasesofcasereportsin"></a><a class="indexterm" name="idp
9717808"></a><a class="indexterm" name="idp9718912"></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
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
10920384"></a><a class="indexterm" name="idxpublicdomainlicensesystemforrebuildingof"></a><p>
+</p><a class="indexterm" name="idp
9722672"></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
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
10924672"></a><a class="indexterm" name="idp10925920"></a><p>
+</p><a class="indexterm" name="idp
9726960"></a><a class="indexterm" name="idp9728208"></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?
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
10931312"></a><a class="indexterm" name="idp10933792"></a><p>
+</p><a class="indexterm" name="idp
9733536"></a><a class="indexterm" name="idp9736016"></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
10936912"></a><p>
+</p><a class="indexterm" name="idp
9739136"></a><p>
Dette er en av mange slike anstrengelser 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
eksklusive distribusjonen av innhold. Men konkurranse antas i vår tradisjon
for å være bra—spesielt når det bidrar til å spre kunnskap og
vitenskap.
-</p><a class="indexterm" name="idp
10938448"></a><a class="indexterm" name="idp10940928"></a><a class="indexterm" name="idp10942176"></a></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>16.1.2. Gjenoppbygging av fri kultur: En idé</h3></div></div></div><a class="indexterm" name="idxcreativecommons"></a><p>
+</p><a class="indexterm" name="idp
9740672"></a><a class="indexterm" name="idp9743152"></a><a class="indexterm" name="idp9744400"></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
10947008"></a><p>
+</p><a class="indexterm" name="idp
9749120"></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
bygge på. Frivillig valg fra individer og skapere vil gjøre dette innholdet
tilgjengelig. Og dette innholdet vi så gjøre det mulig for oss å
gjenopprette allemannseiet.
-</p><a class="indexterm" name="idp
10956736"></a><p>
+</p><a class="indexterm" name="idp
9758848"></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">innholds-kondusenter,</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
10959872"></a><p>
+</p><a class="indexterm" name="idp
9761984"></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
skaper for oss som kultur, er skapt av sinnsyke og utilsiktede konsekvenser
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
10968576"></a><a class="indexterm" name="idp10969392"></a><p>
+</p><a class="indexterm" name="idp
9770720"></a><a class="indexterm" name="idp9771536"></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
10972384"></a><a class="indexterm" name="idp10973696"></a><a class="indexterm" name="idp10974512"></a><a class="indexterm" name="idp10975328"></a><p>
+</p><a class="indexterm" name="idp
9774528"></a><a class="indexterm" name="idp9775776"></a><a class="indexterm" name="idp9776592"></a><a class="indexterm" name="idp9777408"></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
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.idp10979296" class="footnote" name="idp10979296"><sup class="footnote">[209]</sup></a>), slipper disse artistene innhold
+høy<a href="#ftn.idp9781376" class="footnote" name="idp9781376"><sup class="footnote">[209]</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>
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
10987824"></a><a class="indexterm" name="idp10989232"></a></div></div><div class="section"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>16.2. Dem, snart</h2></div></div></div><p>
+</p><a class="indexterm" name="idp
9789904"></a><a class="indexterm" name="idp9791248"></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
og en som er spesifikk for den mest opphetede kampen for tiden, musikk.
Hver av dem er et steg, ikke et mål. Men hver av disse stegene vil føre oss
et godt stykke mot målet vårt.
-</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="formalities"></a>
16.2.1. 1. Flere formaliteter</h3></div></div></div><p>
+</p><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="formalities"></a>2.1. 1. Flere formaliteter</h3></div></div></div><p>
Hvis du kjøper et hus, så må du registrere salget i et skjøte. Hvis du
kjøper eiendom for å bygge et hus, så må du registrere kjøpet i et skjøte.
Hvis du kjøper en bil så får du en eierskiftemelding og registrerer bilen.
</p><p>
Hvorfor?
</p><p>
-Som jeg foreslo i kapittel <a class="xref" href="#property-i" title="«Eiendom»">10</a>, var motivasjonen for å avskaffe formalitetene god.
+Som jeg foreslo i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>, var motivasjonen for å avskaffe formalitetene god.
I verden før digitale teknologier, la formalitetene en byrde på
opphavsrettsinnehaverne uten at det ga nevneverdige fordeler. Dermed var
det en fremgang da loven slakket opp på de formelle kravene som
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.idp11004288" class="footnote" name="idp11004288"><sup class="footnote">[210]</sup></a>—men den bør ikke endres ved å gå tilbake til det gamle
+Loven burde derfor endre dette kravet<a href="#ftn.idp9806352" class="footnote" name="idp9806352"><sup class="footnote">[210]</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>
noe myndighetene gjorde. Men et revidert system med formaliteter bør fjerne
myndighetene fra prosessen, med unntak av det ene formålet med å godkjenne
standarder utviklet av andre.
-</p><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="registration"></a>
16.2.1.1. Registrering og fornying</h4></div></div></div><p>
+</p><div class="section"><div class="titlepage"><div><div><h4 class="title"><a name="registration"></a>2.1.1. Registrering og fornying</h4></div></div></div><p>
I det gamle systemet måtte en opphavsrettseier sende inn en registrering til
opphavsrettskontoret for å registrere eller fornye opphavsretten. Når en
sendte inn registreringen måtte opphavsrettseieren betale en avgift. Som
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>
16.2.1.2. Merking</h4></div></div></div><p>
+</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
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.idp11019088" class="footnote" name="idp11019088"><sup class="footnote">[211]</sup></a> Forståelsen av et
+ikke gir tillatelse.<a href="#ftn.idp9821104" class="footnote" name="idp9821104"><sup class="footnote">[211]</sup></a> Forståelsen av et
umerket verk ville dermed være <span class="quote">«<span class="quote">bruk såfremst 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 straffereaksjon
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
11024800"></a><p>
+</p><a class="indexterm" name="idp
9826816"></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
tilgjengelig. Det ville være enkelt å identifisere hvem som kontrollerer
rettighetene for et bestemt type innhold. Det ville være enkelt å hevde
disse rettighetene, og å fornye denne hevden på riktig tidspunkt.
-</p></div></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="shortterms"></a>
16.2.2. 2. Kortere vernetid</h3></div></div></div><p>
+</p></div></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="shortterms"></a>2.2. 2. Kortere vernetid</h3></div></div></div><p>
Vernetiden i opphavsretten har gått fra fjorten år til nittifem år der
selskap har forfatterskapet, og livstiden til forfatteren pluss sytti år for
individuelle forfattere.
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.idp11035888" class="footnote" name="idp11035888"><sup class="footnote">[212]</sup></a>
+et forslag om fjorten års vernetid.<a href="#ftn.idp9837904" class="footnote" name="idp9837904"><sup class="footnote">[212]</sup></a>
Andre har foreslått å knytte vernetiden til vernetiden for patenter.
</p><p>
Jeg er enig med de som tror vi trenger en radikal endring i opphavsretten
<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
11047872"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="idp
9849888"></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.idp11050000" class="footnote" name="idp11050000"><sup class="footnote">[213]</sup></a> Hvis vi belaster veteraner med
+pensjon.<a href="#ftn.idp9852016" class="footnote" name="idp9852016"><sup class="footnote">[213]</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>
16.2.3. 3. Fri Bruk vs. rimelig bruk</h3></div></div></div><a class="indexterm" name="idp11060720"></a><a class="indexterm" name="idp11061520"></a><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>
2.3. 3. Fri Bruk vs. rimelig bruk</h3></div></div></div><a class="indexterm" name="idp9862736"></a><a class="indexterm" name="idp9863536"></a><p>
Som jeg observerte i starten av denne boken, ga originalt eiendomsretten
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
11066624"></a><p>
+</p><a class="indexterm" name="idp
9868640"></a><p>
Kongressen innvilget 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.idp11068208" class="footnote" name="idp11068208"><sup class="footnote">[214]</sup></a> Domstolene har utvidet det sakte gjennom lovfortolkninger siden
+oversettelser og dramatiseringer av et verk.<a href="#ftn.idp9870128" class="footnote" name="idp9870128"><sup class="footnote">[214]</sup></a> Domstolene har utvidet det 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.idp11071008" class="footnote" name="idp11071008"><sup class="footnote">[215]</sup></a>
+og uttrykk.<a href="#ftn.idp9872992" class="footnote" name="idp9872992"><sup class="footnote">[215]</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="idp11074496"></a>
+det kreative arbeidet er ferdig. <a class="indexterm" name="idp9876480"></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
11078208"></a><p>
+</p><a class="indexterm" name="idp
9880192"></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
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.idp11080976" class="footnote" name="idp11080976"><sup class="footnote">[216]</sup></a> Hans syn er at loven bør
+Goldstein.<a href="#ftn.idp9882960" class="footnote" name="idp9882960"><sup class="footnote">[216]</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>
16.2.4. 4. Frigjør musikken—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—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 som
</p><p>
Fildelingsnettverk kompliserer denne modellen ved å gjøre det mulig a spre
innhold uten at utøveren har fått betalt. Men dette er naturligvis ikke alt
-et fildelingsnettverk gjør. Som jeg beskrev i kapittel <a class="xref" href="#piracy" title="«Piratvirksomhet»">5</a>, så muliggjør de fire
+et fildelingsnettverk gjør. Som jeg beskrev i kapittel <a class="xref" href="#piracy" title="Kapittel fem: «Piratvirksomhet»">5</a>, så muliggjør de fire
ulike former for deling:
</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><p>
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
11098992"></a><a class="indexterm" name="idp11100064"></a><p>
+</p></li></ol></div><a class="indexterm" name="idp
9901024"></a><a class="indexterm" name="idp9902096"></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
deling ikke er spesielt skadelig, så er behovet for regulering betydelig
svekket.
</p><p>
-Som jeg sa i kapittel <a class="xref" href="#piracy" title="«Piratvirksomhet»">5</a>, er det kontroversielt om delingen forårsaker skade. Men
+Som jeg sa i kapittel <a class="xref" href="#piracy" title="Kapittel fem: «Piratvirksomhet»">5</a>, er det kontroversielt om delingen forårsaker skade. Men
i dette kapittelet vil jeg anta at skaden er reell. Jeg antar, med andre
ord, at type-A-deling er betydelig større enn type-B, og er den dominerende
bruken av delingsnettverk.
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
11105328"></a><p>
+</p><a class="indexterm" name="idp
9907360"></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 Internettradio, innhold
som strømmes til brukeren når brukeren ønsker det. Her er dermed det
mobiltelefontjenester i Japan 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.idp11114048" class="footnote" name="idp11114048"><sup class="footnote">[217]</sup></a>
+form av MP3er via nettet.<a href="#ftn.idp9916080" class="footnote" name="idp9916080"><sup class="footnote">[217]</sup></a>
</p><p>
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
11123088"></a><a class="indexterm" name="idp11124192"></a><p>
+</p><a class="indexterm" name="idp
9925120"></a><a class="indexterm" name="idp9926224"></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.idp11137744" class="footnote" name="idp11137744"><sup class="footnote">[218]</sup></a> Fisher foreslår en veldig lur
+Harvard.<a href="#ftn.idp9939712" class="footnote" name="idp9939712"><sup class="footnote">[218]</sup></a> Fisher foreslår en veldig lur
måte rundt den pågående stillingskrigen på Internett. I følge 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
11160752"></a><a class="indexterm" name="idp11162000"></a><p>
+</p><a class="indexterm" name="idp
9962720"></a><a class="indexterm" name="idp9964032"></a><p>
Fisher ville steile over idéen om å tillate systemet til å foldes vekk.
Hans mål er ikke bare å sikre at kunstnerne blir betalt, men også å sikre at
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
11119920"></a><a class="indexterm" name="idp11166256"></a><a class="indexterm" name="idp11167072"></a><a class="indexterm" name="idp11167888"></a><p>
+</p><a class="indexterm" name="idp
9921952"></a><a class="indexterm" name="idp9968288"></a><a class="indexterm" name="idp9969104"></a><a class="indexterm" name="idp9969920"></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
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 det
bli mye konkurranse rundt å tilby og å selge musikk på nettet.
-</p><a class="indexterm" name="idp
11171584"></a><a class="indexterm" name="idp11172400"></a><a class="indexterm" name="idp11173520"></a><a class="indexterm" name="idp11174352"></a><a class="indexterm" name="idp11175456"></a><p>
+</p><a class="indexterm" name="idp
9973616"></a><a class="indexterm" name="idp9974432"></a><a class="indexterm" name="idp9975552"></a><a class="indexterm" name="idp9976384"></a><a class="indexterm" name="idp9977488"></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 plaske enda lengre, så er
ødelegge Internett. Vår fokus inntil vi er der bør være hvordan vi sikrer
at artister får betalt, mens vi beskytter det stedet for nyskapning og
kreativitet som Internett er.
-</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="firelawyers"></a>
16.2.5. 5. Spark en masse advokater</h3></div></div></div><p>
+</p></div><div class="section"><div class="titlepage"><div><div><h3 class="title"><a name="firelawyers"></a>2.5. 5. Spark en masse advokater</h3></div></div></div><p>
Jeg er en advokat. Jeg lever av å utdanne advokater. Jeg tror på
rettsvesenet. Jeg tror på åndsverksloven. Jeg har faktisk viet livet til å
jobbe med loven, ikke fordi det er mye penger å tjene, men fordi det
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
11196304"></a><a class="indexterm" name="idp11197088"></a><p>
+</p><a class="indexterm" name="idp
9998352"></a><a class="indexterm" name="idp9999136"></a><p>
Indisiene for slik bøyning 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
for eksempel at vår utfordring til lovforslaget om å utvide opphavsrettens
vernetid var galskap. Mens bare tredve år siden mente den dominerende
foreleser og utøver i opphavsrettsfeltet, Melville Nimmer, at den var
-åpenbar.<a href="#ftn.idp11199872" class="footnote" name="idp11199872"><sup class="footnote">[219]</sup></a>
+åpenbar.<a href="#ftn.idp10001920" class="footnote" name="idp10001920"><sup class="footnote">[219]</sup></a>
</p><p>
Min kritikk av rollen som advokater har spilt i denne debatten handler
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.idp11203472" class="footnote" name="idp11203472"><sup class="footnote">[220]</sup></a> De ser et system som har
+lav.<a href="#ftn.idp10005520" class="footnote" name="idp10005520"><sup class="footnote">[220]</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>
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="idp1
1213760"></a><p>
+</p><a class="indexterm" name="idp1
0015808"></a><p>
Tenk på de fantastiske tingene ditt barn kan gjøre eller lage med digital
teknologi—filmen, musikken, web-siden, bloggen. Eller tenk på de
fantastiske tingene ditt fellesskap kunne få til med digital
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.idp10879168" class="footnote"><p><a href="#idp10879168" 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.idp9681776" class="footnote"><p><a href="#idp9681776" class="para"><sup class="para">[208] </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.idp10979296" class="footnote"><p><a href="#idp10979296" class="para"><sup class="para">[209] </sup></a>
+mellom teknologi og personvern).</p></div><div id="ftn.idp9781376" class="footnote"><p><a href="#idp9781376" class="para"><sup class="para">[209] </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.idp11004288" class="footnote"><p><a href="#idp11004288" class="para"><sup class="para">[210] </sup></a>
+</p></div><div id="ftn.idp9806352" class="footnote"><p><a href="#idp9806352" class="para"><sup class="para">[210] </sup></a>
Forslaget jeg fremmer her ville kun gjelde for amerikanske verk. Jeg tror
naturligvis at det ville være en fordel om samme ide ble adoptert også av
-andre land.</p></div><div id="ftn.idp11019088" class="footnote"><p><a href="#idp11019088" class="para"><sup class="para">[211] </sup></a>
+andre land.</p></div><div id="ftn.idp9821104" class="footnote"><p><a href="#idp9821104" class="para"><sup class="para">[211] </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.idp11035888" class="footnote"><p><a href="#idp11035888" class="para"><sup class="para">[212] </sup></a>
+</p></div><div id="ftn.idp9837904" class="footnote"><p><a href="#idp9837904" class="para"><sup class="para">[212] </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.idp11050000" class="footnote"><p><a href="#idp11050000" class="para"><sup class="para">[213] </sup></a>
+</p></div><div id="ftn.idp9852016" class="footnote"><p><a href="#idp9852016" class="para"><sup class="para">[213] </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.idp11068208" class="footnote"><p><a href="#idp11068208" class="para"><sup class="para">[214] </sup></a>
+</p></div><div id="ftn.idp9870128" class="footnote"><p><a href="#idp9870128" class="para"><sup class="para">[214] </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.idp11071008" class="footnote"><p><a href="#idp11071008" class="para"><sup class="para">[215] </sup></a>
+</p></div><div id="ftn.idp9872992" class="footnote"><p><a href="#idp9872992" class="para"><sup class="para">[215] </sup></a>
Ibid., 56.
-</p></div><div id="ftn.idp11080976" class="footnote"><p><a href="#idp11080976" class="para"><sup class="para">[216] </sup></a>
+</p></div><div id="ftn.idp9882960" class="footnote"><p><a href="#idp9882960" class="para"><sup class="para">[216] </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="idp10880864"></a>
-</p></div><div id="ftn.idp11114048" class="footnote"><p><a href="#idp11114048" class="para"><sup class="para">[217] </sup></a>
+187–216. <a class="indexterm" name="idp9683472"></a>
+</p></div><div id="ftn.idp9916080" class="footnote"><p><a href="#idp9916080" class="para"><sup class="para">[217] </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.idp11137744" class="footnote"><p><a href="#idp11137744" class="para"><sup class="para">[218] </sup></a>
+</p></div><div id="ftn.idp9939712" class="footnote"><p><a href="#idp9939712" class="para"><sup class="para">[218] </sup></a>
<a class="indexterm" name="idxartistspayments3"></a> William Fisher, <em class="citetitle">Digital
Music: Problems and Possibilities</em> (sist revidert: 10. oktober
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="idp11153456"></a> <a class="indexterm" name="idp11154272"></a>
-<a class="indexterm" name="idp11155088"></a>
-<a class="indexterm" name="idp11155920"></a>
-</p></div><div id="ftn.idp11199872" class="footnote"><p><a href="#idp11199872" 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="idp9955424"></a> <a class="indexterm" name="idp9956240"></a>
+<a class="indexterm" name="idp9957056"></a>
+<a class="indexterm" name="idp9957888"></a>
+</p></div><div id="ftn.idp10001920" class="footnote"><p><a href="#idp10001920" class="para"><sup class="para">[219] </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.idp11203472" class="footnote"><p><a href="#idp11203472" class="para"><sup class="para">[220] </sup></a>
+</p></div><div id="ftn.idp10005520" class="footnote"><p><a href="#idp10005520" class="para"><sup class="para">[220] </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
Liebowitz er ekstremt verdifull i sin estimering av effekten av
fildelingsteknologi. Etter mitt syn underestimerer han forøvrig kostnaden
til det juridiske system. Se, for eksempel,
-<em class="citetitle">Rethinking</em>, 174–76. <a class="indexterm" name="idp11201552"></a>
+<em class="citetitle">Rethinking</em>, 174–76. <a class="indexterm" name="idp10003600"></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
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="idp1
1225824"></a><p>
+</p><a class="indexterm" name="idp1
0027712"></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
på at det ville være endeløs lykke utenfor disse kampene, og som alltid har
hatt rett. Denne trege eleven er som alltid takknemlig for hennes
evigvarende tålmodighet og kjærlighet.
-</p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp1
1236032"></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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Eldred</a>-<a class="indexterm" href="#eldred">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">Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Omformerne</a>-<a class="indexterm" href="#transformers">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 vs. 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">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>definert, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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>lisens-systemet 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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">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">Eldred</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>åndsverkslov</dt><dd><dl><dt>engelsk, <a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>europeisk, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt><dt>forbryterstraff for krenkelse av, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>frihet til nyskaping 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 for Amerikansk, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>japansk, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">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="#idp7045184">«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="#idp7045184">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7045184">«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">Innspillerne</a>-<a class="indexterm" href="#recorders">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">«Eiendom»</a>-<a class="indexterm" href="#property-i">«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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>vernetidesutvidelser i, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>Ankedomstol</dt><dd><dl><dt>Niende krets, <a class="indexterm" href="#transformers">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">Samlere</a></dt><dd><dl><dt>(se også Internettarkivet)</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">«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">Samlere</a>-<a class="indexterm" href="#collectors">Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">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">Skader</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">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">Omformerne</a></dt><dt>retrospektive samlinger om, <a class="indexterm" href="#transformers">Omformerne</a>-<a class="indexterm" href="#transformers">Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#idp7045184">«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">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">Skaperne</a>-<a class="indexterm" href="#creators">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">Eldred</a>, <a class="indexterm" href="#eldred-ii">Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">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">Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">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">Samlere</a></dt><dt>av allemannseid litteratur, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">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 åndsverkslov utviklet for, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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 internet, <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">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">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>boter, <a class="indexterm" href="#collectors">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">Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">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">Grunnleggerne</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">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">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">Skader</a>, <a class="indexterm" href="#eldred-ii">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">Skader</a>, <a class="indexterm" href="#eldred-ii">Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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>utenlands 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-ROMer, filmklipp brukt i, <a class="indexterm" href="#transformers">Omformerne</a>-<a class="indexterm" href="#transformers">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">«Kun etter-apere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">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">«Kun etter-apere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">«Eiendom»</a></dt><dt>Conger, <a class="indexterm" href="#founders">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">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">Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">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">«Kun etter-apere»</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">«Kun etter-apere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">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">«Kun etter-apere»</a></dt><dt>demokrati</dt><dd><dl><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a>, <a class="indexterm" href="#property-i">«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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a>, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>Doctorow, Cory, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>dokumentarfilm, <a class="indexterm" href="#recorders">Innspillerne</a>-<a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>Donaldson mot beckett, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Donaldson, Alexander, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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">Skaperne</a>-<a class="indexterm" href="#creators">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="#idp7045184">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Dukk og skjul deg-film, <a class="indexterm" href="#collectors">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>Eastman, George, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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 vs. rimelig bruk</a></dt><dt>uhåndgripeligheten til, <a class="indexterm" href="#idp8101504">«Eiendom»</a></dt></dl></dd><dt>Eldred, Eric, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">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">Innspillerne</a>-<a class="indexterm" href="#recorders">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, åndsverkslov utviklet i, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>epost, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">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">Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>arkiv for, <a class="indexterm" href="#collectors">Samlere</a></dt><dt>flere opphavsrettigheter knyttet til, <a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>rimelig bruk av opphavsrettsbeskyttet materiale i, <a class="indexterm" href="#recorders">Innspillerne</a>-<a class="indexterm" href="#recorders">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="#idp7045184">«Piratvirksomhet»</a></dt><dt>flyktige filmer, <a class="indexterm" href="#collectors">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">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">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>førstesalgs-doktrinen, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Innspillerne</a>-<a class="indexterm" href="#recorders">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>Fremskritts-bestemmelsen, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verk basert på, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>den engelske juridiske etableringen av, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>fire modaliteter for begrensninger på, <a class="indexterm" href="#property-i">«Eiendom»</a>-<a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>restureringsinnsatser 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">Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Frost, Robert, <a class="indexterm" href="#eldred">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">Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">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">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 vs. rimelig bruk</a></dt><dt>Google, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">Innspillerne</a>-<a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a>, <a class="indexterm" href="#eldred">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 vs. rimelig bruk</a></dt><dt>Groening, Matt, <a class="indexterm" href="#recorders">Innspillerne</a>-<a class="indexterm" href="#recorders">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>Fremskritts-bestemmelsen i, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>Handels-bestemmelsen i, <a class="indexterm" href="#eldred">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">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">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">«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">«Eiendom»</a>-<a class="indexterm" href="#property-i">«Eiendom»</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>Helan og Halvan-filmene, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Innspillerne</a>-<a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>historien, arkiv over, <a class="indexterm" href="#collectors">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>tilgang til domstolavgjørelser 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 rettighet-teorien, <a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">«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">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</dt><dd><dl><dt>anvendelighet for opphavsrett endret av teknoligien 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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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="#idp7045184">«Piratvirksomhet»</a></dt><dt>node-generert rangeringer av, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>nyhetsinnslag på, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Kataloger</a>-<a class="indexterm" href="#catalogs">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>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internettarkivet, <a class="indexterm" href="#collectors">Samlere</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Samlere</a></dt><dt>ISPer (Internett-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">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">Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Jefferson, Thomas, <a class="indexterm" href="#idp8101504">«Eiendom»</a>, <a class="indexterm" href="#property-i">«Eiendom»</a>-<a class="indexterm" href="#property-i">«Eiendom»</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Jentespeidere, <a class="indexterm" href="#idp7045184">«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">«Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Jordan, Jesse, <a class="indexterm" href="#catalogs">Kataloger</a>, <a class="indexterm" href="#constrain">Legger bånd på skaperne</a></dt><dt>journalistikk, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>juridisk system, advokatkostnader i, <a class="indexterm" href="#catalogs">Kataloger</a></dt><dt>juridiske realist-bevegelsen, <a class="indexterm" href="#together">Sammen</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Jusstudier, <a class="indexterm" href="#corruptingcitizens">Skader borgere</a></dt><dt>Just Think!, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. 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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">«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">«Eiendom»</a>-<a class="indexterm" href="#property-i">«Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Samlere</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>Kongressen i USA</dt><dd><dl><dt>i grunnlovens Fremskritts-bestemmelse, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>konstitusjonelle makt til, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>om åndsverkslover, <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 innspillingenindustri, <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">Eldred</a>-<a class="indexterm" href="#eldred">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 rettighet-teorien om, <a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7045184">«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="#idp7045184">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a></dt><dt>ved å omforme tidligere verk, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">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">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 vs. 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">Eldred</a>-<a class="indexterm" href="#eldred">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">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">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">Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>som begrensningsmodalitet, <a class="indexterm" href="#property-i">«Eiendom»</a>-<a class="indexterm" href="#property-i">«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">Fantasifoster / Chimera</a>, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a>, <a class="indexterm" href="#eldred-ii">Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">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">«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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Marihuana-politikkprosjektet, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>markedsbeskrankninger, <a class="indexterm" href="#property-i">«Eiendom»</a>-<a class="indexterm" href="#property-i">«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">«Kun etter-apere»</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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</a></dt><dt>kommersielle imperativer av, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt></dl></dd><dt>mediekompetanse, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Mehra, Salil, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">«Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">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">Kataloger</a>-<a class="indexterm" href="#catalogs">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">Skaperne</a>-<a class="indexterm" href="#creators">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">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="#idp7045184">«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">«Kun etter-apere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>-<a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#transformers">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">Eldred</a></dt><dt>Nasjonal skribentunion, <a class="indexterm" href="#eldred">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">Eldred</a></dt><dt>NET(Nei til Elektronisk Tyveri)-loven (1998), <a class="indexterm" href="#eldred">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">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">Omformerne</a></dt><dt>Nimmer, David, <a class="indexterm" href="#transformers">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">«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="#idp7045184">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Samlere</a>-<a class="indexterm" href="#collectors">Samlere</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">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">«Kun etter-apere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kataloger</a></dt><dt>opphavsrett</dt><dd><dl><dt>bruksbegrensninger knyttet til, <a class="indexterm" href="#founders">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a>, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>fornyelsesevnen til, <a class="indexterm" href="#founders">Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>-<a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>konstitusjonellt formål med, <a class="indexterm" href="#beginnings">Opphav</a>, <a class="indexterm" href="#eldred">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">Grunnleggerne</a>-<a class="indexterm" href="#founders">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">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a>, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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">Eldred</a>-<a class="indexterm" href="#eldred">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">Grunnleggerne</a></dt><dt>orginalisme, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Ørneforumet, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Samlere</a>-<a class="indexterm" href="#collectors">Samlere</a></dt><dt>Overhuset, det britiske, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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">«Eiendom»</a></dt><dt>patenter</dt><dd><dl><dt>fremtidige patenter og fremtidige opphavsrettigheter i, <a class="indexterm" href="#eldred">Eldred</a>-<a class="indexterm" href="#eldred">Eldred</a></dt><dt>i allemannseie (public domain), <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#eldred">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">Grunnleggerne</a></dt><dt>peer-to-peer(p2p)-fildeling</dt><dd><dl><dt>effektiviteten til, <a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp7045184">«Piratvirksomhet»</a></dt><dt>forbryterstraff for, <a class="indexterm" href="#eldred">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">Skaperne</a>-<a class="indexterm" href="#creators">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">«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">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>Internettradio 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>opphavsrettbeskyttelser 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 opphavsrettbrudd fra, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">«Kun etter-apere»</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>pornografi, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>positiv rett, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Samlere</a></dt><dt>pressemeldinger fra det hvite hus, <a class="indexterm" href="#collectors">Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">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">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">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 spillt på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>på internet, <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">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">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 Internettradio-avgifter, <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">Kataloger</a>-<a class="indexterm" href="#catalogs">Kataloger</a></dt><dt>stevning i sak om om krenkelse av opphavsrett tatt ut av, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">«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">Eldred</a></dt><dt>reklameinnslag, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Kataloger</a>-<a class="indexterm" href="#catalogs">Kataloger</a></dt><dd><dl><dt>datanettverksøkemotor ved, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">Innspillerne</a>-<a class="indexterm" href="#recorders">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">Innspillerne</a>-<a class="indexterm" href="#recorders">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="#idp7045184">«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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">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">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">Eldred</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>sedvanerett, <a class="indexterm" href="#founders">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>opphavsrettvernetid 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">Skaperne</a>, <a class="indexterm" href="#founders">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">Innspillerne</a>-<a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>Skotske utgivere, <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>søkemotorer, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">Kataloger</a>-<a class="indexterm" href="#catalogs">Kataloger</a></dt><dt>distribusjon-teknologi mål for, <a class="indexterm" href="#innovators">Legger bånd på oppfinnere</a></dt><dt>i plateindustri, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">Kataloger</a></dt><dt>mot student-fildeling, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">Kataloger</a></dt><dt>overdrevne påstander om, <a class="indexterm" href="#catalogs">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">Eldred</a>-<a class="indexterm" href="#eldred">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">«Eiendom»</a></dt><dt>Sør-Afrika, Republikken, farmasøytiske 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">Innspillerne</a></dt><dt>Statute of Anne (1710), <a class="indexterm" href="#founders">Grunnleggerne</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt><dt>Statute of Monopolis (1656), <a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a>, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Eldred</a></dt><dt>Storbritannia</dt><dd><dl><dt>historie av opphavsrettslovgivning i, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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">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">Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">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">Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">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>opphavsretthensikten 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">«Kun etter-apere»</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">Grunnleggerne</a>-<a class="indexterm" href="#founders">Grunnleggerne</a></dt><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</a></dt><dt>Tonson, Jacob, <a class="indexterm" href="#founders">Grunnleggerne</a>-<a class="indexterm" href="#founders">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">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">«Eiendom»</a></dt><dt>Tysk åndsverkslov, <a class="indexterm" href="#eldred-ii">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">«Eiendom»</a></dt><dt>universitetdatanettverk, p2p-fildeling på, <a class="indexterm" href="#catalogs">Kataloger</a>-<a class="indexterm" href="#catalogs">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">Kataloger</a></dt><dt>i mediekompetanse, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt></dl></dd><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>mediekompetanse og, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>valgforsamling, <a class="indexterm" href="#beginnings">Opphav</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">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">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">Innspillerne</a>-<a class="indexterm" href="#recorders">Innspillerne</a></dt><dt>Warner Brothers, <a class="indexterm" href="#property-i">«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">«Kun etter-apere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">Fantasifoster / Chimera</a>-<a class="indexterm" href="#chimera">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">«Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">«Kun etter-apere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Skaperne</a>-<a class="indexterm" href="#creators">Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrering</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">«Kun etter-apere»</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">«Kun etter-apere»</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="#idp7045184">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp11236288"></a>Kolofon</h1><p>
+</p></div><div class="index"><div class="titlepage"><div><div><h1 class="title"><a name="idp1
0037920"></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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 vs. 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>lisens-systemet 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>åndsverkslov</dt><dd><dl><dt>engelsk, <a class="indexterm" href="#idp5850640">«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 nyskaping 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 for 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="#idp5850640">«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="#idp5850640">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp5850640">«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>vernetidesutvidelser 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 Internettarkivet)</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="#idp5850640">«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 etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 åndsverkslov 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 internet, <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 etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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>utenlands 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-ROMer, 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 etter-apere»</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 etter-apere»</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 etter-apere»</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 etter-apere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 etter-apere»</a></dt><dt>demokrati</dt><dd><dl><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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="#idp5850640">«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>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 vs. rimelig bruk</a></dt><dt>uhåndgripeligheten til, <a class="indexterm" href="#idp6906896">«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, åndsverkslov 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>epost, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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="#idp5850640">«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>førstesalgs-doktrinen, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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>Fremskritts-bestemmelsen, <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>restureringsinnsatser 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 vs. 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 vs. 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>Fremskritts-bestemmelsen 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>Handels-bestemmelsen 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 domstolavgjørelser 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 rettighet-teorien, <a class="indexterm" href="#idp5850640">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp5850640">«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</dt><dd><dl><dt>anvendelighet for opphavsrett endret av teknoligien 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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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="#idp5850640">«Piratvirksomhet»</a></dt><dt>node-generert rangeringer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>nyhetsinnslag på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internettarkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISPer (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="#idp6906896">«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="#idp5850640">«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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. 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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 Fremskritts-bestemmelse, <a class="indexterm" href="#beginnings">Opphav</a>-<a class="indexterm" href="#beginnings">Opphav</a></dt><dt>konstitusjonelle makt til, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>-<a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om åndsverkslover, <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 innspillingenindustri, <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 rettighet-teorien om, <a class="indexterm" href="#idp5850640">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp5850640">«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="#idp5850640">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp5850640">«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 vs. 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 etter-apere»</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="#idp5850640">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp5850640">«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>markedsbeskrankninger, <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 etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</a></dt><dt>kommersielle imperativer av, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>mediekompetanse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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="#idp5850640">«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 etter-apere»</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="#idp5850640">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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>konstitusjonellt 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="#idp5850640">«Piratvirksomhet»</a>-<a class="indexterm" href="#idp5850640">«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>Internettradio 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>opphavsrettbeskyttelser 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 opphavsrettbrudd 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 etter-apere»</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 spillt på, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>på internet, <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 Internettradio-avgifter, <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 etter-apere»</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>datanettverksøkemotor 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="#idp5850640">«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>opphavsrettvernetid 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>distribusjon-teknologi 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, farmasøytiske 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 etter-apere»</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 etter-apere»</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>opphavsretthensikten 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 etter-apere»</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 etter-apere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 åndsverkslov, <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>universitetdatanettverk, 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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>mediekompetanse og, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</a>-<a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</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 etter-apere»</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 etter-apere»</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="#idp5850640">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Omfang</a></dt></dl></div></div></div><div class="colophon"><h1 class="title"><a name="idp10038176"></a></h1><p>
Fri kultur: Hvordan store medieaktører bruker teknologi og rettsvesenet til
å begrense kulturen og kontrollere kreativiteten / Lawrence Lessig.
</p><p>
-Opphavsrettbeskyttet © Lawrence Lessig. Noen rettigheter forbeholdt.
+Opphavsrettbeskyttet © 2004 Lawrence Lessig. Noen rettigheter
+forbeholdt.
</p><p>
-Denne versjonen av <em class="citetitle">Fri kultur</em> er lisensert 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>
+<a class="ulink" href="http://free-culture.cc/" target="_top">http://free-culture.cc/</a>
</p><p>
-Denne digitale boken ble publisert av Petter Reinholdtsen i 2015. Den
-opprinnelige innbundede boken ble publisert i 2004 av The Penguin Press.
+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><p>
+Publisert 2015 av Petter Reinholdtsen på fritiden. Først publisert 2004 av
+The Penguin Press. Thomas Gramstad Forlag donerte ISBN-nummer.
</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
2003. Opphavsrettsbeskyttet © 2003 The New York Times Co. Gjengitt med
tillatelse.
</p><p>
-Vitsetegningen i <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. Vitsetegning om videospiller/håndvåpen">Figur 10.18, «Vitsetegning om videospiller/håndvåpen»</a> er laget
-av Paul Conrad. Opphavsretten tilhører Tribune Media Services, Inc. Alle
+Vitsetegningen i figur <a class="xref" href="#fig-1711-vcr-handgun-cartoonfig" title="Figur 10.18. — For hvilken enhet har rettsvesene 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 <a class="xref" href="#fig-1761-pattern-modern-media-ownership" title="Figur 10.19. Mønster for moderne mediaeierskap.">Figur 10.19, «Mønster for moderne mediaeierskap.»</a>
-kommer fra kontoret til FCC-kommisjonæren, Michael J. Copps.
-</p><p>
-Kildekoden for denne versjonen av boken er skrevet i DocBook-notasjon og de
-andre formatene er avledet fra DocBook-kilden. DocBook-koden er basert på en
-DocBook XML-versjon laget av Hans Schou, utvidet av Petter Reinholdtsen med
-formattering og registerreferanser. Kildefilene til denne boken er
-tilgjengelig fra <a class="ulink" href="https://github.com/petterreinholdtsen/free-culture-lessig" target="_top">https://github.com/petterreinholdtsen/free-culture-lessig</a>.
-</p><p>
-Boken er oversatt til bokmål på dugnad av Petter Reinholdtsen med hjelp fra
-Anders Hagen Jarmund, Kirill Miazine og Odd Kleiva. Takk til Ralph Amissah
-for hjelp med registeroppføringene samt Morten Sickel og Alexander Alemayhu
-for hjelp med bildene. Rapporter feil i oversettelsen via GitHub.
+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.
</p><p>
Klassifiseringer: (Dewey) 306.4 306.40973 306.46 341.7582 343.7309/9, (UDK)
347.78 (US Lib. of Congress) KF2979.L47 2004 (ACM CRCS) K.4.1
</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">978-82-92812-XX-Y</td><td align="left">text/plain</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/pdf</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">text/html</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/epub+zip</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/docbook+xml</td></tr><tr><td align="left">978-82-92812-XX-Y</td><td align="left">application/x-mobipocket-ebook</td></tr></tbody></table></div><p>
+The book source is in DocBook notation and the other formats are derived
+from this. The source is based on a version from Hans Schou. Typeset using
+Crimson Text and formatted using dblatex. Many thanks to the dblatex
+developer Benoît Guillon for his help. The 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 problems using the GitHub issue tracker.
+</p><p>
+Bokmålsutgave er oversatt på dugnad av Petter Reinholdtsen med hjelp fra
+Anders Hagen Jarmund, Kirill Miazine og Odd Kleiva. Takk til Ralph Amissah
+for hjelp med registeroppføringene samt Morten Sickel og Alexander Alemayhu
+for hjelp med bildene.
+</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">Printed copy from Lulu</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></div></body></html>
#!/bin/sh
# Workaround for <URL: https://bugs.debian.org/794066 >
-exec /usr/bin/inkscape --export-dpi=300 "$@"
+exec /usr/bin/inkscape --export-dpi=600 "$@"
\def\enoteformat{\rightskip=0pt \leftskip=21pt \parindent=-13pt
\leavevmode\llap{\makeenmark}\hspace*{11pt}}
+% Increase footnote/endnote size to be more than 6 pts, to avoid
+% complaint from Lulu about the font being too small to be printed
+% clearly. Needed at least for pocket size books.
+% Probably wise to use the same size as the colophon page (see myclass.cls)
+
+% Use one of these (adjust numbers, x, x*1.2), 6>= 6
+\def\enotesize{\normalsize}
+%\def\enotesize{\fontsize{10}{12}\selectfont}
+
% Trick to avoid many words sticking out of the right margin of the text.
% Need to add it here with the end notes, as only one
% latex.begindocument can be active.
<xsl:param name="doc.collab.show">0</xsl:param>
<!-- See "Global Page Setup" in the dblatex PDF manual for details -->
-<xsl:param name="page.width">5in</xsl:param>
-<xsl:param name="page.height">8in</xsl:param>
+<xsl:param name="page.width">4.25in</xsl:param>
+<xsl:param name="page.height">6.875in</xsl:param>
<xsl:param name="page.margin.inner">0.8in</xsl:param>
<xsl:param name="page.margin.outer">0.55in</xsl:param>
-<xsl:param name="page.margin.top">0.55in</xsl:param>
-<xsl:param name="page.margin.bottom">0.55in</xsl:param>
+
+<!-- reduce from 0.55in, to ignore header and footer in margin calculation -->
+<!-- FIXME figure out the proper number to use -->
+<xsl:param name="page.margin.top">0.15in</xsl:param>
+<xsl:param name="page.margin.bottom">0.30in</xsl:param>
<xsl:param name="body.start.indent">0pt</xsl:param>
<xsl:param name="double.sided">1</xsl:param>
<!-- used by dblatex -->
<!-- headinclude=on,footinclude=on - ? -->
<!-- openright,twoside - proper double sided printing -->
-<xsl:param name="latex.class.options">headinclude=on,footinclude=on,openright,twoside</xsl:param>
+<xsl:param name="latex.class.options">openright,twoside</xsl:param>
<!--
Make final page blank, which is required for PDFs inteneded for
<!-- fall back to simplex A4 if not creating PDF for a specific size. -->
<!-- xsl:param name="paper.type">A4</xsl:param -->
<xsl:param name="double.sided">0</xsl:param>
+<xsl:param name="page.margin.inner">0.8in</xsl:param>
+<xsl:param name="page.margin.outer">0.55in</xsl:param>
+<xsl:param name="page.margin.top">0.55in</xsl:param>
+<xsl:param name="page.margin.bottom">0.55in</xsl:param>
<xsl:param name="latex.class.options">a4paper</xsl:param>
<!-- font for XSL/FOP, see also fop-params.xconf -->
-
+<!-- The original book used Adobe Caslon, and this free font is pretty similar -->
<xsl:param name="body.font.family">Crimson Text</xsl:param>
<xsl:param name="sans.font.family">Crimson Text</xsl:param>
<xsl:param name="title.font.family">Crimson Text</xsl:param>
<?xml version='1.0'?>
<xsl:stylesheet xmlns:xsl="http://www.w3.org/1999/XSL/Transform" version='1.0'>
-<!-- vim: set sts=2 ai expandtab: -->
-
-<!--############################################################################
- XSLT Stylesheet DocBook -> LaTeX
- ############################################################################ -->
-
<xsl:param name="xetex.font">
- <!-- Western centric Adobe PostScript looks-alike: gsfonts -->
<xsl:text>\setmainfont{Crimson Text} </xsl:text>
<xsl:text>\setsansfont{Crimson Text} </xsl:text>
<xsl:text>\setmonofont{Nimbus Mono L} </xsl:text>
msgid ""
msgstr ""
"Project-Id-Version: PACKAGE VERSION\n"
-"POT-Creation-Date: 2015-07-30 07:31+0000\n"
+"POT-Creation-Date: 2015-08-07 22:55+0000\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>"
+msgid "<pubdate>2004-03-25</pubdate> <edition>1</edition>"
msgstr ""
#. type: Content of: <book><bookinfo><releaseinfo>
-#: freeculture.xml:26
+#: freeculture.xml:28
msgid "Version 2004-02-10"
msgstr ""
#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
-#: freeculture.xml:30
+#: freeculture.xml:32
msgid "Lawrence"
msgstr ""
#. type: Content of: <book><bookinfo><authorgroup><author><surname>
-#: freeculture.xml:31
+#: freeculture.xml:33
msgid "Lessig"
msgstr ""
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
-#: freeculture.xml:54
+#: freeculture.xml:56
msgid "Intellectual property—United States."
msgstr ""
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
-#: freeculture.xml:57
+#: freeculture.xml:59
msgid "Mass media—United States."
msgstr ""
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
-#: freeculture.xml:60
+#: freeculture.xml:62
msgid "Technological innovations—United States."
msgstr ""
#. type: Content of: <book><bookinfo><subjectset><subject><subjectterm>
-#: freeculture.xml:63
+#: freeculture.xml:65
msgid "Art—United States."
msgstr ""
#. type: Content of: <book><bookinfo><publisher><address>
-#: freeculture.xml:70
+#: freeculture.xml:72
#, no-wrap
msgid "<city>Oslo</city>"
msgstr ""
#. type: Content of: <book><bookinfo>
-#: freeculture.xml:68
+#: freeculture.xml:70
msgid ""
"<publisher> <publishername>Petter Reinholdtsen</publishername> <placeholder "
"type=\"address\" id=\"0\"/> </publisher> <copyright> <year>2004</year> "
msgstr ""
#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject>
-#: freeculture.xml:80
+#: freeculture.xml:82
msgid ""
"<imageobject> <imagedata fileref=\"images/cc.png\" contentdepth=\"3em\" "
"width=\"100%\" align=\"center\"/> </imageobject> <imageobject> <imagedata "
msgstr ""
#. type: Content of: <book><bookinfo><legalnotice><para><inlinemediaobject><textobject><phrase>
-#: freeculture.xml:87
+#: freeculture.xml:89
msgid "Creative Commons, Some rights reserved"
msgstr ""
#. type: Content of: <book><bookinfo><legalnotice><para>
-#: freeculture.xml:79
+#: freeculture.xml:81
msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:93 freeculture.xml:15660
+#: freeculture.xml:95 freeculture.xml:15695
msgid ""
-"This version of <citetitle>Free Culture</citetitle> 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 <ulink "
+"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 <ulink "
"url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</ulink>"
msgstr ""
#. type: Content of: <book><bookinfo><abstract><title>
-#: freeculture.xml:102
+#: freeculture.xml:103
msgid "About the author"
msgstr ""
#. type: Content of: <book><bookinfo><abstract><para>
-#: freeculture.xml:104
+#: freeculture.xml:105
msgid ""
"Lawrence Lessig (<ulink "
"url=\"http://www.lessig.org\">http://www.lessig.org</ulink>), professor of "
-"law and a John A. Wilson Distinguished Faculty Scholar at Stanford Law "
+"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 (<ulink "
"url=\"http://creativecommons.org\">http://creativecommons.org</ulink>). The "
"the U.S. Seventh Circuit Court of Appeals."
msgstr ""
-#. type: Content of: <book><colophon><para>
-#: freeculture.xml:123 freeculture.xml:15656
-msgid "<ulink url=\"http://free-culture.cc/\"/>"
-msgstr ""
-
#. testing different ways to tag the cover page
#
#. <imageobject remap="s" role="front">
#. </imageobject>
#
#. type: Content of: <book><bookinfo><mediaobject>
-#: freeculture.xml:130
+#: freeculture.xml:126
msgid ""
"<imageobject remap=\"lrg\" role=\"front-large\"> <imagedata "
"fileref=\"images/cover.png\" format=\"PNG\" width=\"444\" /> </imageobject>"
#. http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page
#.
#. type: Content of: <book><bookinfo>
-#: freeculture.xml:128
+#: freeculture.xml:124
msgid ""
" <placeholder type=\"mediaobject\" id=\"0\"/> <biblioid "
"class=\"isbn\">978-82-8067-010-6</biblioid> <biblioid "
-"class=\"libraryofcongress\">2003063276</biblioid>"
+"class=\"libraryofcongress\">2003063276</biblioid> <biblioid "
+"class=\"uri\">http://free-culture.cc/</biblioid>"
msgstr ""
#. type: Content of: <book><dedication><title>
-#: freeculture.xml:157
+#: freeculture.xml:155
msgid "Also by Lawrence Lessig"
msgstr ""
#. 2014
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:164
+#: freeculture.xml:162
msgid "The USA is lesterland: The nature of congressional corruption"
msgstr ""
#. 2011, 2012
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:168
+#: freeculture.xml:166
msgid "Republic, lost: How money corrupts Congress - and a plan to stop it"
msgstr ""
#. 2008
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:172
+#: freeculture.xml:170
msgid "Remix: Making art and commerce thrive in the hybrid economy"
msgstr ""
#. 2006
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:176
+#: freeculture.xml:174
msgid "Code: Version 2.0"
msgstr ""
#. 2001, 2002
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:180
+#: freeculture.xml:178
msgid "The Future of Ideas: The Fate of the Commons in a Connected World"
msgstr ""
#. 1999
#. type: Content of: <book><dedication><itemizedlist><listitem><para>
-#: freeculture.xml:184
+#: freeculture.xml:182
msgid "Code: And Other Laws of Cyberspace"
msgstr ""
#. type: Content of: <book><dedication><para>
-#: freeculture.xml:197
+#: freeculture.xml:195
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:207
+#: freeculture.xml:205
msgid "List of figures"
msgstr ""
#. type: Content of: <book><preface><title>
-#: freeculture.xml:269
+#: freeculture.xml:267
msgid "Preface"
msgstr ""
#. type: Content of: <book><preface><indexterm><primary>
-#: freeculture.xml:270
+#: freeculture.xml:268
msgid "Pogue, David"
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:272
+#: freeculture.xml:270
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:283
+#: freeculture.xml:281
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:279
+#: freeculture.xml:277
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:288
+#: freeculture.xml:286
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:297
+#: freeculture.xml:295
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:308
+#: freeculture.xml:306
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:320
+#: freeculture.xml:318
msgid ""
"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 "
"(Joshua Gay, ed. 2002)."
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:315
+#: freeculture.xml:313
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:335
+#: freeculture.xml:333
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:343 freeculture.xml:997
+#: freeculture.xml:341 freeculture.xml:995
msgid "power, concentration of"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:344 freeculture.xml:13835
+#: freeculture.xml:342 freeculture.xml:13833
msgid "CodePink Women in Peace"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:345 freeculture.xml:366 freeculture.xml:13836
+#: freeculture.xml:343 freeculture.xml:364 freeculture.xml:13834
msgid "Safire, William"
msgstr ""
#. type: Content of: <book><preface><indexterm><primary>
-#: freeculture.xml:346
+#: freeculture.xml:344
msgid "Stevens, Ted"
msgstr ""
#. type: Content of: <book><preface><para>
-#: freeculture.xml:348
+#: freeculture.xml:346
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:364
+#: freeculture.xml:362
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:360
+#: freeculture.xml:358
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:371
+#: freeculture.xml:369
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:382
+#: freeculture.xml:380
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:391
+#: freeculture.xml:389
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:409
+#: freeculture.xml:407
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:424
+#: freeculture.xml:422
msgid "Introduction"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:425 freeculture.xml:528 freeculture.xml:986
+#: freeculture.xml:423 freeculture.xml:526 freeculture.xml:984
msgid "Wright brothers"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:427
+#: freeculture.xml:425
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:434
+#: freeculture.xml:432
msgid "air traffic, land ownership vs."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:435 freeculture.xml:14859
+#: freeculture.xml:433 freeculture.xml:14857
msgid "land ownership, air traffic and"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:436 freeculture.xml:4662 freeculture.xml:13738 freeculture.xml:14860
+#: freeculture.xml:434 freeculture.xml:4660 freeculture.xml:13736 freeculture.xml:14858
msgid "property rights"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:436 freeculture.xml:14860
+#: freeculture.xml:434 freeculture.xml:14858
msgid "air traffic vs."
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:442
+#: freeculture.xml:440
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:438
+#: freeculture.xml:436
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:452
+#: freeculture.xml:450
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:460 freeculture.xml:473 freeculture.xml:506 freeculture.xml:526 freeculture.xml:712 freeculture.xml:839 freeculture.xml:966 freeculture.xml:984 freeculture.xml:1032 freeculture.xml:9587 freeculture.xml:13154 freeculture.xml:13939
+#: 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
msgid "Causby, Thomas Lee"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:461 freeculture.xml:474 freeculture.xml:507 freeculture.xml:527 freeculture.xml:713 freeculture.xml:840 freeculture.xml:967 freeculture.xml:985 freeculture.xml:1033 freeculture.xml:9588 freeculture.xml:13155 freeculture.xml:13940
+#: 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
msgid "Causby, Tinie"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:463
+#: freeculture.xml:461
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:475
+#: freeculture.xml:473
msgid "Douglas, William O."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:476 freeculture.xml:4551 freeculture.xml:5153 freeculture.xml:8900 freeculture.xml:14247
+#: freeculture.xml:474 freeculture.xml:4549 freeculture.xml:5151 freeculture.xml:8898 freeculture.xml:14245
msgid "Supreme Court, U.S."
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:476
+#: freeculture.xml:474
msgid "on airspace vs. land rights"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:478
+#: freeculture.xml:476
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:498
+#: freeculture.xml:496
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:489
+#: freeculture.xml:487
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:512
+#: freeculture.xml:510
msgid "<quote>Common sense revolts at the idea.</quote>"
msgstr ""
#. PAGE BREAK 18
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:516
+#: freeculture.xml:514
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:530
+#: freeculture.xml:528
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:551 freeculture.xml:9595 freeculture.xml:10290
+#: freeculture.xml:549 freeculture.xml:9593 freeculture.xml:10288
msgid "Armstrong, Edwin Howard"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:552
+#: freeculture.xml:550
msgid "Bell, Alexander Graham"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:553
+#: freeculture.xml:551
msgid "Edison, Thomas"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:554
+#: freeculture.xml:552
msgid "Faraday, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:555 freeculture.xml:4292 freeculture.xml:6834 freeculture.xml:10197
+#: freeculture.xml:553 freeculture.xml:4290 freeculture.xml:6832 freeculture.xml:10195
msgid "radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:555 freeculture.xml:6834
+#: freeculture.xml:553 freeculture.xml:6832
msgid "FM spectrum of"
msgstr ""
#. PAGE BREAK 19
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:557
+#: freeculture.xml:555
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:570
+#: freeculture.xml:568
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:580
+#: freeculture.xml:578
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:591
+#: freeculture.xml:589
msgid "The audience was hearing something no one had thought possible:"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:602
+#: freeculture.xml:600
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:595
+#: freeculture.xml:593
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; "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:607 freeculture.xml:6837
+#: freeculture.xml:605 freeculture.xml:6835
msgid "RCA"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:608 freeculture.xml:2485 freeculture.xml:2503 freeculture.xml:2537 freeculture.xml:2539
+#: freeculture.xml:606 freeculture.xml:2483 freeculture.xml:2501 freeculture.xml:2535 freeculture.xml:2537
msgid "media"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:608 freeculture.xml:2539
+#: freeculture.xml:606 freeculture.xml:2537
msgid "ownership concentration in"
msgstr ""
#. PAGE BREAK 20
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:610
+#: freeculture.xml:608
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:618 freeculture.xml:640
+#: freeculture.xml:616 freeculture.xml:638
msgid "Sarnoff, David"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:620
+#: freeculture.xml:618
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:631
+#: freeculture.xml:629
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:628
+#: freeculture.xml:626
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:639 freeculture.xml:6833
+#: freeculture.xml:637 freeculture.xml:6831
msgid "FM radio"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:642
+#: freeculture.xml:640
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:647
+#: freeculture.xml:645
msgid "Lessing, Lawrence"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:655
+#: freeculture.xml:653
msgid "Lessing, 226."
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:650
+#: freeculture.xml:648
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:659
+#: freeculture.xml:657
msgid "FCC"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:659
+#: freeculture.xml:657
msgid "on FM radio"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:661
+#: freeculture.xml:659
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:680
+#: freeculture.xml:678
msgid "Lessing, 256."
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
-#: freeculture.xml:676
+#: freeculture.xml:674
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:685
+#: freeculture.xml:683
msgid "AT&T"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:687
+#: freeculture.xml:685
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:699
+#: freeculture.xml:697
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:715
+#: freeculture.xml:713
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, "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:732 freeculture.xml:1105 freeculture.xml:2356 freeculture.xml:2368 freeculture.xml:2452 freeculture.xml:2486 freeculture.xml:2512 freeculture.xml:2762 freeculture.xml:4168 freeculture.xml:6717 freeculture.xml:7574 freeculture.xml:7642 freeculture.xml:10196 freeculture.xml:13470 freeculture.xml:14030 freeculture.xml:14031 freeculture.xml:14105
+#: 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
msgid "Internet"
msgstr ""
#. type: Content of: <book><chapter><section><indexterm><secondary>
-#: freeculture.xml:732 freeculture.xml:4702 freeculture.xml:13470 freeculture.xml:14030
+#: freeculture.xml:730 freeculture.xml:4700 freeculture.xml:13468 freeculture.xml:14028
msgid "development of"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:740
+#: freeculture.xml:738
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:734
+#: freeculture.xml:732
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:749
+#: freeculture.xml:747
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:760
+#: freeculture.xml:758
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:769
+#: freeculture.xml:767
msgid "Barlow, Joel"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:770
+#: freeculture.xml:768
msgid "culture"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:770
+#: freeculture.xml:768
msgid "commercial vs. noncommercial"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:771
+#: freeculture.xml:769
msgid "Webster, Noah"
msgstr ""
#. PAGE BREAK 23
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:773
+#: freeculture.xml:771
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:785
+#: freeculture.xml:783
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:795 freeculture.xml:2858 freeculture.xml:2859 freeculture.xml:2886 freeculture.xml:2887 freeculture.xml:2888 freeculture.xml:7805 freeculture.xml:9654 freeculture.xml:9655 freeculture.xml:9930 freeculture.xml:9931 freeculture.xml:9932 freeculture.xml:9975
+#: 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
msgid "copyright infringement lawsuits"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:795
+#: freeculture.xml:793
msgid "commercial creativity as primary purpose of"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:811 freeculture.xml:1947 freeculture.xml:1960
+#: freeculture.xml:809 freeculture.xml:1945 freeculture.xml:1958
msgid "Brandeis, Louis D."
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:803
+#: freeculture.xml:801
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:797
+#: freeculture.xml:795
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 "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:818 freeculture.xml:1706 freeculture.xml:5260 freeculture.xml:6488 freeculture.xml:14070
+#: 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:818
+#: freeculture.xml:816
msgid "permission culture vs."
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:819
+#: freeculture.xml:817
msgid "permission culture"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:819
+#: freeculture.xml:817
msgid "free culture vs."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:825 freeculture.xml:10180
+#: freeculture.xml:823 freeculture.xml:10178
msgid "Litman, Jessica"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:823
+#: freeculture.xml:821
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:821
+#: freeculture.xml:819
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:841
+#: freeculture.xml:839
msgid "protection of artists vs. business interests"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:843
+#: freeculture.xml:841
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:857
+#: freeculture.xml:855
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:876
+#: freeculture.xml:874
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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:885 freeculture.xml:7529
+#: freeculture.xml:883 freeculture.xml:7527
msgid "Valenti, Jack"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:885 freeculture.xml:7529
+#: freeculture.xml:883 freeculture.xml:7527
msgid "on creative property rights"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:895
+#: freeculture.xml:893
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:887
+#: freeculture.xml:885
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:904
+#: freeculture.xml:902
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:912
+#: freeculture.xml:910
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:917 freeculture.xml:6869 freeculture.xml:6982 freeculture.xml:6983 freeculture.xml:6984 freeculture.xml:7029 freeculture.xml:7617 freeculture.xml:8898 freeculture.xml:11183 freeculture.xml:11474 freeculture.xml:12120
+#: 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
msgid "Constitution, U.S."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:917 freeculture.xml:6869 freeculture.xml:7617 freeculture.xml:8898
+#: freeculture.xml:915 freeculture.xml:6867 freeculture.xml:7615 freeculture.xml:8896
msgid "First Amendment to"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:918 freeculture.xml:1083 freeculture.xml:1190 freeculture.xml:1215 freeculture.xml:1559 freeculture.xml:1603 freeculture.xml:1717 freeculture.xml:3119 freeculture.xml:3210 freeculture.xml:4290 freeculture.xml:4291 freeculture.xml:4702 freeculture.xml:4703 freeculture.xml:5304 freeculture.xml:6490 freeculture.xml:6936 freeculture.xml:7016 freeculture.xml:7017 freeculture.xml:7201 freeculture.xml:7300 freeculture.xml:7332 freeculture.xml:7362 freeculture.xml:7397 freeculture.xml:7511 freeculture.xml:7512 freeculture.xml:7573 freeculture.xml:7607 freeculture.xml:7711 freeculture.xml:7725 freeculture.xml:7784 freeculture.xml:7785 freeculture.xml:7883 freeculture.xml:9816 freeculture.xml:10169 freeculture.xml:11123 freeculture.xml:11168
+#: 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:7605 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
msgid "copyright law"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:918 freeculture.xml:7016
+#: freeculture.xml:916 freeculture.xml:7014
msgid "as protection of creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:919 freeculture.xml:6870 freeculture.xml:7618 freeculture.xml:8899
+#: freeculture.xml:917 freeculture.xml:6868 freeculture.xml:7616 freeculture.xml:8897
msgid "First Amendment"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:920 freeculture.xml:930 freeculture.xml:15258
+#: freeculture.xml:918 freeculture.xml:928 freeculture.xml:15256
msgid "Netanel, Neil Weinstock"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:928
+#: freeculture.xml:926
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:922
+#: freeculture.xml:920
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:938
+#: freeculture.xml:936
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:950
+#: freeculture.xml:948
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:958
+#: freeculture.xml:956
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:968 freeculture.xml:13386 freeculture.xml:13469 freeculture.xml:13639
+#: freeculture.xml:966 freeculture.xml:13384 freeculture.xml:13467 freeculture.xml:13637
msgid "intellectual property rights"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:970
+#: freeculture.xml:968
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:988
+#: freeculture.xml:986
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:999
+#: freeculture.xml:997
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:1009
+#: freeculture.xml:1007
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:1015
+#: freeculture.xml:1013
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:1019
+#: freeculture.xml:1017
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:1026
+#: freeculture.xml:1024
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:1035
+#: freeculture.xml:1033
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:1046
+#: freeculture.xml:1044
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:1051
+#: freeculture.xml:1049
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:1059
+#: freeculture.xml:1057
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:1070
+#: freeculture.xml:1068
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:1080
+#: freeculture.xml:1078
msgid "<quote>Piracy</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1083 freeculture.xml:4703
+#: freeculture.xml:1081 freeculture.xml:4701
msgid "English"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1084 freeculture.xml:5113
+#: freeculture.xml:1082 freeculture.xml:5111
msgid "Mansfield, William Murray, Lord"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
-#: freeculture.xml:1085
+#: freeculture.xml:1083
msgid "music publishing"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1086 freeculture.xml:3207
+#: freeculture.xml:1084 freeculture.xml:3205
msgid "sheet music"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1088
+#: freeculture.xml:1086
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:1100
+#: freeculture.xml:1098
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:1096
+#: freeculture.xml:1094
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:1105
+#: freeculture.xml:1103
msgid "efficient content distribution on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1106 freeculture.xml:6718 freeculture.xml:11171
+#: freeculture.xml:1104 freeculture.xml:6716 freeculture.xml:11169
msgid "peer-to-peer (p2p) file sharing"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1106
+#: freeculture.xml:1104
msgid "efficiency of"
msgstr ""
#. PAGE BREAK 31
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1108
+#: freeculture.xml:1106
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:1117
+#: freeculture.xml:1115
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:1126
+#: freeculture.xml:1124
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:1134
+#: freeculture.xml:1132
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:1140
+#: freeculture.xml:1138
msgid "The idea goes something like this:"
msgstr ""
#. type: Content of: <book><part><partintro><blockquote><para>
-#: freeculture.xml:1144
+#: freeculture.xml:1142
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:1152
+#: freeculture.xml:1150
msgid "ASCAP"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
-#: freeculture.xml:1153
+#: freeculture.xml:1151
msgid "Dreyfuss, Rochelle"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
-#: freeculture.xml:1154
+#: freeculture.xml:1152
msgid "Girl Scouts"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1155 freeculture.xml:6987 freeculture.xml:7087 freeculture.xml:7530
+#: freeculture.xml:1153 freeculture.xml:6985 freeculture.xml:7085 freeculture.xml:7528
msgid "creative property"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1155
+#: freeculture.xml:1153
msgid "<quote>if value, then right</quote> theory of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1156 freeculture.xml:3015
+#: freeculture.xml:1154 freeculture.xml:3013
msgid "<quote>if value, then right</quote> theory"
msgstr ""
#. f2
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:1162
+#: freeculture.xml:1160
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:1175 freeculture.xml:7466
+#: freeculture.xml:1173 freeculture.xml:7464
msgid "Zittrain, Jonathan"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:1170
+#: freeculture.xml:1168
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:1158
+#: freeculture.xml:1156
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:1182
+#: freeculture.xml:1180
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:1190 freeculture.xml:7300 freeculture.xml:7397 freeculture.xml:7711
+#: freeculture.xml:1188 freeculture.xml:7298 freeculture.xml:7395 freeculture.xml:7709
msgid "on republishing vs. transformation of original work"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1191 freeculture.xml:1373 freeculture.xml:1530
+#: freeculture.xml:1189 freeculture.xml:1371 freeculture.xml:1528
msgid "creativity"
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><secondary>
-#: freeculture.xml:1191
+#: freeculture.xml:1189
msgid "legal restrictions on"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:1193
+#: freeculture.xml:1191
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:1200
+#: freeculture.xml:1198
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:1208
+#: freeculture.xml:1206
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:1215
+#: freeculture.xml:1213
msgid "creativity impeded by"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1216 freeculture.xml:1247
+#: freeculture.xml:1214 freeculture.xml:1245
msgid "Florida, Richard"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1217 freeculture.xml:1248
+#: freeculture.xml:1215 freeculture.xml:1246
msgid "Rise of the Creative Class, The (Florida)"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:1239
+#: freeculture.xml:1237
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:1219
+#: freeculture.xml:1217
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:1255
+#: freeculture.xml:1253
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:1263
+#: freeculture.xml:1261
msgid "Chapter One: Creators"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1264
+#: freeculture.xml:1262
msgid "animated cartoons"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1265
+#: freeculture.xml:1263
msgid "cartoon films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1266 freeculture.xml:5308 freeculture.xml:5342 freeculture.xml:6057 freeculture.xml:6101
+#: freeculture.xml:1264 freeculture.xml:5306 freeculture.xml:5340 freeculture.xml:6055 freeculture.xml:6099
msgid "films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1266
+#: freeculture.xml:1264
msgid "animated"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1267
+#: freeculture.xml:1265
msgid "Steamboat Willie"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1268 freeculture.xml:7491
+#: freeculture.xml:1266 freeculture.xml:7489
msgid "Mickey Mouse"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1270
+#: freeculture.xml:1268
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:1276 freeculture.xml:1493 freeculture.xml:1547 freeculture.xml:1688 freeculture.xml:1934 freeculture.xml:4538 freeculture.xml:6233 freeculture.xml:7490 freeculture.xml:11064 freeculture.xml:11477
+#: 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
msgid "Disney, Walt"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1278
+#: freeculture.xml:1276
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:1287
+#: freeculture.xml:1285
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:1294
+#: freeculture.xml:1292
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:1307
+#: freeculture.xml:1305
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:1301
+#: freeculture.xml:1299
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:1312
+#: freeculture.xml:1310
msgid "Iwerks, Ub"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1314
+#: freeculture.xml:1312
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:1319
+#: freeculture.xml:1317
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:1328 freeculture.xml:1690
+#: freeculture.xml:1326 freeculture.xml:1688
msgid "Keaton, Buster"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1329 freeculture.xml:1560 freeculture.xml:1948
+#: freeculture.xml:1327 freeculture.xml:1558 freeculture.xml:1946
msgid "Steamboat Bill, Jr."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1331
+#: freeculture.xml:1329
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:1337
+#: freeculture.xml:1335
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:1344 freeculture.xml:1501 freeculture.xml:7301 freeculture.xml:7398 freeculture.xml:7576 freeculture.xml:7680 freeculture.xml:7726
+#: freeculture.xml:1342 freeculture.xml:1499 freeculture.xml:7299 freeculture.xml:7396 freeculture.xml:7574 freeculture.xml:7678 freeculture.xml:7724
msgid "derivative works"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:1344 freeculture.xml:1501 freeculture.xml:7398 freeculture.xml:7576
+#: freeculture.xml:1342 freeculture.xml:1499 freeculture.xml:7396 freeculture.xml:7574
msgid "piracy vs."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:1345 freeculture.xml:1504 freeculture.xml:3014 freeculture.xml:3713 freeculture.xml:7399 freeculture.xml:7577 freeculture.xml:15324
+#: freeculture.xml:1343 freeculture.xml:1502 freeculture.xml:3012 freeculture.xml:3711 freeculture.xml:7397 freeculture.xml:7575 freeculture.xml:15322
msgid "piracy"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:1345 freeculture.xml:1504 freeculture.xml:7399 freeculture.xml:7577
+#: freeculture.xml:1343 freeculture.xml:1502 freeculture.xml:7397 freeculture.xml:7575
msgid "derivative work vs."
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1353
+#: freeculture.xml:1351
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:1347
+#: freeculture.xml:1345
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:1373 freeculture.xml:1530
+#: freeculture.xml:1371 freeculture.xml:1528
msgid "by transforming previous works"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1374 freeculture.xml:6274 freeculture.xml:7783
+#: freeculture.xml:1372 freeculture.xml:6272 freeculture.xml:7781
msgid "Disney, Inc."
msgstr ""
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1380
+#: freeculture.xml:1378
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:1376
+#: freeculture.xml:1374
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:1394 freeculture.xml:1689 freeculture.xml:11065
+#: freeculture.xml:1392 freeculture.xml:1687 freeculture.xml:11063
msgid "Grimm fairy tales"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1396
+#: freeculture.xml:1394
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:1405
+#: freeculture.xml:1403
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:1428
+#: freeculture.xml:1426
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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1439 freeculture.xml:4755 freeculture.xml:4756 freeculture.xml:4822 freeculture.xml:4860 freeculture.xml:4916 freeculture.xml:4962 freeculture.xml:5097 freeculture.xml:5191 freeculture.xml:6685 freeculture.xml:6985 freeculture.xml:6986 freeculture.xml:6989 freeculture.xml:7058 freeculture.xml:7084 freeculture.xml:7123 freeculture.xml:7246 freeculture.xml:7293 freeculture.xml:7330 freeculture.xml:7633 freeculture.xml:7804 freeculture.xml:11122 freeculture.xml:11146 freeculture.xml:11475 freeculture.xml:11476
+#: 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
msgid "copyright"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1439 freeculture.xml:4755 freeculture.xml:4916 freeculture.xml:6986 freeculture.xml:6989 freeculture.xml:7084 freeculture.xml:11122 freeculture.xml:11476
+#: freeculture.xml:1437 freeculture.xml:4753 freeculture.xml:4914 freeculture.xml:6984 freeculture.xml:6987 freeculture.xml:7082 freeculture.xml:11120 freeculture.xml:11474
msgid "duration of"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:1440 freeculture.xml:1441 freeculture.xml:5192 freeculture.xml:7088 freeculture.xml:7211 freeculture.xml:8096 freeculture.xml:11056 freeculture.xml:13474 freeculture.xml:14264 freeculture.xml:14265
+#: 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
msgid "public domain"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1440
+#: freeculture.xml:1438
msgid "defined"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1441
+#: freeculture.xml:1439
msgid "traditional term for conversion to"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1448
+#: freeculture.xml:1446
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:1442
+#: freeculture.xml:1440
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:1465
+#: freeculture.xml:1463
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:1476
+#: freeculture.xml:1474
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:1495
+#: freeculture.xml:1493
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:1500 freeculture.xml:1604 freeculture.xml:1718
+#: freeculture.xml:1498 freeculture.xml:1602 freeculture.xml:1716
msgid "comics, Japanese"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1502 freeculture.xml:1720
+#: freeculture.xml:1500 freeculture.xml:1718
msgid "Japanese comics"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1503 freeculture.xml:1721
+#: freeculture.xml:1501 freeculture.xml:1719
msgid "manga"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1506
+#: freeculture.xml:1504
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:1515
+#: freeculture.xml:1513
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:1526
+#: freeculture.xml:1524
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:1531 freeculture.xml:1719
+#: freeculture.xml:1529 freeculture.xml:1717
msgid "doujinshi comics"
msgstr ""
#. PAGE BREAK 39
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1533
+#: freeculture.xml:1531
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:1549
+#: freeculture.xml:1547
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:1559 freeculture.xml:1603 freeculture.xml:1717
+#: freeculture.xml:1557 freeculture.xml:1601 freeculture.xml:1715
msgid "Japanese"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1562
+#: freeculture.xml:1560
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:1576
+#: freeculture.xml:1574
msgid "Winick, Judd"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1588
+#: freeculture.xml:1586
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:1578
+#: freeculture.xml:1576
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:1593
+#: freeculture.xml:1591
msgid "Superman comics"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1595
+#: freeculture.xml:1593
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:1605
+#: freeculture.xml:1603
msgid "Mehra, Salil"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1615
+#: freeculture.xml:1613
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:1607
+#: freeculture.xml:1605
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:1629
+#: freeculture.xml:1627
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:1642
+#: freeculture.xml:1640
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:1649
+#: freeculture.xml:1647
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:1662
+#: freeculture.xml:1660
msgid "<emphasis role='strong'>Let's pause</emphasis> for a moment."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1665
+#: freeculture.xml:1663
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:1675 freeculture.xml:3032 freeculture.xml:4768 freeculture.xml:5027 freeculture.xml:7914 freeculture.xml:9043
+#: freeculture.xml:1673 freeculture.xml:3030 freeculture.xml:4766 freeculture.xml:5025 freeculture.xml:7912 freeculture.xml:9041
msgid "Vaidhyanathan, Siva"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1675
+#: freeculture.xml:1673
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:1670
+#: freeculture.xml:1668
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:1692
+#: freeculture.xml:1690
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:1706
+#: freeculture.xml:1704
msgid "derivative works based on"
msgstr ""
#. PAGE BREAK 42
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1708
+#: freeculture.xml:1706
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:1723
+#: freeculture.xml:1721
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:1732
+#: freeculture.xml:1730
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:1743 freeculture.xml:4708 freeculture.xml:4840 freeculture.xml:4877 freeculture.xml:5207
+#: freeculture.xml:1741 freeculture.xml:4706 freeculture.xml:4838 freeculture.xml:4875 freeculture.xml:5205
msgid "Shakespeare, William"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1745
+#: freeculture.xml:1743
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:1759
+#: freeculture.xml:1757
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:1771
+#: freeculture.xml:1769
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:1783
+#: freeculture.xml:1781
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:1792
+#: freeculture.xml:1790
msgid "Chapter Two: <quote>Mere Copyists</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1793
+#: freeculture.xml:1791
msgid "Daguerre, Louis"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:1794 freeculture.xml:1949 freeculture.xml:2004 freeculture.xml:6796
+#: freeculture.xml:1792 freeculture.xml:1947 freeculture.xml:2002 freeculture.xml:6794
msgid "camera technology"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1795
+#: freeculture.xml:1793
msgid "photography"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1797
+#: freeculture.xml:1795
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:1806
+#: freeculture.xml:1804
msgid "Talbot, William"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1808
+#: freeculture.xml:1806
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:1818
+#: freeculture.xml:1816
msgid "Eastman, George"
msgstr ""
#. PAGE BREAK 45
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1820
+#: freeculture.xml:1818
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:1831 freeculture.xml:1986 freeculture.xml:6798
+#: freeculture.xml:1829 freeculture.xml:1984 freeculture.xml:6796
msgid "Kodak cameras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1832
+#: freeculture.xml:1830
msgid "Kodak Primer, The (Eastman)"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1839
+#: freeculture.xml:1837
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:1834
+#: freeculture.xml:1832
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:1855 freeculture.xml:1881
+#: freeculture.xml:1853 freeculture.xml:1879
msgid "Coe, Brian"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#: freeculture.xml:1855
+#: freeculture.xml:1853
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:1844
+#: freeculture.xml:1842
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:1874
+#: freeculture.xml:1872
msgid "Jenkins, 177."
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1878
+#: freeculture.xml:1876
msgid "Based on a chart in Jenkins, p. 178."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1863
+#: freeculture.xml:1861
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:1896
+#: freeculture.xml:1894
msgid "Coe, 58."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1885
+#: freeculture.xml:1883
msgid ""
"The real significance of Eastman's invention, however, was not economic. It "
"was social. Professional photography gave individuals a glimpse of places "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1899 freeculture.xml:2005 freeculture.xml:2383 freeculture.xml:2401
+#: freeculture.xml:1897 freeculture.xml:2003 freeculture.xml:2381 freeculture.xml:2399
msgid "democracy"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1899 freeculture.xml:2005 freeculture.xml:2383
+#: freeculture.xml:1897 freeculture.xml:2003 freeculture.xml:2381
msgid "in technologies of expression"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1900 freeculture.xml:2006 freeculture.xml:2046 freeculture.xml:2385
+#: freeculture.xml:1898 freeculture.xml:2004 freeculture.xml:2044 freeculture.xml:2383
msgid "expression, technologies of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1900 freeculture.xml:2006 freeculture.xml:2385
+#: freeculture.xml:1898 freeculture.xml:2004 freeculture.xml:2383
msgid "democratic"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1902
+#: freeculture.xml:1900
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:1915
+#: freeculture.xml:1913
msgid "permissions"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:1915
+#: freeculture.xml:1913
msgid "photography exempted from"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1926
+#: freeculture.xml:1924
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:1917
+#: freeculture.xml:1915
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:1935 freeculture.xml:9742
+#: freeculture.xml:1933 freeculture.xml:9740
msgid "images, ownership of"
msgstr ""
#. PAGE BREAK 47
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1937
+#: freeculture.xml:1935
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:1961
+#: freeculture.xml:1959
msgid "Warren, Samuel D."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:1958
+#: freeculture.xml:1956
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:1951
+#: freeculture.xml:1949
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:1979
+#: freeculture.xml:1977
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:1969
+#: freeculture.xml:1967
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:1987 freeculture.xml:3815 freeculture.xml:3837 freeculture.xml:3838 freeculture.xml:5787 freeculture.xml:9983
+#: freeculture.xml:1985 freeculture.xml:3813 freeculture.xml:3835 freeculture.xml:3836 freeculture.xml:5785 freeculture.xml:9981
msgid "Napster"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:1989
+#: freeculture.xml:1987
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:2010
+#: freeculture.xml:2008
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:2026 freeculture.xml:6797
+#: freeculture.xml:2024 freeculture.xml:6795
msgid "digital cameras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2027
+#: freeculture.xml:2025
msgid "Just Think!"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2029
+#: freeculture.xml:2027
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:2044 freeculture.xml:2842
+#: freeculture.xml:2042 freeculture.xml:2840
msgid "education"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2044
+#: freeculture.xml:2042
msgid "in media literacy"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2045
+#: freeculture.xml:2043
msgid "media literacy"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2046
+#: freeculture.xml:2044
msgid "media literacy and"
msgstr ""
#. f9
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2054
+#: freeculture.xml:2052
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:2048
+#: freeculture.xml:2046
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:2064
+#: freeculture.xml:2062
msgid "Yanofsky, Dave"
msgstr ""
#. PAGE BREAK 49
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2067
+#: freeculture.xml:2065
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:2075
+#: freeculture.xml:2073
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:2080 freeculture.xml:2632 freeculture.xml:6793 freeculture.xml:7764 freeculture.xml:8865 freeculture.xml:8919
+#: freeculture.xml:2078 freeculture.xml:2630 freeculture.xml:6791 freeculture.xml:7762 freeculture.xml:8863 freeculture.xml:8917
msgid "advertising"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2081 freeculture.xml:6795 freeculture.xml:8866
+#: freeculture.xml:2079 freeculture.xml:6793 freeculture.xml:8864
msgid "commercials"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:2082 freeculture.xml:6794 freeculture.xml:8867 freeculture.xml:8901 freeculture.xml:15322
+#: freeculture.xml:2080 freeculture.xml:6792 freeculture.xml:8865 freeculture.xml:8899 freeculture.xml:15320
msgid "television"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2082 freeculture.xml:6794 freeculture.xml:8867
+#: freeculture.xml:2080 freeculture.xml:6792 freeculture.xml:8865
msgid "advertising on"
msgstr ""
#. f10
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2088
+#: freeculture.xml:2086
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:2084
+#: freeculture.xml:2082
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:2099
+#: freeculture.xml:2097
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:2110
+#: freeculture.xml:2108
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:2117 freeculture.xml:2133 freeculture.xml:2239
+#: freeculture.xml:2115 freeculture.xml:2131 freeculture.xml:2237
msgid "Daley, Elizabeth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2118
+#: freeculture.xml:2116
msgid "Crichton, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2132 freeculture.xml:2192 freeculture.xml:2199 freeculture.xml:2272 freeculture.xml:2695
+#: freeculture.xml:2130 freeculture.xml:2190 freeculture.xml:2197 freeculture.xml:2270 freeculture.xml:2693
msgid "Barish, Stephanie"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2130
+#: freeculture.xml:2128
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:2144
+#: freeculture.xml:2142
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:2120
+#: freeculture.xml:2118
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:2151
+#: freeculture.xml:2149
msgid "computer games"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2153
+#: freeculture.xml:2151
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:2160
+#: freeculture.xml:2158
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:2167
+#: freeculture.xml:2165
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:2175
+#: freeculture.xml:2173
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:2191
+#: freeculture.xml:2189
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:2196 freeculture.xml:4082 freeculture.xml:5255 freeculture.xml:8754
+#: freeculture.xml:2194 freeculture.xml:4080 freeculture.xml:5253 freeculture.xml:8752
msgid "Ibid."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2180
+#: freeculture.xml:2178
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:2201
+#: freeculture.xml:2199
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:2214
+#: freeculture.xml:2212
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:2222
+#: freeculture.xml:2220
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 "
#. PAGE BREAK 52
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2243
+#: freeculture.xml:2241
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:2254
+#: freeculture.xml:2252
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:2274
+#: freeculture.xml:2272
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:2281
+#: freeculture.xml:2279
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:2295 freeculture.xml:2354 freeculture.xml:6086
+#: freeculture.xml:2293 freeculture.xml:2352 freeculture.xml:6084
msgid "September 11, 2001, terrorist attacks of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2296
+#: freeculture.xml:2294
msgid "World Trade Center"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2297 freeculture.xml:6006
+#: freeculture.xml:2295 freeculture.xml:6004
msgid "news coverage"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2299
+#: freeculture.xml:2297
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:2311
+#: freeculture.xml:2309
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:2318 freeculture.xml:8693 freeculture.xml:8913
+#: freeculture.xml:2316 freeculture.xml:8691 freeculture.xml:8911
msgid "ABC"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2319
+#: freeculture.xml:2317
msgid "CBS"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2321
+#: freeculture.xml:2319
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:2336
+#: freeculture.xml:2334
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:2346
+#: freeculture.xml:2344
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:2355 freeculture.xml:2450 freeculture.xml:2589
+#: freeculture.xml:2353 freeculture.xml:2448 freeculture.xml:2587
msgid "blogs (Web-logs)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2356 freeculture.xml:2452
+#: freeculture.xml:2354 freeculture.xml:2450
msgid "blogs on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2357 freeculture.xml:2453
+#: freeculture.xml:2355 freeculture.xml:2451
msgid "Web-logs (blogs)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2359
+#: freeculture.xml:2357
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:2367 freeculture.xml:2436
+#: freeculture.xml:2365 freeculture.xml:2434
msgid "political discourse"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2368
+#: freeculture.xml:2366
msgid "public discourse conducted on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2370
+#: freeculture.xml:2368
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:2384
+#: freeculture.xml:2382
msgid "elections"
msgstr ""
#. PAGE BREAK 55
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2387
+#: freeculture.xml:2385
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:2400
+#: freeculture.xml:2398
msgid "Tocqueville, Alexis de"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2401
+#: freeculture.xml:2399
msgid "public discourse in"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2402
+#: freeculture.xml:2400
msgid "jury system"
msgstr ""
#. f15
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2419
+#: freeculture.xml:2417
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:2404
+#: freeculture.xml:2402
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:2429
+#: freeculture.xml:2427
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:2425
+#: freeculture.xml:2423
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:2445
+#: freeculture.xml:2443
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:2438
+#: freeculture.xml:2436
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:2451
+#: freeculture.xml:2449
msgid "e-mail"
msgstr ""
#. PAGE BREAK 56
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2458
+#: freeculture.xml:2456
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:2469
+#: freeculture.xml:2467
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:2476
+#: freeculture.xml:2474
msgid "Dean, Howard"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2478
+#: freeculture.xml:2476
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:2483
+#: freeculture.xml:2481
msgid "Lott, Trent"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2484
+#: freeculture.xml:2482
msgid "Thurmond, Strom"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2485
+#: freeculture.xml:2483
msgid "blog pressure on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2486
+#: freeculture.xml:2484
msgid "news events on"
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2499
+#: freeculture.xml:2497
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:2488
+#: freeculture.xml:2486
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:2503 freeculture.xml:2537
+#: freeculture.xml:2501 freeculture.xml:2535
msgid "commercial imperatives of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2505
+#: freeculture.xml:2503
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:2512
+#: freeculture.xml:2510
msgid "peer-generated rankings on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2514
+#: freeculture.xml:2512
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:2523
+#: freeculture.xml:2521
msgid "journalism"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2524
+#: freeculture.xml:2522
msgid "Winer, Dave"
msgstr ""
#. PAGE BREAK 57
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2526
+#: freeculture.xml:2524
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:2536 freeculture.xml:2586
+#: freeculture.xml:2534 freeculture.xml:2584
msgid "CNN"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2538 freeculture.xml:2587 freeculture.xml:5950
+#: freeculture.xml:2536 freeculture.xml:2585 freeculture.xml:5948
msgid "Iraq war"
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2547
+#: freeculture.xml:2545
msgid "Telephone interview with David Winer, 16 April 2003."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2541
+#: freeculture.xml:2539
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:2567
+#: freeculture.xml:2565
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:2559
+#: freeculture.xml:2557
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:2588
+#: freeculture.xml:2586
msgid "Olafson, Steve"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2586
+#: freeculture.xml:2584
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:2579
+#: freeculture.xml:2577
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:2610
+#: freeculture.xml:2608
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:2631 freeculture.xml:6784
+#: freeculture.xml:2629 freeculture.xml:6782
msgid "Brown, John Seely"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2634
+#: freeculture.xml:2632
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:2640
+#: freeculture.xml:2638
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:2647
+#: freeculture.xml:2645
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:2660
+#: freeculture.xml:2658
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:2667
+#: freeculture.xml:2665
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:2675
+#: freeculture.xml:2673
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:2684
+#: freeculture.xml:2682
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:2697
+#: freeculture.xml:2695
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:2705
+#: freeculture.xml:2703
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:2721
+#: freeculture.xml:2719
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:2714
+#: freeculture.xml:2712
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:2729
+#: freeculture.xml:2727
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:2734
+#: freeculture.xml:2732
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:2742
+#: freeculture.xml:2740
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2748
+#: freeculture.xml:2746
msgid ""
"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet "
"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:2755
+#: freeculture.xml:2753
msgid "Chapter Three: Catalogs"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2756 freeculture.xml:2799 freeculture.xml:9657
+#: freeculture.xml:2754 freeculture.xml:2797 freeculture.xml:9655
msgid "Jordan, Jesse"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2757
+#: freeculture.xml:2755
msgid "RPI"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2757 freeculture.xml:2758 freeculture.xml:2759
+#: freeculture.xml:2755 freeculture.xml:2756 freeculture.xml:2757
msgid "Rensselaer Polytechnic Institute (RPI)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2759
+#: freeculture.xml:2757
msgid "computer network search engine of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2760
+#: freeculture.xml:2758
msgid "search engines"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2761
+#: freeculture.xml:2759
msgid "university computer networks, p2p sharing on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2762
+#: freeculture.xml:2760
msgid "search engines used on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2764
+#: freeculture.xml:2762
msgid ""
"<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan of "
"Oceanside, New York, enrolled as a freshman at Rensselaer Polytechnic "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2772
+#: freeculture.xml:2770
msgid ""
"RPI is one of America's foremost technological research institutions. It "
"offers degrees in fields ranging from architecture and engineering to "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2780
+#: freeculture.xml:2778
msgid ""
"RPI's computer network links students, faculty, and administration to one "
"another. It also links RPI to the Internet. Not everything available on the "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2786 freeculture.xml:2841
+#: freeculture.xml:2784 freeculture.xml:2839
msgid "Google"
msgstr ""
#. PAGE BREAK 62
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2788
+#: freeculture.xml:2786
msgid ""
"Search engines are a measure of a network's intimacy. Google brought the "
"Internet much closer to all of us by fantastically improving the quality of "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:2800 freeculture.xml:3717 freeculture.xml:3719 freeculture.xml:3720 freeculture.xml:5539 freeculture.xml:8225 freeculture.xml:13573 freeculture.xml:13642
+#: freeculture.xml:2798 freeculture.xml:3715 freeculture.xml:3717 freeculture.xml:3718 freeculture.xml:5537 freeculture.xml:8223 freeculture.xml:13571 freeculture.xml:13640
msgid "Microsoft"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2800
+#: freeculture.xml:2798
msgid "network file system of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2802
+#: freeculture.xml:2800
msgid ""
"These engines are enabled by the network technology itself. Microsoft, for "
"example, has a network file system that makes it very easy for search "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2812
+#: freeculture.xml:2810
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2825
+#: freeculture.xml:2823
msgid ""
"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 "
#. PAGE BREAK 63
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2833
+#: freeculture.xml:2831
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2842
+#: freeculture.xml:2840
msgid "tinkering as means of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2844
+#: freeculture.xml:2842
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2858 freeculture.xml:9655 freeculture.xml:9932
+#: freeculture.xml:2856 freeculture.xml:9653 freeculture.xml:9930
msgid "in recording industry"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2859
+#: freeculture.xml:2857
msgid "against student file sharing"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2860 freeculture.xml:2958 freeculture.xml:3211 freeculture.xml:3340 freeculture.xml:4293 freeculture.xml:4294 freeculture.xml:4295 freeculture.xml:9933 freeculture.xml:10344 freeculture.xml:10345 freeculture.xml:10346 freeculture.xml:10502
+#: 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
msgid "recording industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2860 freeculture.xml:9933
+#: freeculture.xml:2858 freeculture.xml:9931
msgid "copyright infringement lawsuits of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2861 freeculture.xml:2890 freeculture.xml:2959 freeculture.xml:9934 freeculture.xml:10347 freeculture.xml:10348 freeculture.xml:10500
+#: freeculture.xml:2859 freeculture.xml:2888 freeculture.xml:2957 freeculture.xml:9932 freeculture.xml:10345 freeculture.xml:10346 freeculture.xml:10498
msgid "Recording Industry Association of America (RIAA)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2861 freeculture.xml:9934
+#: freeculture.xml:2859 freeculture.xml:9932
msgid "copyright infringement lawsuits filed by"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2864
+#: freeculture.xml:2862
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2873
+#: freeculture.xml:2871
msgid ""
"<quote>It was absurd,</quote> he told me. <quote>I don't think I did "
"anything wrong. … I don't think there's anything wrong with the "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2886 freeculture.xml:9654 freeculture.xml:9931
+#: freeculture.xml:2884 freeculture.xml:9652 freeculture.xml:9929
msgid "exaggerated claims of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2887
+#: freeculture.xml:2885
msgid "statutory damages of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2888
+#: freeculture.xml:2886
msgid "individual defendants intimidated by"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2889
+#: freeculture.xml:2887
msgid "statutory damages"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:2890
+#: freeculture.xml:2888
msgid "intimidation tactics of"
msgstr ""
#. PAGE BREAK 64
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2892
+#: freeculture.xml:2890
msgid ""
"But the RIAA branded Jesse a pirate. They claimed he operated a network and "
"had therefore <quote>willfully</quote> violated copyright laws. They "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2902
+#: freeculture.xml:2900
msgid "Michigan Technical University"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2903
+#: freeculture.xml:2901
msgid "Princeton University"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2917
+#: freeculture.xml:2915
msgid ""
"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit "
"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2905
+#: freeculture.xml:2903
msgid ""
"Similar lawsuits were brought against three other students: one other "
"student at RPI, one at Michigan Technical University, and one at "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2924
+#: freeculture.xml:2922
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2930
+#: freeculture.xml:2928
msgid "Oppenheimer, Matt"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2932
+#: freeculture.xml:2930
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2942
+#: freeculture.xml:2940
msgid "legal system, attorney costs in"
msgstr ""
#. PAGE BREAK 65
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2944
+#: freeculture.xml:2942
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2954
+#: freeculture.xml:2952
msgid ""
"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or "
"$12,000 and a settlement."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:2957 freeculture.xml:3341 freeculture.xml:4286 freeculture.xml:5548 freeculture.xml:5597 freeculture.xml:10242 freeculture.xml:10340 freeculture.xml:10501 freeculture.xml:10524 freeculture.xml:15223 freeculture.xml:15288
+#: 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
msgid "artists"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:2957 freeculture.xml:3341 freeculture.xml:4286 freeculture.xml:10242 freeculture.xml:10340 freeculture.xml:10501 freeculture.xml:10524 freeculture.xml:15223 freeculture.xml:15288
+#: 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
msgid "recording industry payments to"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2958 freeculture.xml:4293 freeculture.xml:10344 freeculture.xml:10502
+#: freeculture.xml:2956 freeculture.xml:4291 freeculture.xml:10342 freeculture.xml:10500
msgid "artist remuneration in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:2959 freeculture.xml:10348
+#: freeculture.xml:2957 freeculture.xml:10346
msgid "lobbying power of"
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2969
+#: freeculture.xml:2967
msgid ""
"Occupational Employment Survey, U.S. Dept. of Labor (2001) "
"(27–2042—Musicians and Singers). See also National Endowment for "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2977
+#: freeculture.xml:2975
msgid ""
"Douglas Lichtman makes a related point in <quote>KaZaA and "
"Punishment,</quote> <citetitle>Wall Street Journal</citetitle>, 10 September "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2961
+#: freeculture.xml:2959
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2984
+#: freeculture.xml:2982
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:2991
+#: freeculture.xml:2989
msgid ""
"I was definitely not an activist [before]. I never really meant to be an "
"activist. … [But] I've been pushed into this. In no way did I ever "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2998
+#: freeculture.xml:2996
msgid ""
"Jesse's parents betray a certain pride in their reluctant activist. As his "
"father told me, Jesse <quote>considers himself very conservative, and so do "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:3013
+#: freeculture.xml:3011
msgid "Chapter Four: <quote>Pirates</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:3014
+#: freeculture.xml:3012
msgid "in development of content industry"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:3017
+#: freeculture.xml:3015
msgid ""
"<emphasis role='strong'>If <quote>piracy</quote> means</emphasis> using the "
"creative property of others without their permission—if <quote>if "
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:3028
+#: freeculture.xml:3026
msgid "Film"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3032
+#: freeculture.xml:3030
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:3030
+#: freeculture.xml:3028
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:3048
+#: freeculture.xml:3046
msgid "As one commentator tells one part of the story,"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:3052
+#: freeculture.xml:3050
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:3060
+#: freeculture.xml:3058
msgid "Fox, William"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary>
-#: freeculture.xml:3061
+#: freeculture.xml:3059
msgid "General Film Company"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3062 freeculture.xml:3359 freeculture.xml:4520 freeculture.xml:10390
+#: freeculture.xml:3060 freeculture.xml:3357 freeculture.xml:4518 freeculture.xml:10388
msgid "Picker, Randal C."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3086 freeculture.xml:4519 freeculture.xml:10110 freeculture.xml:10223
+#: freeculture.xml:3084 freeculture.xml:4517 freeculture.xml:10108 freeculture.xml:10221
msgid "broadcast flag"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3075
+#: freeculture.xml:3073
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:3064
+#: freeculture.xml:3062
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:3097
+#: freeculture.xml:3095
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:3091
+#: freeculture.xml:3089
msgid ""
"The Napsters of those days, the <quote>independents,</quote> were companies "
"like Fox. And no less than today, these independents were vigorously "
#. PAGE BREAK 68
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3107
+#: freeculture.xml:3105
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:3118
+#: freeculture.xml:3116
msgid "Recorded Music"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3119 freeculture.xml:4290
+#: freeculture.xml:3117 freeculture.xml:4288
msgid "on music recordings"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3121
+#: freeculture.xml:3119
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:3124
+#: freeculture.xml:3122
msgid "Fourneaux, Henri"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3125
+#: freeculture.xml:3123
msgid "Russel, Phil"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3127
+#: freeculture.xml:3125
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:3136 freeculture.xml:3274
+#: freeculture.xml:3134 freeculture.xml:3272
msgid "Beatles"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3138
+#: freeculture.xml:3136
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:3161 freeculture.xml:3178
+#: freeculture.xml:3159 freeculture.xml:3176
msgid "Kittredge, Alfred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3157
+#: freeculture.xml:3155
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:3172
+#: freeculture.xml:3170
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:3165
+#: freeculture.xml:3163
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:3182
+#: freeculture.xml:3180
msgid "Sousa, John Philip"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3188
+#: freeculture.xml:3186
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:3194
+#: freeculture.xml:3192
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:3201
+#: freeculture.xml:3199
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:3184
+#: freeculture.xml:3182
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:3205
+#: freeculture.xml:3203
msgid "American Graphophone Company"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3206
+#: freeculture.xml:3204
msgid "player pianos"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:3208 freeculture.xml:3209 freeculture.xml:4288 freeculture.xml:4289 freeculture.xml:4372 freeculture.xml:4373 freeculture.xml:6996 freeculture.xml:7085 freeculture.xml:7199 freeculture.xml:7200 freeculture.xml:10341 freeculture.xml:10342 freeculture.xml:10343 freeculture.xml:11121 freeculture.xml:11182 freeculture.xml:12119
+#: 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
msgid "Congress, U.S."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3208 freeculture.xml:4288 freeculture.xml:4372 freeculture.xml:7085 freeculture.xml:7199 freeculture.xml:10341
+#: freeculture.xml:3206 freeculture.xml:4286 freeculture.xml:4370 freeculture.xml:7083 freeculture.xml:7197 freeculture.xml:10339
msgid "on copyright laws"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3209 freeculture.xml:4289 freeculture.xml:10343
+#: freeculture.xml:3207 freeculture.xml:4287 freeculture.xml:10341
msgid "on recording industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3210 freeculture.xml:4291 freeculture.xml:10169
+#: freeculture.xml:3208 freeculture.xml:4289 freeculture.xml:10167
msgid "statutory licenses in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3211
+#: freeculture.xml:3209
msgid "statutory license system in"
msgstr ""
#. f8
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3221
+#: freeculture.xml:3219
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:3232
+#: freeculture.xml:3230
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:3213
+#: freeculture.xml:3211
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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3237
+#: freeculture.xml:3235
msgid "cover songs"
msgstr ""
#. PAGE BREAK 70
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3239
+#: freeculture.xml:3237
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:3253
+#: freeculture.xml:3251
msgid "compulsory license"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3254 freeculture.xml:4296 freeculture.xml:10168
+#: freeculture.xml:3252 freeculture.xml:4294 freeculture.xml:10166
msgid "statutory licenses"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3256
+#: freeculture.xml:3254
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:3263 freeculture.xml:14919
+#: freeculture.xml:3261 freeculture.xml:14917
msgid "Grisham, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3265
+#: freeculture.xml:3263
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:3290
+#: freeculture.xml:3288
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:3276
+#: freeculture.xml:3274
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:3301
+#: freeculture.xml:3299
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:3323
+#: freeculture.xml:3321
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:3308
+#: freeculture.xml:3306
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:3334
+#: freeculture.xml:3332
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:3339 freeculture.xml:4484
+#: freeculture.xml:3337 freeculture.xml:4482
msgid "Radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3340 freeculture.xml:4295 freeculture.xml:10345
+#: freeculture.xml:3338 freeculture.xml:4293 freeculture.xml:10343
msgid "radio broadcast and"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3343
+#: freeculture.xml:3341
msgid "Radio was also born of piracy."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3358
+#: freeculture.xml:3356
msgid "Hand, Learned"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3349
+#: freeculture.xml:3347
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:3346
+#: freeculture.xml:3344
msgid ""
"When a radio station plays a record on the air, that constitutes a "
"<quote>public performance</quote> of the composer's work.<placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:3376 freeculture.xml:9411 freeculture.xml:9886 freeculture.xml:12968
+#: freeculture.xml:3374 freeculture.xml:9409 freeculture.xml:9884 freeculture.xml:12966
msgid "Lovett, Lyle"
msgstr ""
#. PAGE BREAK 72
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3366
+#: freeculture.xml:3364
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:3381
+#: freeculture.xml:3379
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:3388 freeculture.xml:3900 freeculture.xml:6507 freeculture.xml:6523
+#: freeculture.xml:3386 freeculture.xml:3898 freeculture.xml:6505 freeculture.xml:6521
msgid "Madonna"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3390
+#: freeculture.xml:3388
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:3396
+#: freeculture.xml:3394
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:3408
+#: freeculture.xml:3406
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:3418 freeculture.xml:4490
+#: freeculture.xml:3416 freeculture.xml:4488
msgid "Cable TV"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3419 freeculture.xml:4310 freeculture.xml:8590 freeculture.xml:8629 freeculture.xml:15321
+#: freeculture.xml:3417 freeculture.xml:4308 freeculture.xml:8588 freeculture.xml:8627 freeculture.xml:15319
msgid "cable television"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3421
+#: freeculture.xml:3419
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:3424
+#: freeculture.xml:3422
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:3434
+#: freeculture.xml:3432
msgid "Anello, Douglas"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3435
+#: freeculture.xml:3433
msgid "Burdick, Quentin"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3436 freeculture.xml:3447
+#: freeculture.xml:3434 freeculture.xml:3445
msgid "Hyde, Rosel H."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3442
+#: freeculture.xml:3440
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:3454
+#: freeculture.xml:3452
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:3438
+#: freeculture.xml:3436
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:3465
+#: freeculture.xml:3463
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:3461
+#: freeculture.xml:3459
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:3471
+#: freeculture.xml:3469
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:3480
+#: freeculture.xml:3478
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:3475
+#: freeculture.xml:3473
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:3486 freeculture.xml:3494
+#: freeculture.xml:3484 freeculture.xml:3492
msgid "Heston, Charlton"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3492
+#: freeculture.xml:3490
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:3488
+#: freeculture.xml:3486
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:3499
+#: freeculture.xml:3497
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:3515 freeculture.xml:3517
+#: freeculture.xml:3513 freeculture.xml:3515
msgid "Zimmerman, Edwin"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3513
+#: freeculture.xml:3511
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:3504
+#: freeculture.xml:3502
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:3521
+#: freeculture.xml:3519
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:3525
+#: freeculture.xml:3523
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:3544
+#: freeculture.xml:3542
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:3539
+#: freeculture.xml:3537
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:3561
+#: freeculture.xml:3559
msgid "Chapter Five: <quote>Piracy</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:3563
+#: freeculture.xml:3561
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:3571
+#: freeculture.xml:3569
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:3581
+#: freeculture.xml:3579
msgid "Piracy I"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3582 freeculture.xml:3662 freeculture.xml:3712 freeculture.xml:15323
+#: freeculture.xml:3580 freeculture.xml:3660 freeculture.xml:3710 freeculture.xml:15321
msgid "Asia, commercial piracy in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3583 freeculture.xml:4035 freeculture.xml:9887 freeculture.xml:10742 freeculture.xml:14714 freeculture.xml:15305
+#: freeculture.xml:3581 freeculture.xml:4033 freeculture.xml:9885 freeculture.xml:10740 freeculture.xml:14712 freeculture.xml:15303
msgid "CDs"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3583
+#: freeculture.xml:3581
msgid "foreign piracy of"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3591
+#: freeculture.xml:3589
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:3585
+#: freeculture.xml:3583
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:3601
+#: freeculture.xml:3599
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:3607
+#: freeculture.xml:3605
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:3616
+#: freeculture.xml:3614
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:3627
+#: freeculture.xml:3625
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:3655
+#: freeculture.xml:3653
msgid "agricultural patents"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3656 freeculture.xml:13260 freeculture.xml:13751 freeculture.xml:13758
+#: freeculture.xml:3654 freeculture.xml:13258 freeculture.xml:13749 freeculture.xml:13756
msgid "Drahos, Peter"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3640
+#: freeculture.xml:3638
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:3635
+#: freeculture.xml:3633
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:3677 freeculture.xml:3956 freeculture.xml:15471
+#: freeculture.xml:3675 freeculture.xml:3954 freeculture.xml:15469
msgid "Liebowitz, Stan"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3670
+#: freeculture.xml:3668
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:3664
+#: freeculture.xml:3662
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:3681
+#: freeculture.xml:3679
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:3695
+#: freeculture.xml:3693
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:3713 freeculture.xml:15324
+#: freeculture.xml:3711 freeculture.xml:15322
msgid "in Asia"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3714 freeculture.xml:13571 freeculture.xml:14157
+#: freeculture.xml:3712 freeculture.xml:13569 freeculture.xml:14155
msgid "free software/open-source software (FS/OSS)"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3715 freeculture.xml:3745 freeculture.xml:12051 freeculture.xml:13586 freeculture.xml:14213
+#: freeculture.xml:3713 freeculture.xml:3743 freeculture.xml:12049 freeculture.xml:13584 freeculture.xml:14211
msgid "GNU/Linux operating system"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3716 freeculture.xml:3746 freeculture.xml:12053 freeculture.xml:13587 freeculture.xml:14214
+#: freeculture.xml:3714 freeculture.xml:3744 freeculture.xml:12051 freeculture.xml:13585 freeculture.xml:14212
msgid "Linux operating system"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3717
+#: freeculture.xml:3715
msgid "competitive strategies of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3718
+#: freeculture.xml:3716
msgid "Windows"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3719
+#: freeculture.xml:3717
msgid "international software piracy of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:3720
+#: freeculture.xml:3718
msgid "Windows operating system of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3722
+#: freeculture.xml:3720
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:3734 freeculture.xml:4777 freeculture.xml:5001 freeculture.xml:6491 freeculture.xml:6567 freeculture.xml:6702 freeculture.xml:7114 freeculture.xml:14245
+#: freeculture.xml:3732 freeculture.xml:4775 freeculture.xml:4999 freeculture.xml:6489 freeculture.xml:6565 freeculture.xml:6700 freeculture.xml:7112 freeculture.xml:14243
msgid "law"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:3734 freeculture.xml:14245
+#: freeculture.xml:3732 freeculture.xml:14243
msgid "databases of case reports in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3736
+#: freeculture.xml:3734
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:3743
+#: freeculture.xml:3741
msgid "Netscape"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3744
+#: freeculture.xml:3742
msgid "Internet Explorer"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3748
+#: freeculture.xml:3746
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:3762
+#: freeculture.xml:3760
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:3772
+#: freeculture.xml:3770
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:3781
+#: freeculture.xml:3779
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:3787
+#: freeculture.xml:3785
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:3793
+#: freeculture.xml:3791
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:3799
+#: freeculture.xml:3797
msgid "Piracy II"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3804
+#: freeculture.xml:3802
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:3801
+#: freeculture.xml:3799
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:3813
+#: freeculture.xml:3811
msgid "Fanning, Shawn"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3814 freeculture.xml:3821 freeculture.xml:9817
+#: freeculture.xml:3812 freeculture.xml:3819 freeculture.xml:9815
msgid "innovation"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3831 freeculture.xml:8823
+#: freeculture.xml:3829 freeculture.xml:8821
msgid "Christensen, Clayton M."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3821
+#: freeculture.xml:3819
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:3813
+#: freeculture.xml:3811
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> Peer-to-peer sharing "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3836
+#: freeculture.xml:3834
msgid "Kazaa"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
-#: freeculture.xml:3837
+#: freeculture.xml:3835
msgid "number of registrations on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
-#: freeculture.xml:3838
+#: freeculture.xml:3836
msgid "replacement of"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3844
+#: freeculture.xml:3842
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:3836
+#: freeculture.xml:3834
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:3867
+#: freeculture.xml:3865
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:3876
+#: freeculture.xml:3874
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:3861
+#: freeculture.xml:3859
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:3885
+#: freeculture.xml:3883
msgid ""
"Some of this enjoying involves copyright infringement. Some of it does "
"not. And even among the part that is technically copyright infringement, "
#. PAGE BREAK 81
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3895
+#: freeculture.xml:3893
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:3903
+#: freeculture.xml:3901
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:3913
+#: freeculture.xml:3911
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:3924
+#: freeculture.xml:3922
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:3941
+#: freeculture.xml:3939
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:3947
+#: freeculture.xml:3945
msgid "How do these different types of sharing balance out?"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3955
+#: freeculture.xml:3953
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:3950
+#: freeculture.xml:3948
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:3966
+#: freeculture.xml:3964
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:3973 freeculture.xml:3982 freeculture.xml:4342 freeculture.xml:8385 freeculture.xml:8414 freeculture.xml:10166 freeculture.xml:15031
+#: freeculture.xml:3971 freeculture.xml:3980 freeculture.xml:4340 freeculture.xml:8383 freeculture.xml:8412 freeculture.xml:10164 freeculture.xml:15029
msgid "cassette recording"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:3973 freeculture.xml:4342 freeculture.xml:8385 freeculture.xml:8414 freeculture.xml:10166 freeculture.xml:10167 freeculture.xml:15031 freeculture.xml:15032
+#: freeculture.xml:3971 freeculture.xml:4340 freeculture.xml:8383 freeculture.xml:8412 freeculture.xml:10164 freeculture.xml:10165 freeculture.xml:15029 freeculture.xml:15030
msgid "VCRs"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3982
+#: freeculture.xml:3980
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> See Cap Gemini Ernst & Young, "
"<citetitle>Technology Evolution and the Music Industry's Business Model "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3975
+#: freeculture.xml:3973
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:4000
+#: freeculture.xml:3998
msgid "MTV"
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4010
+#: freeculture.xml:4008
msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4002
+#: freeculture.xml:4000
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
"regulation, MTV was launched, and the industry had a record "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4015
+#: freeculture.xml:4013
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:4025
+#: freeculture.xml:4023
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:4035
+#: freeculture.xml:4033
msgid "sales levels of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4037
+#: freeculture.xml:4035
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:4046
+#: freeculture.xml:4044
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:4073
+#: freeculture.xml:4071
msgid "Black, Jane"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4070
+#: freeculture.xml:4068
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:4042
+#: freeculture.xml:4040
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:4088
+#: freeculture.xml:4086
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:4096
+#: freeculture.xml:4094
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:4112
+#: freeculture.xml:4110
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:4124
+#: freeculture.xml:4122
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:4118
+#: freeculture.xml:4116
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:4137 freeculture.xml:4145 freeculture.xml:4166 freeculture.xml:4190 freeculture.xml:4701 freeculture.xml:6161 freeculture.xml:6166 freeculture.xml:6218 freeculture.xml:7185 freeculture.xml:7186 freeculture.xml:7572 freeculture.xml:7641 freeculture.xml:7929 freeculture.xml:14417 freeculture.xml:15143 freeculture.xml:15144
+#: 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
msgid "books"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:4137 freeculture.xml:4145 freeculture.xml:7185 freeculture.xml:15144
+#: freeculture.xml:4135 freeculture.xml:4143 freeculture.xml:7183 freeculture.xml:15142
msgid "resales of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4145
+#: freeculture.xml:4143
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:4139
+#: freeculture.xml:4137
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:4166 freeculture.xml:6161 freeculture.xml:6166 freeculture.xml:7186 freeculture.xml:15143
+#: freeculture.xml:4164 freeculture.xml:6159 freeculture.xml:6164 freeculture.xml:7184 freeculture.xml:15141
msgid "out of print"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4167
+#: freeculture.xml:4165
msgid "Bernstein, Leonard"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4168 freeculture.xml:7642
+#: freeculture.xml:4166 freeculture.xml:7640
msgid "books on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4170
+#: freeculture.xml:4168
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:4183
+#: freeculture.xml:4181
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:4190 freeculture.xml:14417
+#: freeculture.xml:4188 freeculture.xml:14415
msgid "free on-line releases of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4191
+#: freeculture.xml:4189
msgid "Doctorow, Cory"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4192
+#: freeculture.xml:4190
msgid "Down and Out in the Magic Kingdom (Doctorow)"
msgstr ""
#. PAGE BREAK 86
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4194
+#: freeculture.xml:4192
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:4212
+#: freeculture.xml:4210
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:4218
+#: freeculture.xml:4216
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:4226
+#: freeculture.xml:4224
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:4240
+#: freeculture.xml:4238
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>"
#. f17
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4256
+#: freeculture.xml:4254
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:4244
+#: freeculture.xml:4242
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:4267
+#: freeculture.xml:4265
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:4278
+#: freeculture.xml:4276
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:4287
+#: freeculture.xml:4285
msgid "composers, copyright protections of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4292
+#: freeculture.xml:4290
msgid "music recordings played on"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4294
+#: freeculture.xml:4292
msgid "copyright protections in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4297
+#: freeculture.xml:4295
msgid "composer's rights vs. producers' rights in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4299
+#: freeculture.xml:4297
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:4312
+#: freeculture.xml:4310
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, "
#. PAGE BREAK 88
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4323
+#: freeculture.xml:4321
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:4341
+#: freeculture.xml:4339
msgid "Betamax"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4344
+#: freeculture.xml:4342
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:4358
+#: freeculture.xml:4356
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:4373
+#: freeculture.xml:4371
msgid "on VCR technology"
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4382
+#: freeculture.xml:4380
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:4394
+#: freeculture.xml:4392
msgid "Copyright Infringements (Audio and Video Recorders), 475."
msgstr ""
#. f20
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4399
+#: freeculture.xml:4397
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:4410
+#: freeculture.xml:4408
msgid ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4375
+#: freeculture.xml:4373
msgid ""
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, "
#. f22
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4428
+#: freeculture.xml:4426
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:4431
+#: freeculture.xml:4429
msgid "Kozinski, Alex"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4416
+#: freeculture.xml:4414
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:4434
+#: freeculture.xml:4432
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:4453
+#: freeculture.xml:4451
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:4443
+#: freeculture.xml:4441
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:4459
+#: freeculture.xml:4457
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:4470
+#: freeculture.xml:4468
msgid "CASE"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4471
+#: freeculture.xml:4469
msgid "WHOSE VALUE WAS <quote>PIRATED</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4472
+#: freeculture.xml:4470
msgid "RESPONSE OF THE COURTS"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4473
+#: freeculture.xml:4471
msgid "RESPONSE OF CONGRESS"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4478
+#: freeculture.xml:4476
msgid "Recordings"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4479
+#: freeculture.xml:4477
msgid "Composers"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4480 freeculture.xml:4492 freeculture.xml:4498
+#: freeculture.xml:4478 freeculture.xml:4490 freeculture.xml:4496
msgid "No protection"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4481 freeculture.xml:4493
+#: freeculture.xml:4479 freeculture.xml:4491
msgid "Statutory license"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4485
+#: freeculture.xml:4483
msgid "Recording artists"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4486
+#: freeculture.xml:4484
msgid "N/A"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4487 freeculture.xml:4499
+#: freeculture.xml:4485 freeculture.xml:4497
msgid "Nothing"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4491
+#: freeculture.xml:4489
msgid "Broadcasters"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4496
+#: freeculture.xml:4494
msgid "VCR"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4497
+#: freeculture.xml:4495
msgid "Film creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4509
+#: 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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4506
+#: freeculture.xml:4504
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:4527
+#: freeculture.xml:4525
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:4540
+#: freeculture.xml:4538
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:4551
+#: freeculture.xml:4549
msgid "on balance of interests in copyright law"
msgstr ""
#. f25
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4558
+#: freeculture.xml:4556
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:4553
+#: freeculture.xml:4551
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:4569
+#: freeculture.xml:4567
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:4593
+#: freeculture.xml:4591
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:4585
+#: freeculture.xml:4583
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:4598
+#: freeculture.xml:4596
msgid ""
"<emphasis role='strong'>Yet when anyone</emphasis> begins to talk about "
"<quote>balance,</quote> the copyright warriors raise a different "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4610
+#: freeculture.xml:4608
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:4619
+#: freeculture.xml:4617
msgid "<quote>Property</quote>"
msgstr ""
#. PAGE BREAK 94
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4624
+#: freeculture.xml:4622
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:4631
+#: freeculture.xml:4629
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:4642 freeculture.xml:6452 freeculture.xml:14404
+#: freeculture.xml:4640 freeculture.xml:6450 freeculture.xml:14402
msgid "Jefferson, Thomas"
msgstr ""
#. f1
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:4657
+#: freeculture.xml:4655
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:4644
+#: freeculture.xml:4642
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:4662
+#: freeculture.xml:4660
msgid "intangibility of"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4664
+#: freeculture.xml:4662
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:4677
+#: freeculture.xml:4675
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:4672
+#: freeculture.xml:4670
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:4687
+#: freeculture.xml:4685
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:4700
+#: freeculture.xml:4698
msgid "Chapter Six: Founders"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4701
+#: freeculture.xml:4699
msgid "English copyright law developed for"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4704
+#: freeculture.xml:4702
msgid "England, copyright laws developed in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:4705 freeculture.xml:13945
+#: freeculture.xml:4703 freeculture.xml:13943
msgid "United Kingdom"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:4705
+#: freeculture.xml:4703
msgid "history of copyright law in"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4706 freeculture.xml:4876
+#: freeculture.xml:4704 freeculture.xml:4874
msgid "Branagh, Kenneth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4707
+#: freeculture.xml:4705
msgid "Henry V"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4709 freeculture.xml:4841
+#: freeculture.xml:4707 freeculture.xml:4839
msgid "Romeo and Juliet (Shakespeare)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4711
+#: freeculture.xml:4709
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:4722 freeculture.xml:4806 freeculture.xml:4915 freeculture.xml:5048
+#: freeculture.xml:4720 freeculture.xml:4804 freeculture.xml:4913 freeculture.xml:5046
msgid "Conger"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4723
+#: freeculture.xml:4721
msgid "Tonson, Jacob"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:4729
+#: freeculture.xml:4727
msgid "Jonson, Ben"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:4730
+#: freeculture.xml:4728
msgid "Dryden, John"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4729
+#: freeculture.xml:4727
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:4742
+#: freeculture.xml:4740
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:4725
+#: freeculture.xml:4723
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:4754 freeculture.xml:4807 freeculture.xml:4947 freeculture.xml:5128 freeculture.xml:5284
+#: freeculture.xml:4752 freeculture.xml:4805 freeculture.xml:4945 freeculture.xml:5126 freeculture.xml:5282
msgid "British Parliament"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:4756 freeculture.xml:7123
+#: freeculture.xml:4754 freeculture.xml:7121
msgid "renewability of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:4757 freeculture.xml:4809 freeculture.xml:4853 freeculture.xml:4960 freeculture.xml:5047 freeculture.xml:7113
+#: freeculture.xml:4755 freeculture.xml:4807 freeculture.xml:4851 freeculture.xml:4958 freeculture.xml:5045 freeculture.xml:7111
msgid "Statute of Anne (1710)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4768
+#: freeculture.xml:4766
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:4759
+#: freeculture.xml:4757
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:4777 freeculture.xml:5001
+#: freeculture.xml:4775 freeculture.xml:4999
msgid "common vs. positive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4778 freeculture.xml:5002
+#: freeculture.xml:4776 freeculture.xml:5000
msgid "positive law"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4779
+#: freeculture.xml:4777
msgid "Licensing Act (1662)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4781
+#: freeculture.xml:4779
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:4792 freeculture.xml:5000 freeculture.xml:5071 freeculture.xml:5171
+#: freeculture.xml:4790 freeculture.xml:4998 freeculture.xml:5069 freeculture.xml:5169
msgid "common law"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4794
+#: freeculture.xml:4792
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:4808 freeculture.xml:5037 freeculture.xml:5145 freeculture.xml:5223
+#: freeculture.xml:4806 freeculture.xml:5035 freeculture.xml:5143 freeculture.xml:5221
msgid "Scottish publishers"
msgstr ""
#. PAGE BREAK 98
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4811
+#: freeculture.xml:4809
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:4822
+#: freeculture.xml:4820
msgid "as narrow monopoly right"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4824
+#: freeculture.xml:4822
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:4834
+#: freeculture.xml:4832
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:4843
+#: freeculture.xml:4841
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:4855
+#: freeculture.xml:4853
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:4860 freeculture.xml:7633 freeculture.xml:7804
+#: freeculture.xml:4858 freeculture.xml:7631 freeculture.xml:7802
msgid "usage restrictions attached to"
msgstr ""
#. PAGE BREAK 99
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4862
+#: freeculture.xml:4860
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:4879
+#: freeculture.xml:4877
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:4888
+#: freeculture.xml:4886
msgid "Henry VIII, King of England"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4889
+#: freeculture.xml:4887
msgid "monopoly, copyright as"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4890
+#: freeculture.xml:4888
msgid "Statute of Monopolies (1656)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4892
+#: freeculture.xml:4890
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:4905
+#: freeculture.xml:4903
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:4913 freeculture.xml:5206
+#: freeculture.xml:4911 freeculture.xml:5204
msgid "Milton, John"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4914
+#: freeculture.xml:4912
msgid "booksellers, English"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4933
+#: freeculture.xml:4931
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:4918
+#: freeculture.xml:4916
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:4937
+#: freeculture.xml:4935
msgid "Enlightenment"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4938
+#: freeculture.xml:4936
msgid "knowledge, freedom of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4940
+#: freeculture.xml:4938
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:4949
+#: freeculture.xml:4947
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:4962 freeculture.xml:5097 freeculture.xml:5191 freeculture.xml:11146
+#: freeculture.xml:4960 freeculture.xml:5095 freeculture.xml:5189 freeculture.xml:11144
msgid "in perpetuity"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4964
+#: freeculture.xml:4962
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:4973
+#: freeculture.xml:4971
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:4988
+#: freeculture.xml:4986
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:4978
+#: freeculture.xml:4976
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:5004
+#: freeculture.xml:5002
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:5026 freeculture.xml:5036 freeculture.xml:5079
+#: freeculture.xml:5024 freeculture.xml:5034 freeculture.xml:5077
msgid "Patterson, Raymond"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5026
+#: freeculture.xml:5024
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:5020
+#: freeculture.xml:5018
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:5035 freeculture.xml:5144
+#: freeculture.xml:5033 freeculture.xml:5142
msgid "Donaldson, Alexander"
msgstr ""
#. f7
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5043
+#: freeculture.xml:5041
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:5039
+#: freeculture.xml:5037
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:5049
+#: freeculture.xml:5047
msgid "Boswell, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5050
+#: freeculture.xml:5048
msgid "Erskine, Andrew"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:5059 freeculture.xml:15568
+#: freeculture.xml:5057 freeculture.xml:15566
msgid "Rose, Mark"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5057
+#: freeculture.xml:5055
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:5068
+#: freeculture.xml:5066
msgid "Ibid., 93."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5052
+#: freeculture.xml:5050
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:5079
+#: freeculture.xml:5077
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:5073
+#: freeculture.xml:5071
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:5088
+#: freeculture.xml:5086
msgid "Millar v. Taylor"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5090
+#: freeculture.xml:5088
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:5096 freeculture.xml:5150
+#: freeculture.xml:5094 freeculture.xml:5148
msgid "Thomson, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5098
+#: freeculture.xml:5096
msgid "Seasons, The (Thomson)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5099
+#: freeculture.xml:5097
msgid "Taylor, Robert"
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5108
+#: freeculture.xml:5106
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:5101
+#: freeculture.xml:5099
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:5115
+#: freeculture.xml:5113
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:5130
+#: freeculture.xml:5128
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:5147
+#: freeculture.xml:5145
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:5151
+#: freeculture.xml:5149
msgid "Beckett, Thomas"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5152 freeculture.xml:5259
+#: freeculture.xml:5150 freeculture.xml:5257
msgid "House of Lords"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5153
+#: freeculture.xml:5151
msgid "House of Lords vs."
msgstr ""
#. f12
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5159
+#: freeculture.xml:5157
msgid "Ibid., 1156."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5155
+#: freeculture.xml:5153
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:5170
+#: freeculture.xml:5168
msgid "Donaldson v. Beckett"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5173
+#: freeculture.xml:5171
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:5184
+#: freeculture.xml:5182
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:5192 freeculture.xml:5260
+#: freeculture.xml:5190 freeculture.xml:5258
msgid "English legal establishment of"
msgstr ""
#. PAGE BREAK 104
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5194
+#: freeculture.xml:5192
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:5203
+#: freeculture.xml:5201
msgid "Bacon, Francis"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5204
+#: freeculture.xml:5202
msgid "Bunyan, John"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5205
+#: freeculture.xml:5203
msgid "Johnson, Samuel"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5209
+#: freeculture.xml:5207
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:5235
+#: freeculture.xml:5233
msgid "Rose, 97."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5225
+#: freeculture.xml:5223
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:5240
+#: freeculture.xml:5238
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:5246
+#: freeculture.xml:5244
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:5263
+#: freeculture.xml:5261
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:5286
+#: freeculture.xml:5284
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:5303
+#: freeculture.xml:5301
msgid "Chapter Seven: Recorders"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:5304 freeculture.xml:7607 freeculture.xml:7725 freeculture.xml:7784
+#: freeculture.xml:5302 freeculture.xml:7605 freeculture.xml:7723 freeculture.xml:7782
msgid "fair use and"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5305
+#: freeculture.xml:5303
msgid "documentary film"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5306
+#: freeculture.xml:5304
msgid "Else, Jon"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5307 freeculture.xml:5454 freeculture.xml:7606 freeculture.xml:7643 freeculture.xml:7724 freeculture.xml:7786
+#: freeculture.xml:5305 freeculture.xml:5452 freeculture.xml:7604 freeculture.xml:7641 freeculture.xml:7722 freeculture.xml:7784
msgid "fair use"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5307
+#: freeculture.xml:5305
msgid "in documentary film"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:5308
+#: freeculture.xml:5306
msgid "fair use of copyrighted material in"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5310
+#: freeculture.xml:5308
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:5317
+#: freeculture.xml:5315
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:5321 freeculture.xml:5387
+#: freeculture.xml:5319 freeculture.xml:5385
msgid "Wagner, Richard"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5322 freeculture.xml:5401
+#: freeculture.xml:5320 freeculture.xml:5399
msgid "San Francisco Opera"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5324
+#: freeculture.xml:5322
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:5331
+#: freeculture.xml:5329
msgid "Simpsons, The"
msgstr ""
#. PAGE BREAK 107
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5333
+#: freeculture.xml:5331
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:5342
+#: freeculture.xml:5340
msgid "multiple copyrights associated with"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5344
+#: freeculture.xml:5342
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:5350
+#: freeculture.xml:5348
msgid "Gracie Films"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5351 freeculture.xml:5412 freeculture.xml:5476
+#: freeculture.xml:5349 freeculture.xml:5410 freeculture.xml:5474
msgid "Groening, Matt"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5353
+#: freeculture.xml:5351
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:5359 freeculture.xml:5411 freeculture.xml:5475
+#: freeculture.xml:5357 freeculture.xml:5409 freeculture.xml:5473
msgid "Fox (film company)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5361
+#: freeculture.xml:5359
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:5369
+#: freeculture.xml:5367
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:5378
+#: freeculture.xml:5376
msgid "Herrera, Rebecca"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5380
+#: freeculture.xml:5378
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:5389
+#: freeculture.xml:5387
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:5402
+#: freeculture.xml:5400
msgid "Day After Trinity, The"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5404
+#: freeculture.xml:5402
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:5414
+#: freeculture.xml:5412
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:5425
+#: freeculture.xml:5423
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:5437
+#: freeculture.xml:5435
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:5434
+#: freeculture.xml:5432
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:5451
+#: freeculture.xml:5449
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:5454 freeculture.xml:7786
+#: freeculture.xml:5452 freeculture.xml:7784
msgid "legal intimidation tactics against"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5456
+#: freeculture.xml:5454
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:5465
+#: freeculture.xml:5463
msgid "Errors and Omissions insurance"
msgstr ""
#. 1.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5468
+#: freeculture.xml:5466
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:5477
+#: freeculture.xml:5475
msgid "Lucas, George"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><indexterm><primary>
-#: freeculture.xml:5478
+#: freeculture.xml:5476
msgid "<citetitle>Star Wars</citetitle>"
msgstr ""
#. 2.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5481
+#: freeculture.xml:5479
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:5493
+#: freeculture.xml:5491
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:5505
+#: freeculture.xml:5503
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:5513
+#: freeculture.xml:5511
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:5521
+#: freeculture.xml:5519
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:5536
+#: freeculture.xml:5534
msgid "Chapter Eight: Transformers"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5537
+#: freeculture.xml:5535
msgid "Allen, Paul"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:5538 freeculture.xml:5598 freeculture.xml:5783 freeculture.xml:10499 freeculture.xml:14934
+#: freeculture.xml:5536 freeculture.xml:5596 freeculture.xml:5781 freeculture.xml:10497 freeculture.xml:14932
msgid "Alben, Alex"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5541
+#: freeculture.xml:5539
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:5548
+#: freeculture.xml:5546
msgid "retrospective compilations on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5549
+#: freeculture.xml:5547
msgid "CD-ROMs, film clips used in"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5551
+#: freeculture.xml:5549
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:5561
+#: freeculture.xml:5559
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:5568
+#: freeculture.xml:5566
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:5575
+#: freeculture.xml:5573
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:5583
+#: freeculture.xml:5581
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:5597
+#: freeculture.xml:5595
msgid "publicity rights on images of"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5593
+#: freeculture.xml:5591
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:5587
+#: freeculture.xml:5585
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:5602
+#: freeculture.xml:5600
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:5609
+#: freeculture.xml:5607
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:5615
+#: freeculture.xml:5613
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:5624
+#: freeculture.xml:5622
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:5635
+#: freeculture.xml:5633
msgid "Sutherland, Donald"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5637
+#: freeculture.xml:5635
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:5648
+#: freeculture.xml:5646
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:5652
+#: freeculture.xml:5650
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:5658
+#: freeculture.xml:5656
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:5670
+#: freeculture.xml:5668
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:5673
+#: freeculture.xml:5671
msgid "Drucker, Peter"
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5681
+#: freeculture.xml:5679
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:5675
+#: freeculture.xml:5673
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:5689
+#: freeculture.xml:5687
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:5697
+#: freeculture.xml:5695
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:5705
+#: freeculture.xml:5703
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:5716
+#: freeculture.xml:5714
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:5736
+#: freeculture.xml:5734
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:5745
+#: freeculture.xml:5743
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:5758
+#: freeculture.xml:5756
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:5768
+#: freeculture.xml:5766
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:5773
+#: freeculture.xml:5771
msgid "Nimmer, David"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5775
+#: freeculture.xml:5773
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:5784
+#: freeculture.xml:5782
msgid "Boies, David"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5785
+#: freeculture.xml:5783
msgid "Court of Appeals"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><secondary>
-#: freeculture.xml:5785
+#: freeculture.xml:5783
msgid "Ninth Circuit"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5786
+#: freeculture.xml:5784
msgid "Ninth Circuit Court of Appeals"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5783
+#: freeculture.xml:5781
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:5803
+#: freeculture.xml:5801
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:5809
+#: freeculture.xml:5807
msgid "Camp Chaos"
msgstr ""
#. PAGE BREAK 117
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5811
+#: freeculture.xml:5809
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:5822
+#: freeculture.xml:5820
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:5829
+#: freeculture.xml:5827
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:5844
+#: freeculture.xml:5842
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:5850
+#: freeculture.xml:5848
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:5863
+#: freeculture.xml:5861
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:5872
+#: freeculture.xml:5870
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:5882
+#: freeculture.xml:5880
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:5897
+#: freeculture.xml:5895
msgid "Chapter Nine: Collectors"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5898 freeculture.xml:9241 freeculture.xml:11564 freeculture.xml:11809
+#: freeculture.xml:5896 freeculture.xml:9239 freeculture.xml:11562 freeculture.xml:11807
msgid "archives, digital"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5899 freeculture.xml:8528
+#: freeculture.xml:5897 freeculture.xml:8526
msgid "bots"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5901
+#: freeculture.xml:5899
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:5911 freeculture.xml:5942 freeculture.xml:6004
+#: freeculture.xml:5909 freeculture.xml:5940 freeculture.xml:6002
msgid "Way Back Machine"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5913
+#: freeculture.xml:5911
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:5920
+#: freeculture.xml:5918
msgid "Orwell, George"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5922
+#: freeculture.xml:5920
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:5930
+#: freeculture.xml:5928
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:5935
+#: freeculture.xml:5933
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:5951
+#: freeculture.xml:5949
msgid "White House press releases"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5950
+#: freeculture.xml:5948
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> The temptations remain, however. Brewster Kahle reports that the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5944
+#: freeculture.xml:5942
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:5959
+#: freeculture.xml:5957
msgid "history, records of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5961
+#: freeculture.xml:5959
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:5972
+#: freeculture.xml:5970
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:5981
+#: freeculture.xml:5979
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:5992
+#: freeculture.xml:5990
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:6001 freeculture.xml:6056 freeculture.xml:10484
+#: freeculture.xml:5999 freeculture.xml:6054 freeculture.xml:10482
msgid "Library of Congress"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6002
+#: freeculture.xml:6000
msgid "Television Archive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6003
+#: freeculture.xml:6001
msgid "Vanderbilt University"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:6005 freeculture.xml:11055 freeculture.xml:14116 freeculture.xml:14246 freeculture.xml:14282
+#: freeculture.xml:6003 freeculture.xml:11053 freeculture.xml:14114 freeculture.xml:14244 freeculture.xml:14280
msgid "libraries"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6005
+#: freeculture.xml:6003
msgid "archival function of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6008
+#: freeculture.xml:6006
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:6025
+#: freeculture.xml:6023
msgid "Quayle, Dan"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
-#: freeculture.xml:6026
+#: freeculture.xml:6024
msgid "60 Minutes"
msgstr ""
#. PAGE BREAK 122
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:6028
+#: freeculture.xml:6026
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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6039
+#: freeculture.xml:6037
msgid "newspapers"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6039
+#: freeculture.xml:6037
msgid "archives of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6041
+#: freeculture.xml:6039
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:6049
+#: freeculture.xml:6047
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:6057 freeculture.xml:6101
+#: freeculture.xml:6055 freeculture.xml:6099
msgid "archive of"
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6068
+#: freeculture.xml:6066
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:6059
+#: freeculture.xml:6057
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:6076
+#: freeculture.xml:6074
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:6088
+#: freeculture.xml:6086
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:6098
+#: freeculture.xml:6096
msgid "Movie Archive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6099
+#: freeculture.xml:6097
msgid "archive.org"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6099 freeculture.xml:6102
+#: freeculture.xml:6097 freeculture.xml:6100
msgid "Internet Archive"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6103
+#: freeculture.xml:6101
msgid "Duck and Cover film"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6104
+#: freeculture.xml:6102
msgid "ephemeral films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6105
+#: freeculture.xml:6103
msgid "Prelinger, Rick"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6107
+#: freeculture.xml:6105
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:6125
+#: freeculture.xml:6123
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:6133
+#: freeculture.xml:6131
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:6141
+#: freeculture.xml:6139
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:6153
+#: freeculture.xml:6151
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:6166
+#: freeculture.xml:6164
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:6163
+#: freeculture.xml:6161
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:6181
+#: freeculture.xml:6179
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:6192
+#: freeculture.xml:6190
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:6204
+#: freeculture.xml:6202
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:6212
+#: freeculture.xml:6210
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:6218
+#: freeculture.xml:6216
msgid "total number of"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:6220
+#: freeculture.xml:6218
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:6235
+#: freeculture.xml:6233
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:6250
+#: freeculture.xml:6248
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:6261
+#: freeculture.xml:6259
msgid "Chapter Ten: <quote>Property</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6262
+#: freeculture.xml:6260
msgid "Johnson, Lyndon"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6263 freeculture.xml:10243
+#: freeculture.xml:6261 freeculture.xml:10241
msgid "Kennedy, John F."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6265
+#: freeculture.xml:6263
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:6275
+#: freeculture.xml:6273
msgid "Sony Pictures Entertainment"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6276
+#: freeculture.xml:6274
msgid "MGM"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6277
+#: freeculture.xml:6275
msgid "Paramount Pictures"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6278
+#: freeculture.xml:6276
msgid "Twentieth Century Fox"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6279
+#: freeculture.xml:6277
msgid "Universal Pictures"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6280 freeculture.xml:7895 freeculture.xml:8067
+#: freeculture.xml:6278 freeculture.xml:7893 freeculture.xml:8065
msgid "Warner Brothers"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6282
+#: freeculture.xml:6280
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:6295
+#: freeculture.xml:6293
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:6307
+#: freeculture.xml:6305
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:6316
+#: freeculture.xml:6314
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:6330
+#: freeculture.xml:6328
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:6321
+#: freeculture.xml:6319
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:6340
+#: freeculture.xml:6338
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:6351
+#: freeculture.xml:6349
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:6366
+#: freeculture.xml:6364
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:6363
+#: freeculture.xml:6361
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:6381
+#: freeculture.xml:6379
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:6389
+#: freeculture.xml:6387
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:6404
+#: freeculture.xml:6402
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:6413
+#: freeculture.xml:6411
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:6418
+#: freeculture.xml:6416
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:6429
+#: freeculture.xml:6427
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:6444
+#: freeculture.xml:6442
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:6454
+#: freeculture.xml:6452
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:6466
+#: freeculture.xml:6464
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:6476
+#: freeculture.xml:6474
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 "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6488
+#: freeculture.xml:6486
msgid "four modalities of constraint on"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6489 freeculture.xml:6748 freeculture.xml:9818 freeculture.xml:9935
+#: freeculture.xml:6487 freeculture.xml:6746 freeculture.xml:9816 freeculture.xml:9933
msgid "regulation"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6489
+#: freeculture.xml:6487
msgid "four modalities of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6490
+#: freeculture.xml:6488
msgid "as ex post regulation modality"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6491 freeculture.xml:6567 freeculture.xml:6702
+#: freeculture.xml:6489 freeculture.xml:6565 freeculture.xml:6700
msgid "as constraint modality"
msgstr ""
#. PAGE BREAK 132
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6495
+#: freeculture.xml:6493
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:6505 freeculture.xml:6698 freeculture.xml:7068
+#: freeculture.xml:6503 freeculture.xml:6696 freeculture.xml:7066
msgid ""
"<graphic fileref=\"images/1331.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6509
+#: freeculture.xml:6507
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:6525 freeculture.xml:6587 freeculture.xml:6703
+#: freeculture.xml:6523 freeculture.xml:6585 freeculture.xml:6701
msgid "norms, regulatory influence of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6527
+#: freeculture.xml:6525
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:6537 freeculture.xml:6586 freeculture.xml:6679 freeculture.xml:6719 freeculture.xml:9827 freeculture.xml:10061
+#: freeculture.xml:6535 freeculture.xml:6584 freeculture.xml:6677 freeculture.xml:6717 freeculture.xml:9825 freeculture.xml:10059
msgid "market constraints"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6539
+#: freeculture.xml:6537
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:6548 freeculture.xml:6585 freeculture.xml:6637 freeculture.xml:6678 freeculture.xml:6701
+#: freeculture.xml:6546 freeculture.xml:6583 freeculture.xml:6635 freeculture.xml:6676 freeculture.xml:6699
msgid "architecture, constraint effected through"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6550
+#: freeculture.xml:6548
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:6571
+#: freeculture.xml:6569
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:6577
+#: freeculture.xml:6575
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:6588
+#: freeculture.xml:6586
msgid "driving speed, constraints on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6589
+#: freeculture.xml:6587
msgid "speeding, constraints on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6591
+#: freeculture.xml:6589
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 "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6609
+#: freeculture.xml:6607
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 "
#. PAGE BREAK 135
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6605
+#: freeculture.xml:6603
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:6634
+#: freeculture.xml:6632
msgid ""
"<graphic fileref=\"images/1361.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6676
+#: freeculture.xml:6674
msgid "Americans with Disabilities Act (1990)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6677
+#: freeculture.xml:6675
msgid "Commons, John R."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6647
+#: freeculture.xml:6645
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6639
+#: freeculture.xml:6637
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:6684
+#: freeculture.xml:6682
msgid "Why Hollywood Is Right"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6685 freeculture.xml:7058
+#: freeculture.xml:6683 freeculture.xml:7056
msgid "four regulatory modalities on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6687
+#: freeculture.xml:6685
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:6693
+#: freeculture.xml:6691
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:6706
+#: freeculture.xml:6704
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:6717
+#: freeculture.xml:6715
msgid "copyright regulatory balance lost with"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6718
+#: freeculture.xml:6716
msgid "regulatory balance lost in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6720
+#: freeculture.xml:6718
msgid "MP3s"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6722
+#: freeculture.xml:6720
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:6731 freeculture.xml:7575 freeculture.xml:7884
+#: freeculture.xml:6729 freeculture.xml:7573 freeculture.xml:7882
msgid "technology"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6731
+#: freeculture.xml:6729
msgid "established industries threatened by changes in"
msgstr ""
#. PAGE BREAK 137
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6733
+#: freeculture.xml:6731
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:6744
+#: freeculture.xml:6742
msgid ""
"<graphic fileref=\"images/1381.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6747
+#: freeculture.xml:6745
msgid "Commerce, U.S. Department of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6748 freeculture.xml:9818
+#: freeculture.xml:6746 freeculture.xml:9816
msgid "as establishment protectionism"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6750
+#: freeculture.xml:6748
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:6763 freeculture.xml:6903
+#: freeculture.xml:6761 freeculture.xml:6901
msgid "farming"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6764
+#: freeculture.xml:6762
msgid "steel industry"
msgstr ""
#. PAGE BREAK 138
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6766
+#: freeculture.xml:6764
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:6786
+#: freeculture.xml:6784
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:6799
+#: freeculture.xml:6797
msgid "railroad industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6800
+#: freeculture.xml:6798
msgid "remote channel changers"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6810
+#: freeculture.xml:6808
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:6802
+#: freeculture.xml:6800
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:6831
+#: freeculture.xml:6829
msgid "free market, technological changes in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:6832 freeculture.xml:15510
+#: freeculture.xml:6830 freeculture.xml:15508
msgid "Brezhnev, Leonid"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:6835 freeculture.xml:13710
+#: freeculture.xml:6833 freeculture.xml:13708
msgid "Gates, Bill"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6836 freeculture.xml:7849
+#: freeculture.xml:6834 freeculture.xml:7847
msgid "market competition"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6849
+#: freeculture.xml:6847
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:6839
+#: freeculture.xml:6837
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:6860
+#: freeculture.xml:6858
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:6871
+#: freeculture.xml:6869
msgid "speech, freedom of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6871
+#: freeculture.xml:6869
msgid "constitutional guarantee of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6873
+#: freeculture.xml:6871
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:6889
+#: freeculture.xml:6887
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:6898
+#: freeculture.xml:6896
msgid "Here's the metaphor that will capture the argument to follow."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6900
+#: freeculture.xml:6898
msgid "Müller, Paul Hermann"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6901
+#: freeculture.xml:6899
msgid "DDT"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6902
+#: freeculture.xml:6900
msgid "insecticide, environmental consequences of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6905
+#: freeculture.xml:6903
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:6912
+#: freeculture.xml:6910
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:6916
+#: freeculture.xml:6914
msgid "Carson, Rachel"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6917
+#: freeculture.xml:6915
msgid "Silent Spring (Carson)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6918
+#: freeculture.xml:6916
msgid "environmentalism"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6920
+#: freeculture.xml:6918
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:6926
+#: freeculture.xml:6924
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:6935
+#: freeculture.xml:6933
msgid "Boyle, James"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6936
+#: freeculture.xml:6934
msgid "innovative freedom balanced with fair compensation in"
msgstr ""
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6942
+#: freeculture.xml:6940
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:6938
+#: freeculture.xml:6936
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:6960
+#: freeculture.xml:6958
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:6972
+#: freeculture.xml:6970
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:6981
+#: freeculture.xml:6979
msgid "Beginnings"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6982
+#: freeculture.xml:6980
msgid "on creative property"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6983 freeculture.xml:11474
+#: freeculture.xml:6981 freeculture.xml:11472
msgid "copyright purpose established in"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6984 freeculture.xml:11183
+#: freeculture.xml:6982 freeculture.xml:11181
msgid "Progress Clause of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:6985 freeculture.xml:11475
+#: freeculture.xml:6983 freeculture.xml:11473
msgid "constitutional purpose of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6987
+#: freeculture.xml:6985
msgid "constitutional tradition on"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:6988 freeculture.xml:11184
+#: freeculture.xml:6986 freeculture.xml:11182
msgid "Progress Clause"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6991
+#: freeculture.xml:6989
msgid ""
"America copied English copyright law. Actually, we copied and improved "
"English copyright law. Our Constitution makes the purpose of <quote>creative "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:6996
+#: freeculture.xml:6994
msgid "in constitutional Progress Clause"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6998
+#: freeculture.xml:6996
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 "
#. PAGE BREAK 142
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7003
+#: freeculture.xml:7001
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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7017
+#: freeculture.xml:7015
msgid "history of American"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7019
+#: freeculture.xml:7017
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:7028
+#: freeculture.xml:7026
msgid "Senate, U.S."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7029
+#: freeculture.xml:7027
msgid "structural checks and balances of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7030
+#: freeculture.xml:7028
msgid "electoral college"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7032
+#: freeculture.xml:7030
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:7049
+#: freeculture.xml:7047
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:7060
+#: freeculture.xml:7058
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:7071
+#: freeculture.xml:7069
msgid "We will end here:"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7075
+#: freeculture.xml:7073
msgid ""
"<graphic fileref=\"images/1442.svg\" align=\"center\" "
"width=\"50%\"></graphic>"
#. PAGE BREAK 144
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7078
+#: freeculture.xml:7076
msgid "Let me explain how."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:7083
+#: freeculture.xml:7081
msgid "Law: Duration"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7086 freeculture.xml:7378
+#: freeculture.xml:7084 freeculture.xml:7376
msgid "Copyright Act (1790)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7087
+#: freeculture.xml:7085
msgid "common law protections of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7088
+#: freeculture.xml:7086
msgid "balance of U.S. content in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:7104
+#: freeculture.xml:7102
msgid "Crosskey, William W."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7098
+#: freeculture.xml:7096
msgid ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7090
+#: freeculture.xml:7088
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:7114
+#: freeculture.xml:7112
msgid "federal vs. state"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7116
+#: freeculture.xml:7114
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:7125
+#: freeculture.xml:7123
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:7141
+#: freeculture.xml:7139
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:7133
+#: freeculture.xml:7131
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:7159
+#: freeculture.xml:7157
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:7174
+#: freeculture.xml:7172
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:7168
+#: freeculture.xml:7166
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:7192
+#: freeculture.xml:7190
msgid "See Ringer, ch. 9, n. 2."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7188
+#: freeculture.xml:7186
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:7200 freeculture.xml:11121
+#: freeculture.xml:7198 freeculture.xml:11119
msgid "copyright terms extended by"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:7201 freeculture.xml:11123
+#: freeculture.xml:7199 freeculture.xml:11121
msgid "term extensions in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7203
+#: freeculture.xml:7201
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 "
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:7210 freeculture.xml:7245 freeculture.xml:11147 freeculture.xml:15428
+#: freeculture.xml:7208 freeculture.xml:7243 freeculture.xml:11145 freeculture.xml:15426
msgid "Sonny Bono Copyright Term Extension Act (CTEA) (1998)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:7211 freeculture.xml:11127
+#: freeculture.xml:7209 freeculture.xml:11125
msgid "future patents vs. future copyrights in"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7213
+#: freeculture.xml:7211
msgid ""
"Then, beginning in 1962, Congress started a practice that has defined "
"copyright law since. Eleven times in the last forty years, Congress has "
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:7222 freeculture.xml:11126 freeculture.xml:11127 freeculture.xml:13215 freeculture.xml:13696
+#: 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:7222 freeculture.xml:11126
+#: freeculture.xml:7220 freeculture.xml:11124
msgid "in public domain"
msgstr ""
#. PAGE BREAK 146
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7224
+#: freeculture.xml:7222
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:7236
+#: freeculture.xml:7234
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:7246
+#: freeculture.xml:7244
msgid "of natural authors vs. corporations"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:7247 freeculture.xml:13369
+#: freeculture.xml:7245 freeculture.xml:13367
msgid "corporations"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7247
+#: freeculture.xml:7245
msgid "copyright terms for"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7249
+#: freeculture.xml:7247
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:7259
+#: freeculture.xml:7257
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:7278
+#: freeculture.xml:7276
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:7270
+#: freeculture.xml:7268
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:7292
+#: freeculture.xml:7290
msgid "Law: Scope"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7293 freeculture.xml:7512
+#: freeculture.xml:7291 freeculture.xml:7510
msgid "scope of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7295
+#: freeculture.xml:7293
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:7301
+#: freeculture.xml:7299
msgid "historical shift in copyright coverage of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7303
+#: freeculture.xml:7301
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:7316
+#: freeculture.xml:7314
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:7330
+#: freeculture.xml:7328
msgid "marking of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7331
+#: freeculture.xml:7329
msgid "formalities"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7332
+#: freeculture.xml:7330
msgid "registration requirement of"
msgstr ""
#. PAGE BREAK 148
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7334
+#: freeculture.xml:7332
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:7349
+#: freeculture.xml:7347
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:7362
+#: freeculture.xml:7360
msgid "European"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7364
+#: freeculture.xml:7362
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:7375
+#: freeculture.xml:7373
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:7387
+#: freeculture.xml:7385
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:7380
+#: freeculture.xml:7378
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:7402
+#: freeculture.xml:7400
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:7412
+#: freeculture.xml:7410
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:7421
+#: freeculture.xml:7419
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:7426
+#: freeculture.xml:7424
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:7441
+#: freeculture.xml:7439
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:7463
+#: freeculture.xml:7461
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:7453
+#: freeculture.xml:7451
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:7485
+#: freeculture.xml:7483
msgid "Rubenfeld, Jeb"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7478
+#: freeculture.xml:7476
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:7473
+#: freeculture.xml:7471
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:7493
+#: freeculture.xml:7491
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:7501
+#: freeculture.xml:7499
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:7510
+#: freeculture.xml:7508
msgid "Law and Architecture: Reach"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7511 freeculture.xml:7573 freeculture.xml:7785
+#: freeculture.xml:7509 freeculture.xml:7571 freeculture.xml:7783
msgid "copies as core issue of"
msgstr ""
#. f16
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7519
+#: freeculture.xml:7517
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:7514
+#: freeculture.xml:7512
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:7530
+#: freeculture.xml:7528
msgid "other property rights vs."
msgstr ""
#. PAGE BREAK 151
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7533
+#: freeculture.xml:7531
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:7552
+#: freeculture.xml:7550
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:7547
+#: freeculture.xml:7545
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:7565
+#: freeculture.xml:7563
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:7570
+#: freeculture.xml:7568
msgid ""
"<graphic fileref=\"images/1521.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7572
+#: freeculture.xml:7570
msgid "three types of uses of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7574
+#: freeculture.xml:7572
msgid "copyright applicability altered by technology of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7575
+#: freeculture.xml:7573
msgid "copyright intent altered by"
msgstr ""
#. PAGE BREAK 152
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7580
+#: freeculture.xml:7578
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:7594
+#: freeculture.xml:7592
msgid ""
"<graphic fileref=\"images/1531.png\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7597
+#: freeculture.xml:7595
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><para>
-#: freeculture.xml:7609
+#: freeculture.xml:7607
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><figure>
-#: freeculture.xml:7615
+#: freeculture.xml:7613
msgid ""
"<graphic fileref=\"images/1541.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7620
+#: freeculture.xml:7618
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:7631
+#: freeculture.xml:7629
msgid ""
"<graphic fileref=\"images/1542.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
#. PAGE BREAK 154
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7636
+#: freeculture.xml:7634
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:7641 freeculture.xml:7929 freeculture.xml:10197
+#: freeculture.xml:7639 freeculture.xml:7927 freeculture.xml:10195
msgid "on Internet"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7643 freeculture.xml:7724
+#: freeculture.xml:7641 freeculture.xml:7722
msgid "Internet burdens on"
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7648
+#: freeculture.xml:7646
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:7645
+#: freeculture.xml:7643
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:7668
+#: freeculture.xml:7666
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:7679
+#: freeculture.xml:7677
msgid "e-books"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7680
+#: freeculture.xml:7678
msgid "technological developments and"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7682
+#: freeculture.xml:7680
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:7695
+#: freeculture.xml:7693
msgid ""
"<graphic fileref=\"images/1551.svg\" align=\"center\" "
"width=\"40%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7698
+#: freeculture.xml:7696
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:7704
+#: freeculture.xml:7702
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:7713
+#: freeculture.xml:7711
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:7726
+#: freeculture.xml:7724
msgid "fair use vs."
msgstr ""
#. PAGE BREAK 156
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7728
+#: freeculture.xml:7726
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:7747
+#: freeculture.xml:7745
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:7763
+#: freeculture.xml:7761
msgid "Video Pipeline"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:7765 freeculture.xml:15325
+#: freeculture.xml:7763 freeculture.xml:15323
msgid "film industry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7765
+#: freeculture.xml:7763
msgid "trailer advertisements of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7767
+#: freeculture.xml:7765
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:7773 freeculture.xml:7848 freeculture.xml:14071
+#: freeculture.xml:7771 freeculture.xml:7846 freeculture.xml:14069
msgid "browsing"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7775
+#: freeculture.xml:7773
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:7788
+#: freeculture.xml:7786
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:7805
+#: freeculture.xml:7803
msgid "willful infringement findings in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7806
+#: freeculture.xml:7804
msgid "willful infringement"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7808
+#: freeculture.xml:7806
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:7818
+#: freeculture.xml:7816
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:7826
+#: freeculture.xml:7824
msgid "first-sale doctrine"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7828
+#: freeculture.xml:7826
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:7847
+#: freeculture.xml:7845
msgid "Barnes & Noble"
msgstr ""
#. PAGE BREAK 158
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7852
+#: freeculture.xml:7850
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:7867
+#: freeculture.xml:7865
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:7876
+#: freeculture.xml:7874
msgid "Architecture and Law: Force"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7878
+#: freeculture.xml:7876
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:7883
+#: freeculture.xml:7881
msgid "technology as automatic enforcer of"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7884
+#: freeculture.xml:7882
msgid "copyright enforcement controlled by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7886
+#: freeculture.xml:7884
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:7893
+#: freeculture.xml:7891
msgid "Casablanca"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7894 freeculture.xml:8066
+#: freeculture.xml:7892 freeculture.xml:8064
msgid "Marx Brothers"
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7905
+#: freeculture.xml:7903
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:7897
+#: freeculture.xml:7895
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:7914
+#: freeculture.xml:7912
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:7910
+#: freeculture.xml:7908
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:7924
+#: freeculture.xml:7922
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:7931
+#: freeculture.xml:7929
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:7943
+#: freeculture.xml:7941
msgid "Adobe eBook Reader"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7945
+#: freeculture.xml:7943
msgid "Consider the life of my Adobe eBook Reader."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7948
+#: freeculture.xml:7946
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><para>
-#: freeculture.xml:7955
+#: freeculture.xml:7953
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:7960
+#: freeculture.xml:7958
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><figure>
-#: freeculture.xml:7974
+#: freeculture.xml:7972
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:7977
+#: freeculture.xml:7975
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:7982
+#: freeculture.xml:7980
msgid ""
"<graphic fileref=\"images/1612.png\" align=\"center\" "
"width=\"50%\"></graphic>"
#. PAGE BREAK 161
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7986
+#: freeculture.xml:7984
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:7993
+#: freeculture.xml:7991
msgid "Aristotle"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7994
+#: freeculture.xml:7992
msgid "<citetitle>Politics</citetitle>, (Aristotle)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7996
+#: freeculture.xml:7994
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:8001
+#: freeculture.xml:7999
msgid ""
-"<graphic fileref=\"images/1621.png\" align=\"center\" "
+"<graphic fileref=\"images/aristotele-ebook.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8004
+#: freeculture.xml:8002
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:8010
+#: freeculture.xml:8008
msgid ""
"<graphic fileref=\"images/1622.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8012 freeculture.xml:9868
+#: freeculture.xml:8010 freeculture.xml:9866
msgid "Future of Ideas, The (Lessig)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:8013 freeculture.xml:9869 freeculture.xml:11185 freeculture.xml:11231 freeculture.xml:13525
+#: 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:8015
+#: freeculture.xml:8013
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:8022
+#: freeculture.xml:8020
msgid ""
"<graphic fileref=\"images/1631.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8025
+#: freeculture.xml:8023
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>
-#: freeculture.xml:8035
+#: freeculture.xml:8033
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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8028
+#: freeculture.xml:8026
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:8050
+#: freeculture.xml:8048
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:8070
+#: freeculture.xml:8068
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:8076
+#: freeculture.xml:8074
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:8085
+#: freeculture.xml:8083
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:8092
+#: freeculture.xml:8090
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:8095
+#: freeculture.xml:8093
msgid "Alice's Adventures in Wonderland (Carroll)"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8096
+#: freeculture.xml:8094
msgid "e-book restrictions on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8098
+#: freeculture.xml:8096
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:8107
+#: freeculture.xml:8105
msgid ""
"<graphic fileref=\"images/1641.png\" align=\"center\" "
"width=\"50%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8111
+#: freeculture.xml:8109
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:8116
+#: freeculture.xml:8114
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:8124
+#: freeculture.xml:8122
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:8139
+#: freeculture.xml:8137
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:8149
+#: freeculture.xml:8147
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:8152 freeculture.xml:8296 freeculture.xml:8361 freeculture.xml:8473
+#: freeculture.xml:8150 freeculture.xml:8294 freeculture.xml:8359 freeculture.xml:8471
msgid "Aibo robotic dog"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8153 freeculture.xml:8297 freeculture.xml:8362 freeculture.xml:8474
+#: freeculture.xml:8151 freeculture.xml:8295 freeculture.xml:8360 freeculture.xml:8472
msgid "robotic dog"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8154 freeculture.xml:8298 freeculture.xml:8363 freeculture.xml:8475
+#: 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:8154 freeculture.xml:8298 freeculture.xml:8363 freeculture.xml:8475
+#: freeculture.xml:8152 freeculture.xml:8296 freeculture.xml:8361 freeculture.xml:8473
msgid "Aibo robotic dog produced by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8156
+#: freeculture.xml:8154
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:8161
+#: freeculture.xml:8159
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:8170
+#: freeculture.xml:8168
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:8177
+#: freeculture.xml:8175
msgid "hacks"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8179
+#: freeculture.xml:8177
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:8193
+#: freeculture.xml:8191
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:8200
+#: freeculture.xml:8198
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:8210
+#: freeculture.xml:8208
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:8225
+#: freeculture.xml:8223
msgid "government case against"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8227
+#: freeculture.xml:8225
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:8250 freeculture.xml:10823
+#: freeculture.xml:8248 freeculture.xml:10821
msgid "Electronic Frontier Foundation"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8240
+#: freeculture.xml:8238
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:8238
+#: freeculture.xml:8236
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:8258
+#: freeculture.xml:8256
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:8268
+#: freeculture.xml:8266
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:8275
+#: freeculture.xml:8273
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:8281
+#: freeculture.xml:8279
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:8289
+#: freeculture.xml:8287
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:8300
+#: freeculture.xml:8298
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:8307
+#: freeculture.xml:8305
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:8316
+#: freeculture.xml:8314
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:8322
+#: freeculture.xml:8320
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:8330
+#: freeculture.xml:8328
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:8335
+#: freeculture.xml:8333
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:8346
+#: freeculture.xml:8344
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:8353
+#: freeculture.xml:8351
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:8365
+#: freeculture.xml:8363
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:8377
+#: freeculture.xml:8375
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:8384 freeculture.xml:8419
+#: freeculture.xml:8382 freeculture.xml:8417
msgid "Rogers, Fred"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8395 freeculture.xml:8434 freeculture.xml:8462
+#: freeculture.xml:8393 freeculture.xml:8432 freeculture.xml:8460
msgid "Conrad, Paul"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8387
+#: freeculture.xml:8385
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:8414
+#: freeculture.xml:8412
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:8399
+#: freeculture.xml:8397
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:8425
+#: freeculture.xml:8423
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:8430
+#: freeculture.xml:8428
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:8437
+#: freeculture.xml:8435
msgid "No argument I have can top this picture, but let me try to get close."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8440
+#: freeculture.xml:8438
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:8447
+#: freeculture.xml:8445
msgid "handguns"
msgstr ""
#. PAGE BREAK 171
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8449
+#: freeculture.xml:8447
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><figure><title>
-#: freeculture.xml:8457
+#: freeculture.xml:8455
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:8460
+#: freeculture.xml:8458
msgid ""
-"<graphic fileref=\"images/1711.png\" align=\"center\" "
+"<graphic fileref=\"images/vcr-comic.png\" align=\"center\" "
"width=\"100%\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8464
+#: freeculture.xml:8462
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:8477
+#: freeculture.xml:8475
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:8485
+#: freeculture.xml:8483
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:8497
+#: freeculture.xml:8495
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:8516
+#: freeculture.xml:8514
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:8510
+#: freeculture.xml:8508
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:8522
+#: freeculture.xml:8520
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:8530
+#: freeculture.xml:8528
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:8540
+#: freeculture.xml:8538
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:8549
+#: freeculture.xml:8547
msgid "Market: Concentration"
msgstr ""
#. PAGE BREAK 173
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8551
+#: freeculture.xml:8549
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:8569
+#: freeculture.xml:8567
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:8576
+#: freeculture.xml:8574
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:8587
+#: freeculture.xml:8585
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:8591
+#: freeculture.xml:8589
msgid "BMG"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8592 freeculture.xml:9978
+#: freeculture.xml:8590 freeculture.xml:9976
msgid "EMI"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8593
+#: freeculture.xml:8591
msgid "McCain, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8594 freeculture.xml:9985
+#: freeculture.xml:8592 freeculture.xml:9983
msgid "Universal Music Group"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8595
+#: freeculture.xml:8593
msgid "Warner Music Group"
msgstr ""
#. f25
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8601
+#: freeculture.xml:8599
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:8608
+#: freeculture.xml:8606
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:8614
+#: freeculture.xml:8612
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:8597
+#: freeculture.xml:8595
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, "
#. PAGE BREAK 174
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8619
+#: freeculture.xml:8617
msgid ""
"The story with radio is even more dramatic. Before deregulation, the "
"nation's largest radio broadcasting conglomerate owned fewer than "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8631
+#: freeculture.xml:8629
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:8641 freeculture.xml:8662
+#: freeculture.xml:8639 freeculture.xml:8660
msgid "Fallows, James"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8643
+#: freeculture.xml:8641
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:8660
+#: freeculture.xml:8658
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:8649
+#: freeculture.xml:8647
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:8667
+#: freeculture.xml:8665
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:8674
+#: freeculture.xml:8672
msgid ""
"<graphic fileref=\"images/pattern-modern-media-ownership.png\" "
"align=\"center\" width=\"90%\"></graphic>"
#. PAGE BREAK 175
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8678
+#: freeculture.xml:8676
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:8683
+#: freeculture.xml:8681
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:8689
+#: freeculture.xml:8687
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:8692
+#: freeculture.xml:8690
msgid "Lear, Norman"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8694 freeculture.xml:8757
+#: freeculture.xml:8692 freeculture.xml:8755
msgid "All in the Family"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8696
+#: freeculture.xml:8694
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:8708
+#: freeculture.xml:8706
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:8703
+#: freeculture.xml:8701
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:8719
+#: freeculture.xml:8717
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:8738
+#: freeculture.xml:8736
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:8728
+#: freeculture.xml:8726
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:8759
+#: freeculture.xml:8757
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:8764
+#: freeculture.xml:8762
msgid "Diller, Barry"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8765
+#: freeculture.xml:8763
msgid "Moyers, Bill"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8767
+#: freeculture.xml:8765
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:8782
+#: freeculture.xml:8780
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:8773
+#: freeculture.xml:8771
msgid ""
"Well, if you have companies that produce, that finance, that air on their "
"channel and then distribute worldwide everything that goes through their "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8789
+#: freeculture.xml:8787
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:8800
+#: freeculture.xml:8798
msgid "Clark, Kim B."
msgstr ""
#. f33
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8809
+#: freeculture.xml:8807
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:8802
+#: freeculture.xml:8800
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:8826
+#: freeculture.xml:8824
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:8832
+#: freeculture.xml:8830
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:8836
+#: freeculture.xml:8834
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; "
#. PAGE BREAK 178
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8841
+#: freeculture.xml:8839
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:8860
+#: freeculture.xml:8858
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:8868
+#: freeculture.xml:8866
msgid "Nick and Norm anti-drug campaign"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8870
+#: freeculture.xml:8868
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:8882
+#: freeculture.xml:8880
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:8886
+#: freeculture.xml:8884
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:8892
+#: freeculture.xml:8890
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:8900
+#: freeculture.xml:8898
msgid "on television advertising bans"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:8901
+#: freeculture.xml:8899
msgid "controversy avoided by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8914
+#: freeculture.xml:8912
msgid "Comcast"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8915
+#: freeculture.xml:8913
msgid "Marijuana Policy Project"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8916
+#: freeculture.xml:8914
msgid "NBC"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8917
+#: freeculture.xml:8915
msgid "WJOA"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8918
+#: freeculture.xml:8916
msgid "WRC"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8913
+#: freeculture.xml:8911
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:8903
+#: freeculture.xml:8901
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:8952
+#: freeculture.xml:8950
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:8965
+#: freeculture.xml:8963
msgid "Together"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8967
+#: freeculture.xml:8965
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:8973
+#: freeculture.xml:8971
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:8989
+#: freeculture.xml:8987
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:8995
+#: freeculture.xml:8993
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:9007
+#: freeculture.xml:9005
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:9019
+#: freeculture.xml:9017
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:9043
+#: freeculture.xml:9041
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:9028
+#: freeculture.xml:9026
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:9049
+#: freeculture.xml:9047
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:9053
+#: freeculture.xml:9051
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:9065 freeculture.xml:9102
+#: freeculture.xml:9063 freeculture.xml:9100
msgid "PUBLISH"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:9066 freeculture.xml:9103 freeculture.xml:9141 freeculture.xml:9173
+#: freeculture.xml:9064 freeculture.xml:9101 freeculture.xml:9139 freeculture.xml:9171
msgid "TRANSFORM"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9071 freeculture.xml:9108 freeculture.xml:9146 freeculture.xml:9178
+#: freeculture.xml:9069 freeculture.xml:9106 freeculture.xml:9144 freeculture.xml:9176
msgid "Commercial"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9072 freeculture.xml:9109 freeculture.xml:9110 freeculture.xml:9147 freeculture.xml:9148 freeculture.xml:9179 freeculture.xml:9180 freeculture.xml:9184 freeculture.xml:9185
+#: 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
msgid "©"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9073 freeculture.xml:9077 freeculture.xml:9078 freeculture.xml:9114 freeculture.xml:9115 freeculture.xml:9153
+#: freeculture.xml:9071 freeculture.xml:9075 freeculture.xml:9076 freeculture.xml:9112 freeculture.xml:9113 freeculture.xml:9151
msgid "Free"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9076 freeculture.xml:9113 freeculture.xml:9151 freeculture.xml:9183
+#: freeculture.xml:9074 freeculture.xml:9111 freeculture.xml:9149 freeculture.xml:9181
msgid "Noncommercial"
msgstr ""
#. PAGE BREAK 182
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9085
+#: freeculture.xml:9083
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:9094
+#: freeculture.xml:9092
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:9122
+#: freeculture.xml:9120
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:9128
+#: freeculture.xml:9126
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:9140 freeculture.xml:9172
+#: freeculture.xml:9138 freeculture.xml:9170
msgid "COPY"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:9152
+#: freeculture.xml:9150
msgid "© / Free"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9160
+#: freeculture.xml:9158
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:9192
+#: freeculture.xml:9190
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:9200
+#: freeculture.xml:9198
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:9206
+#: freeculture.xml:9204
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:9224
+#: freeculture.xml:9222
msgid "legal realist movement"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9224
+#: freeculture.xml:9222
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:9218
+#: freeculture.xml:9216
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:9243
+#: freeculture.xml:9241
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:9266
+#: freeculture.xml:9264
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:9283
+#: freeculture.xml:9281
msgid "Puzzles"
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:9287
+#: freeculture.xml:9285
msgid "Chapter Eleven: Chimera"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:9288
+#: freeculture.xml:9286
msgid "chimeras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:9289
+#: freeculture.xml:9287
msgid "Wells, H. G."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:9290
+#: freeculture.xml:9288
msgid "<quote>Country of the Blind, The</quote> (Wells)"
msgstr ""
#. f1.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:9298
+#: freeculture.xml:9296
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:9293
+#: freeculture.xml:9291
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:9310
+#: freeculture.xml:9308
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 "
#. PAGE BREAK 187
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9322
+#: freeculture.xml:9320
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:9333
+#: freeculture.xml:9331
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:9339
+#: freeculture.xml:9337
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:9343
+#: freeculture.xml:9341
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:9348
+#: freeculture.xml:9346
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:9354
+#: freeculture.xml:9352
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:9360
+#: freeculture.xml:9358
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:9374
+#: freeculture.xml:9372
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:9382
+#: freeculture.xml:9380
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:9396
+#: freeculture.xml:9394
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:9405
+#: freeculture.xml:9403
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:9416
+#: freeculture.xml:9414
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:9426
+#: freeculture.xml:9424
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:9442 freeculture.xml:9729 freeculture.xml:10824
+#: freeculture.xml:9440 freeculture.xml:9727 freeculture.xml:10822
msgid "ISPs (Internet service providers), user identities revealed by"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9473
+#: freeculture.xml:9471
msgid "Conyers, John, Jr."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9474 freeculture.xml:10221
+#: freeculture.xml:9472 freeculture.xml:10219
msgid "Berman, Howard L."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:9442
+#: freeculture.xml:9440
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:9433
+#: freeculture.xml:9431
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:9480
+#: freeculture.xml:9478
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:9487
+#: freeculture.xml:9485
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:9499
+#: freeculture.xml:9497
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:9507
+#: freeculture.xml:9505
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:9520
+#: freeculture.xml:9518
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:9524
+#: freeculture.xml:9522
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:9541
+#: freeculture.xml:9539
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:9531
+#: freeculture.xml:9529
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:9555 freeculture.xml:9929
+#: freeculture.xml:9553 freeculture.xml:9927
msgid "Vivendi Universal"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9552
+#: freeculture.xml:9550
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:9558
+#: freeculture.xml:9556
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:9566
+#: freeculture.xml:9564
msgid "Chapter Twelve: Harms"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:9568
+#: freeculture.xml:9566
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:9576
+#: freeculture.xml:9574
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:9582
+#: freeculture.xml:9580
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:9590
+#: freeculture.xml:9588
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:9598
+#: freeculture.xml:9596
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:9605
+#: freeculture.xml:9603
msgid "Constraining Creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9607
+#: freeculture.xml:9605
msgid ""
"In the next ten years we will see an explosion of digital technologies. "
"These technologies will enable almost anyone to capture and share "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9622
+#: freeculture.xml:9620
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:9633
+#: freeculture.xml:9631
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:9643
+#: freeculture.xml:9641
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:9653 freeculture.xml:9677
+#: freeculture.xml:9651 freeculture.xml:9675
msgid "WorldCom"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9656
+#: freeculture.xml:9654
msgid "doctors malpractice claims against"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9672
+#: freeculture.xml:9670
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:9693
+#: freeculture.xml:9691
msgid "Bush, George W."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9684
+#: freeculture.xml:9682
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 "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9659
+#: freeculture.xml:9657
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:9699
+#: freeculture.xml:9697
msgid "art, underground"
msgstr ""
#. f3.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9720
+#: freeculture.xml:9718
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:9701
+#: freeculture.xml:9699
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:9731
+#: freeculture.xml:9729
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:9744
+#: freeculture.xml:9742
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:9755
+#: freeculture.xml:9753
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:9766
+#: freeculture.xml:9764
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:9776
+#: freeculture.xml:9774
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:9787
+#: freeculture.xml:9785
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:9798
+#: freeculture.xml:9796
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:9802
+#: freeculture.xml:9800
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:9815
+#: freeculture.xml:9813
msgid "Constraining Innovators"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9816
+#: freeculture.xml:9814
msgid "innovation hampered by"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9817
+#: freeculture.xml:9815
msgid "industry establishment opposed to"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9820
+#: freeculture.xml:9818
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:9829
+#: freeculture.xml:9827
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:9840
+#: freeculture.xml:9838
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:9853 freeculture.xml:9974 freeculture.xml:9980
+#: freeculture.xml:9851 freeculture.xml:9972 freeculture.xml:9978
msgid "Barry, Hank"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9854 freeculture.xml:9986
+#: freeculture.xml:9852 freeculture.xml:9984
msgid "venture capitalists"
msgstr ""
#. PAGE BREAK 198
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9856
+#: freeculture.xml:9854
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:9871
+#: freeculture.xml:9869
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:9875
+#: freeculture.xml:9873
msgid "MP3.com"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9876
+#: freeculture.xml:9874
msgid "my.mp3.com"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9877
+#: freeculture.xml:9875
msgid "Roberts, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9879
+#: freeculture.xml:9877
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:9887
+#: freeculture.xml:9885
msgid "preference data on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9889
+#: freeculture.xml:9887
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:9896
+#: freeculture.xml:9894
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:9908
+#: freeculture.xml:9906
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:9918
+#: freeculture.xml:9916
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:9930 freeculture.xml:9975
+#: freeculture.xml:9928 freeculture.xml:9973
msgid "distribution technology targeted in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9935
+#: freeculture.xml:9933
msgid "outsize penalties of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9937
+#: freeculture.xml:9935
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:9947
+#: freeculture.xml:9945
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:9950
+#: freeculture.xml:9948
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:9961
+#: freeculture.xml:9959
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:9976
+#: freeculture.xml:9974
msgid "BMW"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9977
+#: freeculture.xml:9975
msgid "cars, MP3 sound systems in"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9979
+#: freeculture.xml:9977
msgid "Hummer, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9981
+#: freeculture.xml:9979
msgid "Hummer Winblad"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9982
+#: freeculture.xml:9980
msgid "MP3 players"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:9983
+#: freeculture.xml:9981
msgid "venture capital for"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9984 freeculture.xml:10030
+#: freeculture.xml:9982 freeculture.xml:10028
msgid "Needleman, Rafe"
msgstr ""
#. f4.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9994
+#: freeculture.xml:9992
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:9988
+#: freeculture.xml:9986
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:10026
+#: freeculture.xml:10024
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:10017
+#: freeculture.xml:10015
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:10038
+#: freeculture.xml:10036
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 "
#. PAGE BREAK 201
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10048
+#: freeculture.xml:10046
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:10063
+#: freeculture.xml:10061
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:10075
+#: freeculture.xml:10073
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:10094
+#: freeculture.xml:10092
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:10101
+#: freeculture.xml:10099
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:10116
+#: freeculture.xml:10114
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:10129
+#: freeculture.xml:10127
msgid "GartnerG2, 26–27."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10112
+#: freeculture.xml:10110
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:10133
+#: freeculture.xml:10131
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:10142 freeculture.xml:12052
+#: freeculture.xml:10140 freeculture.xml:12050
msgid "Intel"
msgstr ""
#. f8.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10148
+#: freeculture.xml:10146
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:10144
+#: freeculture.xml:10142
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:10156
+#: freeculture.xml:10154
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:10161
+#: freeculture.xml:10159
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:10179
+#: freeculture.xml:10177
msgid "Digital Copyright (Litman)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10177
+#: freeculture.xml:10175
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:10171
+#: freeculture.xml:10169
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:10190
+#: freeculture.xml:10188
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:10196
+#: freeculture.xml:10194
msgid "radio on"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10201
+#: freeculture.xml:10199
msgid "Grokster, Ltd."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10201
+#: freeculture.xml:10199
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:10220
+#: freeculture.xml:10218
msgid "Tauzin, Billy"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:10222
+#: freeculture.xml:10220
msgid "Hollings, Fritz"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10220
+#: freeculture.xml:10218
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:10199
+#: freeculture.xml:10197
msgid ""
"The response by the courts has been fairly universal.<placeholder "
"type=\"footnote\" id=\"0\"/> It has been mirrored in the responses "
#. PAGE BREAK 204
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10247
+#: freeculture.xml:10245
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:10258
+#: freeculture.xml:10256
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:10269
+#: freeculture.xml:10267
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:10278
+#: freeculture.xml:10276
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:10294
+#: freeculture.xml:10292
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:10318
+#: freeculture.xml:10316
msgid "Lessing, 239."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10304
+#: freeculture.xml:10302
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:10328
+#: freeculture.xml:10326
msgid "Ibid., 229."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10323
+#: freeculture.xml:10321
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:10333
+#: freeculture.xml:10331
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:10342
+#: freeculture.xml:10340
msgid "on radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10346
+#: freeculture.xml:10344
msgid "Internet radio hampered by"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10347 freeculture.xml:10500
+#: freeculture.xml:10345 freeculture.xml:10498
msgid "on Internet radio fees"
msgstr ""
#. PAGE BREAK 206
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10350
+#: freeculture.xml:10348
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:10389
+#: freeculture.xml:10387
msgid "CARP (Copyright Arbitration Royalty Panel)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10372
+#: freeculture.xml:10370
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:10365
+#: freeculture.xml:10363
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:10401
+#: freeculture.xml:10399
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:10409
+#: freeculture.xml:10407
msgid "name of the service;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10412
+#: freeculture.xml:10410
msgid "channel of the program (AM/FM stations use station ID);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10415
+#: freeculture.xml:10413
msgid "type of program (archived/looped/live);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10418
+#: freeculture.xml:10416
msgid "date of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10421
+#: freeculture.xml:10419
msgid "time of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10424
+#: freeculture.xml:10422
msgid "time zone of origination of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10427
+#: freeculture.xml:10425
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:10430
+#: freeculture.xml:10428
msgid "duration of transmission (to nearest second);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10433
+#: freeculture.xml:10431
msgid "sound recording title;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10436
+#: freeculture.xml:10434
msgid "ISRC code of the recording;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10439
+#: freeculture.xml:10437
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:10442
+#: freeculture.xml:10440
msgid "featured recording artist;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10445
+#: freeculture.xml:10443
msgid "retail album title;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10448
+#: freeculture.xml:10446
msgid "recording label;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10451
+#: freeculture.xml:10449
msgid "UPC code of the retail album;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10454
+#: freeculture.xml:10452
msgid "catalog number;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10457
+#: freeculture.xml:10455
msgid "copyright owner information;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10460
+#: freeculture.xml:10458
msgid "musical genre of the channel or program (station format);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10463
+#: freeculture.xml:10461
msgid "name of the service or entity;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10466
+#: freeculture.xml:10464
msgid "channel or program;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10469
+#: freeculture.xml:10467
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:10472
+#: freeculture.xml:10470
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:10475
+#: freeculture.xml:10473
msgid "time zone where the signal was received (user);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10478
+#: freeculture.xml:10476
msgid "unique user identifier;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:10481
+#: freeculture.xml:10479
msgid "the country in which the user received the transmissions."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10486
+#: freeculture.xml:10484
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:10494
+#: freeculture.xml:10492
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:10498 freeculture.xml:15304
+#: freeculture.xml:10496 freeculture.xml:15302
msgid "Real Networks"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10504
+#: freeculture.xml:10502
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:10510
+#: freeculture.xml:10508
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:10526
+#: freeculture.xml:10524
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:10538
+#: freeculture.xml:10536
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:10554
+#: freeculture.xml:10552
msgid "Corrupting Citizens"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10556
+#: freeculture.xml:10554
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:10562
+#: freeculture.xml:10560
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:10571
+#: freeculture.xml:10569
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:10567
+#: freeculture.xml:10565
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:10605
+#: freeculture.xml:10603
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:10592
+#: freeculture.xml:10590
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:10616
+#: freeculture.xml:10614
msgid "alcohol prohibition"
msgstr ""
#. f17.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10628
+#: freeculture.xml:10626
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:10636
+#: freeculture.xml:10634
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:10646
+#: freeculture.xml:10644
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:10618
+#: freeculture.xml:10616
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:10654
+#: freeculture.xml:10652
msgid "law schools"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10656
+#: freeculture.xml:10654
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:10673
+#: freeculture.xml:10671
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:10686
+#: freeculture.xml:10684
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:10693
+#: freeculture.xml:10691
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:10707
+#: freeculture.xml:10705
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:10719
+#: freeculture.xml:10717
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:10722
+#: freeculture.xml:10720
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:10733
+#: freeculture.xml:10731
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:10741
+#: freeculture.xml:10739
msgid "Andromeda"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:10742
+#: freeculture.xml:10740
msgid "mix technology and"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10744
+#: freeculture.xml:10742
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:10755
+#: freeculture.xml:10753
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:10765
+#: freeculture.xml:10763
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:10780
+#: freeculture.xml:10778
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:10789
+#: freeculture.xml:10787
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:10800
+#: freeculture.xml:10798
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:10809
+#: freeculture.xml:10807
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:10815
+#: freeculture.xml:10813
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:10826
+#: freeculture.xml:10824
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:10834 freeculture.xml:10934
+#: freeculture.xml:10832 freeculture.xml:10932
msgid "von Lohmann, Fred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10836
+#: freeculture.xml:10834
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:10841
+#: freeculture.xml:10839
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:10853
+#: freeculture.xml:10851
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:10858
+#: freeculture.xml:10856
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:10876
+#: freeculture.xml:10874
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> "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10867
+#: freeculture.xml:10865
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 "
#. f21.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10894
+#: freeculture.xml:10892
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:10890
+#: freeculture.xml:10888
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:10915
+#: freeculture.xml:10913
msgid ""
"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not "
"Penitent,</quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10903
+#: freeculture.xml:10901
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:10936
+#: freeculture.xml:10934
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:10951
+#: freeculture.xml:10949
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:10971
+#: freeculture.xml:10969
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:10984
+#: freeculture.xml:10982
msgid "Balances"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:10989
+#: freeculture.xml:10987
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:10996
+#: freeculture.xml:10994
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:11004
+#: freeculture.xml:11002
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:11014
+#: freeculture.xml:11012
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:11022
+#: freeculture.xml:11020
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:11027
+#: freeculture.xml:11025
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:11033
+#: freeculture.xml:11031
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:11043
+#: freeculture.xml:11041
msgid "Chapter Thirteen: Eldred"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11044
+#: freeculture.xml:11042
msgid "Eldred, Eric"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11045
+#: freeculture.xml:11043
msgid "Hawthorne, Nathaniel"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11047
+#: freeculture.xml:11045
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:11055
+#: freeculture.xml:11053
msgid "of public-domain literature"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11056
+#: freeculture.xml:11054
msgid "library of works derived from"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11058
+#: freeculture.xml:11056
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:11067
+#: freeculture.xml:11065
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:11077
+#: freeculture.xml:11075
msgid "Scarlet Letter, The (Hawthorne)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11079
+#: freeculture.xml:11077
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:11104 freeculture.xml:12151
+#: freeculture.xml:11102 freeculture.xml:12149
msgid "pornography"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11104
+#: freeculture.xml:11102
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:11093
+#: freeculture.xml:11091
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:11124
+#: freeculture.xml:11122
msgid "Frost, Robert"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11125
+#: freeculture.xml:11123
msgid "New Hampshire (Frost)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11129
+#: freeculture.xml:11127
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:11144 freeculture.xml:11156
+#: freeculture.xml:11142 freeculture.xml:11154
msgid "Bono, Mary"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:11145 freeculture.xml:11157
+#: freeculture.xml:11143 freeculture.xml:11155
msgid "Bono, Sonny"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11156
+#: freeculture.xml:11154
msgid ""
"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
"id=\"1\"/> The full text is: <quote>Sonny [Bono] wanted the term of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11151
+#: freeculture.xml:11149
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:11168
+#: freeculture.xml:11166
msgid "felony punishment for infringement of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11169
+#: freeculture.xml:11167
msgid "NET (No Electronic Theft) Act (1998)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11170
+#: freeculture.xml:11168
msgid "No Electronic Theft (NET) Act (1998)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11171
+#: freeculture.xml:11169
msgid "felony punishments for"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11173
+#: freeculture.xml:11171
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:11182 freeculture.xml:12119
+#: freeculture.xml:11180 freeculture.xml:12117
msgid "constitutional powers of"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><secondary>
-#: freeculture.xml:11185 freeculture.xml:11231
+#: freeculture.xml:11183 freeculture.xml:11229
msgid "Eldred case involvement of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11187
+#: freeculture.xml:11185
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:11198
+#: freeculture.xml:11196
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:11205
+#: freeculture.xml:11203
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:11217 freeculture.xml:12713
+#: freeculture.xml:11215 freeculture.xml:12711
msgid "Jaszi, Peter"
msgstr ""
#. PAGE BREAK 223
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11219
+#: freeculture.xml:11217
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:11233
+#: freeculture.xml:11231
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:11244
+#: freeculture.xml:11242
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:11253
+#: freeculture.xml:11251
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:11263
+#: freeculture.xml:11261
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:11270
+#: freeculture.xml:11268
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:11278
+#: freeculture.xml:11276
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:11284
+#: freeculture.xml:11282
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:11288
+#: freeculture.xml:11286
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:11293
+#: freeculture.xml:11291
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:11299
+#: freeculture.xml:11297
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11305
+#: freeculture.xml:11303
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:11309
+#: freeculture.xml:11307
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:11315
+#: freeculture.xml:11313
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 "
#. PAGE BREAK 225
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11321
+#: freeculture.xml:11319
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:11332
+#: freeculture.xml:11330
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:11344
+#: freeculture.xml:11342
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:11351
+#: freeculture.xml:11349
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:11359
+#: freeculture.xml:11357
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:11337
+#: freeculture.xml:11335
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:11366
+#: freeculture.xml:11364
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:11381
+#: freeculture.xml:11379
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11394
+#: freeculture.xml:11392
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:11404
+#: freeculture.xml:11402
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:11410 freeculture.xml:12200
+#: freeculture.xml:11408 freeculture.xml:12198
msgid "Rehnquist, William H."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11412
+#: freeculture.xml:11410
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:11427
+#: freeculture.xml:11425
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 "
"U.S. 549, 564 (1995)."
#. f7.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11434
+#: freeculture.xml:11432
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
"U.S. 598 (2000)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11425
+#: freeculture.xml:11423
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:11441
+#: freeculture.xml:11439
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:11438
+#: freeculture.xml:11436
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\" "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11462
+#: freeculture.xml:11460
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:11479
+#: freeculture.xml:11477
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:11496
+#: freeculture.xml:11494
msgid "Nashville Songwriters Association"
msgstr ""
#. f9.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11504
+#: freeculture.xml:11502
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:11498
+#: freeculture.xml:11496
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:11514
+#: freeculture.xml:11512
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:11526
+#: freeculture.xml:11524
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:11544
+#: freeculture.xml:11542
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:11538
+#: freeculture.xml:11536
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:11553
+#: freeculture.xml:11551
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:11566
+#: freeculture.xml:11564
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:11574
+#: freeculture.xml:11572
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:11578
+#: freeculture.xml:11576
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:11585
+#: freeculture.xml:11583
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:11594
+#: freeculture.xml:11592
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:11599
+#: freeculture.xml:11597
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:11608
+#: freeculture.xml:11606
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:11623
+#: freeculture.xml:11621
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:11635
+#: freeculture.xml:11633
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:11640
+#: freeculture.xml:11638
msgid "Agee, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11641 freeculture.xml:12076
+#: freeculture.xml:11639 freeculture.xml:12074
msgid "Hal Roach Studios"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11642
+#: freeculture.xml:11640
msgid "Laurel and Hardy Films"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11643
+#: freeculture.xml:11641
msgid "Lucky Dog, The"
msgstr ""
#. f11.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11656
+#: freeculture.xml:11654
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:11645
+#: freeculture.xml:11643
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:11663
+#: freeculture.xml:11661
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:11669
+#: freeculture.xml:11667
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:11687
+#: freeculture.xml:11685
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:11680
+#: freeculture.xml:11678
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:11697
+#: freeculture.xml:11695
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:11705
+#: freeculture.xml:11703
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:11713
+#: freeculture.xml:11711
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:11724
+#: freeculture.xml:11722
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:11735
+#: freeculture.xml:11733
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:11743
+#: freeculture.xml:11741
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:11751
+#: freeculture.xml:11749
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:11761
+#: freeculture.xml:11759
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:11774
+#: freeculture.xml:11772
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:11781
+#: freeculture.xml:11779
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:11792
+#: freeculture.xml:11790
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:11801
+#: freeculture.xml:11799
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:11807
+#: freeculture.xml:11805
msgid "But this situation has now changed."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11811
+#: freeculture.xml:11809
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:11824
+#: freeculture.xml:11822
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:11834
+#: freeculture.xml:11832
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:11845
+#: freeculture.xml:11843
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:11851
+#: freeculture.xml:11849
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:11875
+#: freeculture.xml:11873
msgid ""
"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> "
"20 December 2002, available at <ulink "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11863
+#: freeculture.xml:11861
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:11882
+#: freeculture.xml:11880
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:11891
+#: freeculture.xml:11889
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:11898
+#: freeculture.xml:11896
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:11909
+#: freeculture.xml:11907
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:11914
+#: freeculture.xml:11912
msgid "Tatel, David"
msgstr ""
#. PAGE BREAK 236
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11916
+#: freeculture.xml:11914
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:11925
+#: freeculture.xml:11923
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:11932
+#: freeculture.xml:11930
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:11938
+#: freeculture.xml:11936
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:11949
+#: freeculture.xml:11947
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:11954 freeculture.xml:11968
+#: freeculture.xml:11952 freeculture.xml:11966
msgid "Steward, Geoffrey"
msgstr ""
#. PAGE BREAK 237
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11956
+#: freeculture.xml:11954
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:11966 freeculture.xml:12329 freeculture.xml:12345 freeculture.xml:12442 freeculture.xml:12662 freeculture.xml:12693 freeculture.xml:12792
+#: freeculture.xml:11964 freeculture.xml:12327 freeculture.xml:12343 freeculture.xml:12440 freeculture.xml:12660 freeculture.xml:12691 freeculture.xml:12790
msgid "Ayer, Don"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11967
+#: freeculture.xml:11965
msgid "Bromberg, Dan"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11970
+#: freeculture.xml:11968
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:11980
+#: freeculture.xml:11978
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:12001
+#: freeculture.xml:11999
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:12009
+#: freeculture.xml:12007
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:12027 freeculture.xml:12054
+#: freeculture.xml:12025 freeculture.xml:12052
msgid "Eagle Forum"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12028
+#: freeculture.xml:12026
msgid "Schlafly, Phyllis"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12030
+#: freeculture.xml:12028
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:12044
+#: freeculture.xml:12042
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:12056
+#: freeculture.xml:12054
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:12068
+#: freeculture.xml:12066
msgid "American Association of Law Libraries"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12069
+#: freeculture.xml:12067
msgid "National Writers Union"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12071
+#: freeculture.xml:12069
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:12078
+#: freeculture.xml:12076
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:12084
+#: freeculture.xml:12082
msgid "Akerlof, George"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12085
+#: freeculture.xml:12083
msgid "Arrow, Kenneth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12086
+#: freeculture.xml:12084
msgid "Buchanan, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12087
+#: freeculture.xml:12085
msgid "Coase, Ronald"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12088
+#: freeculture.xml:12086
msgid "Friedman, Milton"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12090
+#: freeculture.xml:12088
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:12100 freeculture.xml:12118 freeculture.xml:12331 freeculture.xml:12694
+#: freeculture.xml:12098 freeculture.xml:12116 freeculture.xml:12329 freeculture.xml:12692
msgid "Fried, Charles"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12101
+#: freeculture.xml:12099
msgid "Morrison, Alan"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12102
+#: freeculture.xml:12100
msgid "Public Citizen"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:12103 freeculture.xml:12330 freeculture.xml:13480
+#: freeculture.xml:12101 freeculture.xml:12328 freeculture.xml:13478
msgid "Reagan, Ronald"
msgstr ""
#. PAGE BREAK 240
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12105
+#: freeculture.xml:12103
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:12120
+#: freeculture.xml:12118
msgid "Commerce Clause of"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12122
+#: freeculture.xml:12120
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:12134
+#: freeculture.xml:12132
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:12141
+#: freeculture.xml:12139
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:12149
+#: freeculture.xml:12147
msgid "Gershwin, George"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12150
+#: freeculture.xml:12148
msgid "Porgy and Bess"
msgstr ""
#. f14.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:12160
+#: freeculture.xml:12158
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:12168
+#: freeculture.xml:12166
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:12153
+#: freeculture.xml:12151
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:12177
+#: freeculture.xml:12175
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:12189
+#: freeculture.xml:12187
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:12196
+#: freeculture.xml:12194
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:12201 freeculture.xml:12387
+#: freeculture.xml:12199 freeculture.xml:12385
msgid "O'Connor, Sandra Day"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12203
+#: freeculture.xml:12201
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:12212 freeculture.xml:12237 freeculture.xml:12589 freeculture.xml:12601
+#: freeculture.xml:12210 freeculture.xml:12235 freeculture.xml:12587 freeculture.xml:12599
msgid "Breyer, Stephen"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12213 freeculture.xml:12553
+#: freeculture.xml:12211 freeculture.xml:12551
msgid "Ginsburg, Ruth Bader"
msgstr ""
#. PAGE BREAK 242
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12215
+#: freeculture.xml:12213
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:12227
+#: freeculture.xml:12225
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:12239
+#: freeculture.xml:12237
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:12248
+#: freeculture.xml:12246
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:12256
+#: freeculture.xml:12254
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:12266
+#: freeculture.xml:12264
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:12280
+#: freeculture.xml:12278
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:12288
+#: freeculture.xml:12286
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:12295
+#: freeculture.xml:12293
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:12310
+#: freeculture.xml:12308
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:12320
+#: freeculture.xml:12318
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:12333
+#: freeculture.xml:12331
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:12339
+#: freeculture.xml:12337
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:12347
+#: freeculture.xml:12345
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:12357
+#: freeculture.xml:12355
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:12367
+#: freeculture.xml:12365
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:12382
+#: freeculture.xml:12380
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:12389
+#: freeculture.xml:12387
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:12394
+#: freeculture.xml:12392
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:12401
+#: freeculture.xml:12399
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:12407
+#: freeculture.xml:12405
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:12415
+#: freeculture.xml:12413
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:12421
+#: freeculture.xml:12419
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:12429
+#: freeculture.xml:12427
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:12435
+#: freeculture.xml:12433
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:12444
+#: freeculture.xml:12442
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:12451
+#: freeculture.xml:12449
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:12456
+#: freeculture.xml:12454
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:12463
+#: freeculture.xml:12461
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:12467
+#: freeculture.xml:12465
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:12475
+#: freeculture.xml:12473
msgid "Olson, Theodore B."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12477
+#: freeculture.xml:12475
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:12483
+#: freeculture.xml:12481
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:12491
+#: freeculture.xml:12489
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:12504
+#: freeculture.xml:12502
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:12513
+#: freeculture.xml:12511
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:12528
+#: freeculture.xml:12526
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:12536
+#: freeculture.xml:12534
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:12541
+#: freeculture.xml:12539
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:12547
+#: freeculture.xml:12545
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:12557
+#: freeculture.xml:12555
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:12562
+#: freeculture.xml:12560
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:12568
+#: freeculture.xml:12566
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:12579
+#: freeculture.xml:12577
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:12591
+#: freeculture.xml:12589
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:12604
+#: freeculture.xml:12602
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:12615
+#: freeculture.xml:12613
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:12622
+#: freeculture.xml:12620
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:12627
+#: freeculture.xml:12625
msgid "originalism"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12629
+#: freeculture.xml:12627
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:12642
+#: freeculture.xml:12640
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:12657
+#: freeculture.xml:12655
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:12664
+#: freeculture.xml:12662
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:12675
+#: freeculture.xml:12673
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:12696
+#: freeculture.xml:12694
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:12701
+#: freeculture.xml:12699
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:12707
+#: freeculture.xml:12705
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:12715
+#: freeculture.xml:12713
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:12722
+#: freeculture.xml:12720
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:12731
+#: freeculture.xml:12729
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:12746
+#: freeculture.xml:12744
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:12761 freeculture.xml:12766
+#: freeculture.xml:12759 freeculture.xml:12764
msgid "Bolling, Ruben"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12755
+#: freeculture.xml:12753
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:12765
+#: freeculture.xml:12763
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:12769
+#: freeculture.xml:12767
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:12780
+#: freeculture.xml:12778
msgid "Chapter Fourteen: Eldred II"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12782
+#: freeculture.xml:12780
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:12794
+#: freeculture.xml:12792
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:12804
+#: freeculture.xml:12802
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:12812
+#: freeculture.xml:12810
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:12817
+#: freeculture.xml:12815
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:12825 freeculture.xml:13026
+#: freeculture.xml:12823 freeculture.xml:13024
msgid "Forbes, Steve"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12827
+#: freeculture.xml:12825
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:12839
+#: freeculture.xml:12837
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:12849
+#: freeculture.xml:12847
msgid "Berlin Act (1908)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:12850 freeculture.xml:12891
+#: freeculture.xml:12848 freeculture.xml:12889
msgid "Berne Convention (1908)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:12858
+#: freeculture.xml:12856
msgid "German copyright law"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:12858
+#: freeculture.xml:12856
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:12853
+#: freeculture.xml:12851
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:12885
+#: freeculture.xml:12883
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:12893
+#: freeculture.xml:12891
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:12903
+#: freeculture.xml:12901
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:12911
+#: freeculture.xml:12909
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:12919
+#: freeculture.xml:12917
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:12931
+#: freeculture.xml:12929
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:12940
+#: freeculture.xml:12938
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:12956
+#: freeculture.xml:12954
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:12971
+#: freeculture.xml:12969
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:12981
+#: freeculture.xml:12979
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:12990
+#: freeculture.xml:12988
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:12997
+#: freeculture.xml:12995
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:13004
+#: freeculture.xml:13002
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:13010
+#: freeculture.xml:13008
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:13028
+#: freeculture.xml:13026
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:13034
+#: freeculture.xml:13032
msgid "Lofgren, Zoe"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13036
+#: freeculture.xml:13034
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13045
+#: freeculture.xml:13043
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:13053
+#: freeculture.xml:13051
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:13074
+#: freeculture.xml:13072
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:13082
+#: freeculture.xml:13080
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:13092
+#: freeculture.xml:13090
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:13101
+#: freeculture.xml:13099
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:13111
+#: freeculture.xml:13109
msgid "Kelly, Kevin"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13113
+#: freeculture.xml:13111
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:13123
+#: freeculture.xml:13121
msgid "What does this industry really want?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:13126
+#: freeculture.xml:13124
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:13137
+#: freeculture.xml:13135
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:13145
+#: freeculture.xml:13143
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:13157
+#: freeculture.xml:13155
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:13164
+#: freeculture.xml:13162
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:13176
+#: freeculture.xml:13174
msgid "Conclusion"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13177
+#: freeculture.xml:13175
msgid "Africa, medications for HIV patients in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13178
+#: freeculture.xml:13176
msgid "AIDS medications"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13179
+#: freeculture.xml:13177
msgid "antiretroviral drugs"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13180
+#: freeculture.xml:13178
msgid "developing countries, foreign patent costs in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13181 freeculture.xml:13694
+#: freeculture.xml:13179 freeculture.xml:13692
msgid "drugs"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13181 freeculture.xml:13694
+#: freeculture.xml:13179 freeculture.xml:13692
msgid "pharmaceutical"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13182
+#: freeculture.xml:13180
msgid "HIV/AIDS therapies"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13184
+#: freeculture.xml:13182
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:13191
+#: freeculture.xml:13189
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:13206
+#: freeculture.xml:13204
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:13199
+#: freeculture.xml:13197
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:13215 freeculture.xml:13696
+#: freeculture.xml:13213 freeculture.xml:13694
msgid "on pharmaceuticals"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13216
+#: freeculture.xml:13214
msgid "pharmaceutical patents"
msgstr ""
#. PAGE BREAK 265
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13219
+#: freeculture.xml:13217
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:13227
+#: freeculture.xml:13225
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:13238
+#: freeculture.xml:13236
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:13244
+#: freeculture.xml:13242
msgid "international law"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13245
+#: freeculture.xml:13243
msgid "parallel importation"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13246
+#: freeculture.xml:13244
msgid "South Africa, Republic of, pharmaceutical imports by"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13259 freeculture.xml:13752
+#: freeculture.xml:13257 freeculture.xml:13750
msgid "Braithwaite, John"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13257
+#: freeculture.xml:13255
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:13248
+#: freeculture.xml:13246
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:13263
+#: freeculture.xml:13261
msgid "United States Trade Representative (USTR)"
msgstr ""
#. f3.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13271
+#: freeculture.xml:13269
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:13298
+#: freeculture.xml:13296
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:13265
+#: freeculture.xml:13263
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:13305
+#: freeculture.xml:13303
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:13315
+#: freeculture.xml:13313
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:13323
+#: freeculture.xml:13321
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:13338
+#: freeculture.xml:13336
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:13332
+#: freeculture.xml:13330
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:13360
+#: freeculture.xml:13358
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:13369
+#: freeculture.xml:13367
msgid "in pharmaceutical industry"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13371
+#: freeculture.xml:13369
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:13379
+#: freeculture.xml:13377
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:13386
+#: freeculture.xml:13384
msgid "of drug patents"
msgstr ""
#. PAGE BREAK 268
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13388
+#: freeculture.xml:13386
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:13410
+#: freeculture.xml:13408
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:13416
+#: freeculture.xml:13414
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:13431
+#: freeculture.xml:13429
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:13440
+#: freeculture.xml:13438
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:13454
+#: freeculture.xml:13452
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:13467 freeculture.xml:14237
+#: freeculture.xml:13465 freeculture.xml:14235
msgid "academic journals"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13468 freeculture.xml:13481
+#: freeculture.xml:13466 freeculture.xml:13479
msgid "biomedical research"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13469 freeculture.xml:13639
+#: freeculture.xml:13467 freeculture.xml:13637
msgid "international organization on issues of"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13471 freeculture.xml:13588 freeculture.xml:14156
+#: freeculture.xml:13469 freeculture.xml:13586 freeculture.xml:14154
msgid "IBM"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13472 freeculture.xml:14303
+#: freeculture.xml:13470 freeculture.xml:14301
msgid "PLoS (Public Library of Science)"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13473 freeculture.xml:14304
+#: freeculture.xml:13471 freeculture.xml:14302
msgid "Public Library of Science (PLoS)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13474
+#: freeculture.xml:13472
msgid "public projects in"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13475
+#: freeculture.xml:13473
msgid "single nucleotied polymorphisms (SNPs)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13476
+#: freeculture.xml:13474
msgid "Wellcome Trust"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13477 freeculture.xml:13640
+#: freeculture.xml:13475 freeculture.xml:13638
msgid "World Intellectual Property Organization (WIPO)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13478
+#: freeculture.xml:13476
msgid "World Wide Web"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13479
+#: freeculture.xml:13477
msgid "Global Positioning System"
msgstr ""
#. f6.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13486
+#: freeculture.xml:13484
msgid ""
"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> "
"<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink "
#. PAGE BREAK 270
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13483
+#: freeculture.xml:13481
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:13519
+#: freeculture.xml:13517
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:13525
+#: freeculture.xml:13523
msgid "in international debate on intellectual property"
msgstr ""
#. f7.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13528
+#: freeculture.xml:13526
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:13527
+#: freeculture.xml:13525
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:13537 freeculture.xml:13693
+#: freeculture.xml:13535 freeculture.xml:13691
msgid "World Summit on the Information Society (WSIS)"
msgstr ""
#. PAGE BREAK 271
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13539
+#: freeculture.xml:13537
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:13563
+#: freeculture.xml:13561
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:13572 freeculture.xml:15302
+#: freeculture.xml:13570 freeculture.xml:15300
msgid "Apple Corporation"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13573
+#: freeculture.xml:13571
msgid "on free software"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13575
+#: freeculture.xml:13573
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:13585
+#: freeculture.xml:13583
msgid "<quote>copyleft</quote> licenses"
msgstr ""
#. f8.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13601
+#: freeculture.xml:13599
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:13590
+#: freeculture.xml:13588
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:13619
+#: freeculture.xml:13617
msgid "General Public License (GPL)"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13620
+#: freeculture.xml:13618
msgid "GPL (General Public License)"
msgstr ""
#. PAGE BREAK 272
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13622
+#: freeculture.xml:13620
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:13641
+#: freeculture.xml:13639
msgid "Krim, Jonathan"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13642
+#: freeculture.xml:13640
msgid "WIPO meeting opposed by"
msgstr ""
#. f9.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13652
+#: freeculture.xml:13650
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:13644
+#: freeculture.xml:13642
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:13658
+#: freeculture.xml:13656
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:13666 freeculture.xml:13724
+#: freeculture.xml:13664 freeculture.xml:13722
msgid "Boland, Lois"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13668
+#: freeculture.xml:13666
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:13679
+#: freeculture.xml:13677
msgid "These statements are astonishing on a number of levels."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13684
+#: freeculture.xml:13682
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:13695
+#: freeculture.xml:13693
msgid "generic drugs"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13698
+#: freeculture.xml:13696
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:13712
+#: freeculture.xml:13710
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:13726
+#: freeculture.xml:13724
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:13737
+#: freeculture.xml:13735
msgid "feudal system"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13738
+#: freeculture.xml:13736
msgid "feudal system of"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13740
+#: freeculture.xml:13738
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:13757
+#: freeculture.xml:13755
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:13754
+#: freeculture.xml:13752
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:13768
+#: freeculture.xml:13766
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:13777
+#: freeculture.xml:13775
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:13789
+#: freeculture.xml:13787
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:13800
+#: freeculture.xml:13798
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:13808
+#: freeculture.xml:13806
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:13814
+#: freeculture.xml:13812
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:13825
+#: freeculture.xml:13823
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:13833
+#: freeculture.xml:13831
msgid "If this is crazy, then let there be more crazies. Soon."
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13837
+#: freeculture.xml:13835
msgid "Turner, Ted"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13839
+#: freeculture.xml:13837
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:13850
+#: freeculture.xml:13848
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:13858
+#: freeculture.xml:13856
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:13865
+#: freeculture.xml:13863
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:13875
+#: freeculture.xml:13873
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:13882
+#: freeculture.xml:13880
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:13890
+#: freeculture.xml:13888
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:13893
+#: freeculture.xml:13891
msgid "Dylan, Bob"
msgstr ""
#. f11.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13899
+#: freeculture.xml:13897
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:13917
+#: freeculture.xml:13915
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:13924
+#: freeculture.xml:13922
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:13895
+#: freeculture.xml:13893
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:13941
+#: freeculture.xml:13939
msgid "BBC"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13942
+#: freeculture.xml:13940
msgid "Brazil, free culture in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13943 freeculture.xml:14334
+#: freeculture.xml:13941 freeculture.xml:14332
msgid "Creative Commons"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13944
+#: freeculture.xml:13942
msgid "Gil, Gilberto"
msgstr ""
#. type: Content of: <book><chapter><indexterm><secondary>
-#: freeculture.xml:13945
+#: freeculture.xml:13943
msgid "public creative archive in"
msgstr ""
#. f14.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13950
+#: freeculture.xml:13948
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:13959
+#: freeculture.xml:13957
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:13947
+#: freeculture.xml:13945
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:13973
+#: freeculture.xml:13971
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:13981
+#: freeculture.xml:13979
msgid "Afterword"
msgstr ""
#. PAGE BREAK 280
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13985
+#: freeculture.xml:13983
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:13990
+#: freeculture.xml:13988
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:13996
+#: freeculture.xml:13994
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:14003
+#: freeculture.xml:14001
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:14012
+#: freeculture.xml:14010
msgid "Us, now"
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14014
+#: freeculture.xml:14012
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:14021
+#: freeculture.xml:14019
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:14031
+#: freeculture.xml:14029
msgid "initial free character of"
msgstr ""
#. PAGE BREAK 282
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14033
+#: freeculture.xml:14031
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:14045
+#: freeculture.xml:14043
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:14061
+#: freeculture.xml:14059
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:14069
+#: freeculture.xml:14067
msgid "Rebuilding Freedoms Previously Presumed: Examples"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14070
+#: freeculture.xml:14068
msgid "restoration efforts on previous aspects of"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14072
+#: freeculture.xml:14070
msgid "privacy rights"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14074
+#: freeculture.xml:14072
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:14084
+#: freeculture.xml:14082
msgid "What made it assured?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14088
+#: freeculture.xml:14086
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:14103
+#: freeculture.xml:14101
msgid "Amazon"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14104
+#: freeculture.xml:14102
msgid "cookies, Internet"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14105
+#: freeculture.xml:14103
msgid "privacy protection on"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14107
+#: freeculture.xml:14105
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:14116
+#: freeculture.xml:14114
msgid "privacy rights in use of"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14118
+#: freeculture.xml:14116
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:14136
+#: freeculture.xml:14134
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:14130
+#: freeculture.xml:14128
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:14155
+#: freeculture.xml:14153
msgid "Data General"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14159
+#: freeculture.xml:14157
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:14166
+#: freeculture.xml:14164
msgid "Stallman, Richard"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14168
+#: freeculture.xml:14166
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:14176
+#: freeculture.xml:14174
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:14187
+#: freeculture.xml:14185
msgid "proprietary code"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14189
+#: freeculture.xml:14187
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:14198
+#: freeculture.xml:14196
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:14207
+#: freeculture.xml:14205
msgid "Torvalds, Linus"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14209
+#: freeculture.xml:14207
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:14217
+#: freeculture.xml:14215
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:14228
+#: freeculture.xml:14226
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:14238
+#: freeculture.xml:14236
msgid "scientific journals"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14240
+#: freeculture.xml:14238
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:14244
+#: freeculture.xml:14242
msgid "Lexis and Westlaw"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14246 freeculture.xml:14282
+#: freeculture.xml:14244 freeculture.xml:14280
msgid "journals in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14247
+#: freeculture.xml:14245
msgid "access to opinions of"
msgstr ""
#. PAGE BREAK 286
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14249
+#: freeculture.xml:14247
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:14264
+#: freeculture.xml:14262
msgid "access fees for material in"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:14265
+#: freeculture.xml:14263
msgid "license system for rebuilding of"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14267
+#: freeculture.xml:14265
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:14278
+#: freeculture.xml:14276
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:14284
+#: freeculture.xml:14282
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:14296
+#: freeculture.xml:14294
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:14306
+#: freeculture.xml:14304
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:14320
+#: freeculture.xml:14318
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:14333
+#: freeculture.xml:14331
msgid "Rebuilding Free Culture: One Idea"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14336
+#: freeculture.xml:14334
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:14339
+#: freeculture.xml:14337
msgid "Stanford University"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14341
+#: freeculture.xml:14339
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:14352
+#: freeculture.xml:14350
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:14370
+#: freeculture.xml:14368
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:14381
+#: freeculture.xml:14379
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:14391
+#: freeculture.xml:14389
msgid "Garlick, Mia"
msgstr ""
#. PAGE BREAK 289
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14393
+#: freeculture.xml:14391
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:14406
+#: freeculture.xml:14404
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:14419
+#: freeculture.xml:14417
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:14426
+#: freeculture.xml:14424
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:14438
+#: freeculture.xml:14436
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:14443
+#: freeculture.xml:14441
msgid "Free for All (Wayner)"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14444
+#: freeculture.xml:14442
msgid "Wayner, Peter"
msgstr ""
#. PAGE BREAK 290
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14446
+#: freeculture.xml:14444
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:14457
+#: freeculture.xml:14455
msgid "Public Enemy"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14458
+#: freeculture.xml:14456
msgid "rap music"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:14459
+#: freeculture.xml:14457
msgid "Leaphart, Walter"
msgstr ""
#. f2.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14476
+#: freeculture.xml:14474
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:14461
+#: freeculture.xml:14459
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:14485
+#: freeculture.xml:14483
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:14497
+#: freeculture.xml:14495
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:14507
+#: freeculture.xml:14505
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:14515
+#: freeculture.xml:14513
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:14529
+#: freeculture.xml:14527
msgid "Them, soon"
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:14531
+#: freeculture.xml:14529
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:14538
+#: freeculture.xml:14536
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:14545
+#: freeculture.xml:14543
msgid "1. More Formalities"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14547
+#: freeculture.xml:14545
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:14554
+#: freeculture.xml:14552
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:14559
+#: freeculture.xml:14557
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:14565
+#: freeculture.xml:14563
msgid "Why?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14568
+#: freeculture.xml:14566
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:14577
+#: freeculture.xml:14575
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:14591
+#: freeculture.xml:14589
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:14589
+#: freeculture.xml:14587
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:14599
+#: freeculture.xml:14597
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:14611
+#: freeculture.xml:14609
msgid "Registration and renewal"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14613
+#: freeculture.xml:14611
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:14626
+#: freeculture.xml:14624
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 "
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14635
+#: freeculture.xml:14633
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:14645
+#: freeculture.xml:14643
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:14660
+#: freeculture.xml:14658
msgid "Marking"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14662
+#: freeculture.xml:14660
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:14672
+#: freeculture.xml:14670
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:14678
+#: freeculture.xml:14676
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:14695
+#: freeculture.xml:14693
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:14688
+#: freeculture.xml:14686
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:14708
+#: freeculture.xml:14706
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:14714
+#: freeculture.xml:14712
msgid "copyright marking of"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:14716
+#: freeculture.xml:14714
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:14728
+#: freeculture.xml:14726
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:14736
+#: freeculture.xml:14734
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:14741
+#: freeculture.xml:14739
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:14753
+#: freeculture.xml:14751
msgid "2. Shorter Terms"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14755
+#: freeculture.xml:14753
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:14768
+#: freeculture.xml:14766
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:14760
+#: freeculture.xml:14758
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:14775
+#: freeculture.xml:14773
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:14783
+#: freeculture.xml:14781
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:14792
+#: freeculture.xml:14790
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:14804
+#: freeculture.xml:14802
msgid "veterans' pensions"
msgstr ""
#. f4.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><footnote><para>
-#: freeculture.xml:14815
+#: freeculture.xml:14813
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:14807
+#: freeculture.xml:14805
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:14826
+#: freeculture.xml:14824
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:14842
+#: freeculture.xml:14840
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:14848
+#: freeculture.xml:14846
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:14858
+#: freeculture.xml:14856
msgid "3. Free Use Vs. Fair Use"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14862
+#: freeculture.xml:14860
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:14870
+#: freeculture.xml:14868
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:14878
+#: freeculture.xml:14876
msgid "Kaplan, Benjamin"
msgstr ""
#. f5.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14884
+#: freeculture.xml:14882
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:14880
+#: freeculture.xml:14878
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:14897
+#: freeculture.xml:14895
msgid "Ibid., 56."
msgstr ""
#. type: Content of: <book><chapter><section><section><blockquote><para>
-#: freeculture.xml:14893
+#: freeculture.xml:14891
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:14902
+#: freeculture.xml:14900
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:14909
+#: freeculture.xml:14907
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:14922
+#: freeculture.xml:14920
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:14936
+#: freeculture.xml:14934
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:14952
+#: freeculture.xml:14950
msgid "Goldstein, Paul"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14950
+#: freeculture.xml:14948
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:14944
+#: freeculture.xml:14942
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:14958
+#: freeculture.xml:14956
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:14965
+#: freeculture.xml:14963
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:14975
+#: freeculture.xml:14973
msgid "4. Liberate the Music—Again"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14977
+#: freeculture.xml:14975
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:14984
+#: freeculture.xml:14982
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:14993
+#: freeculture.xml:14991
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:15000
+#: freeculture.xml:14998
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:15009
+#: freeculture.xml:15007
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:15014
+#: freeculture.xml:15012
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:15020
+#: freeculture.xml:15018
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:15026
+#: freeculture.xml:15024
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:15034
+#: freeculture.xml:15032
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:15042
+#: freeculture.xml:15040
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:15050
+#: freeculture.xml:15048
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:15055
+#: freeculture.xml:15053
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:15067
+#: freeculture.xml:15065
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:15081
+#: freeculture.xml:15079
msgid "cell phones, music streamed over"
msgstr ""
#. f8.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15101
+#: freeculture.xml:15099
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:15083
+#: freeculture.xml:15081
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:15108
+#: freeculture.xml:15106
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:15124
+#: freeculture.xml:15122
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:15135
+#: freeculture.xml:15133
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:15146
+#: freeculture.xml:15144
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:15156
+#: freeculture.xml:15154
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:15167
+#: freeculture.xml:15165
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:15177
+#: freeculture.xml:15175
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:15187
+#: freeculture.xml:15185
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:15195
+#: freeculture.xml:15193
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:15199
+#: freeculture.xml:15197
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:15210
+#: freeculture.xml:15208
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:15217 freeculture.xml:15259
+#: freeculture.xml:15215 freeculture.xml:15257
msgid "Promises to Keep (Fisher)"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:15257
+#: freeculture.xml:15255
msgid "Fisher, William"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15223
+#: freeculture.xml:15221
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:15219
+#: freeculture.xml:15217
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:15273
+#: freeculture.xml:15271
msgid ""
"Fisher's proposal is careful and comprehensive. It raises a million "
"questions, most of which he answers well in his upcoming book, "
#. PAGE BREAK 307
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15290
+#: freeculture.xml:15288
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:15303
+#: freeculture.xml:15301
msgid "MusicStore"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15305
+#: freeculture.xml:15303
msgid "prices of"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15307
+#: freeculture.xml:15305
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:15322
+#: freeculture.xml:15320
msgid "cable vs. broadcast"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15325
+#: freeculture.xml:15323
msgid "luxury theatres vs. video piracy in"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15327
+#: freeculture.xml:15325
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:15339
+#: freeculture.xml:15337
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:15348
+#: freeculture.xml:15346
msgid "In summary, then, my proposal is this:"
msgstr ""
#. PAGE BREAK 308
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15353
+#: freeculture.xml:15351
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:15360
+#: freeculture.xml:15358
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:15366
+#: freeculture.xml:15364
msgid "guaranteeing the right to engage in type D sharing;"
msgstr ""
#. 2.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:15370
+#: freeculture.xml:15368
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:15376
+#: freeculture.xml:15374
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:15381
+#: freeculture.xml:15379
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:15387
+#: freeculture.xml:15385
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:15401
+#: freeculture.xml:15399
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:15412
+#: freeculture.xml:15410
msgid "5. Fire Lots of Lawyers"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:15414
+#: freeculture.xml:15412
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:15420
+#: freeculture.xml:15418
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:15427
+#: freeculture.xml:15425
msgid "Nimmer, Melville"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><secondary>
-#: freeculture.xml:15428
+#: freeculture.xml:15426
msgid "Supreme Court challenge of"
msgstr ""
#. f10.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:15439
+#: freeculture.xml:15437
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:15430
+#: freeculture.xml:15428
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:15445
+#: freeculture.xml:15443
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:15455
+#: freeculture.xml:15453
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:15450
+#: freeculture.xml:15448
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:15479
+#: freeculture.xml:15477
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:15487
+#: freeculture.xml:15485
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:15497
+#: freeculture.xml:15495
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:15505
+#: freeculture.xml:15503
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:15512
+#: freeculture.xml:15510
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:15521
+#: freeculture.xml:15519
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:15530
+#: freeculture.xml:15528
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:15539
+#: freeculture.xml:15537
msgid "Notes"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15541
+#: freeculture.xml:15539
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:15561
+#: freeculture.xml:15559
msgid "Acknowledgments"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:15563
+#: freeculture.xml:15561
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:15570
+#: freeculture.xml:15568
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:15583
+#: freeculture.xml:15581
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:15594
+#: freeculture.xml:15592
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:15614
+#: freeculture.xml:15612
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:15623
+#: freeculture.xml:15621
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><colophon><para>
-#: freeculture.xml:15648
+#: freeculture.xml:15640
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:15652
+#: freeculture.xml:15644
msgid "Copyright © 2004 Lawrence Lessig. Some rights reserved."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15668
+#: freeculture.xml:15648
+msgid "<ulink url=\"http://free-culture.cc/\"/>"
+msgstr ""
+
+#. type: Content of: <book><colophon><para>
+#: freeculture.xml:15652
msgid ""
"Published 2015 by Petter Reinholdtsen in his spare time. First published "
"2004 by The Penguin Press. Thomas Gramstad Forlag donated the ISBN numbers."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15674
+#: freeculture.xml:15658
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:15680
+#: freeculture.xml:15664
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:15686
+#: freeculture.xml:15670
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:15692
+#: freeculture.xml:15676
msgid "Includes index."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15696
+#: freeculture.xml:15680
msgid ""
"Classifications: (Dewey) 306.4 306.40973 306.46 341.7582 343.7309/9, (UDK) "
"347.78 (US Lib. of Congress) KF2979.L47 2004 (ACM CRCS) K.4.1"
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15711
+#: freeculture.xml:15702
msgid ""
"The book source is in DocBook notation and the other formats are derived "
"from this. The source is based on a version from Hans Schou. Typeset using "
"Crimson Text and formatted using dblatex. Many thanks to the dblatex "
-"developer for his help. The source is available from <ulink "
+"developer
Benoît Guillon for his help. The source is available from <ulink "
"url=\"https://github.com/petterreinholdtsen/free-culture-lessig\"/>. Please "
"report any problems using the GitHub issue tracker."
msgstr ""
#. type: Content of: <book><colophon><para>
-#: freeculture.xml:15720
+#: freeculture.xml:15712
msgid "&translationblock;"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:15728
+#: freeculture.xml:15720
msgid "ISBN"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:15729
+#: freeculture.xml:15721
msgid "Format / MIME-type"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15734
+#: freeculture.xml:15726
msgid "978-82-8067-010-6"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15735
-msgid "Paper copy from XXX"
+#: freeculture.xml:15727
+msgid "Printed copy from Lulu"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15738
+#: freeculture.xml:15730
msgid "978-82-8067-011-3"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15739
+#: freeculture.xml:15731
msgid "application/pdf"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15742
+#: freeculture.xml:15734
msgid "978-82-8067-012-0"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15743
+#: freeculture.xml:15735
msgid "application/epub+zip"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15746
+#: freeculture.xml:15738
msgid "978-82-8067-013-7"
msgstr ""
#. type: Content of: <book><colophon><para><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:15747
+#: freeculture.xml:15739
msgid "application/x-mobipocket-ebook"
msgstr ""
<pubdate>2004-03-25</pubdate>
+ <edition>1</edition>
+
<releaseinfo>Version 2004-02-10</releaseinfo>
<authorgroup>
</para>
<para>
-This version of <citetitle>Free Culture</citetitle> is licensed under
-a Creative Commons license. This license permits non-commercial use of
-this work, so long as attribution is given. For more information
-about the license visit
+This book is 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
<ulink url="http://creativecommons.org/licenses/by-nc/1.0/">http://creativecommons.org/licenses/by-nc/1.0/</ulink>
</para>
</legalnotice>
<abstract>
<title>About the author</title>
<para>
-Lawrence Lessig
+Lawrence Lessig
(<ulink url="http://www.lessig.org">http://www.lessig.org</ulink>),
-professor of law and a John A. Wilson Distinguished Faculty Scholar
-at Stanford Law School, is founder of the Stanford Center for Internet
+professor of law and a Roy L. Furman Professor of Law and Leadership
+at Harvard Law School, is founder of the Stanford Center for Internet
and Society and is chairman of the Creative Commons
(<ulink url="http://creativecommons.org">http://creativecommons.org</ulink>).
The author of The Future of Ideas (Random House, 2001) and Code: And
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 <quote>e.biz 25,</quote> and named one of Scientific
-American's <quote>50 visionaries.</quote> A graduate of the University of
-Pennsylvania, Cambridge University, and Yale Law School, Lessig
-clerked for Judge Richard Posner of the U.S. Seventh Circuit Court of
-Appeals.
+twice listed in BusinessWeek's <quote>e.biz 25,</quote> and named one
+of Scientific American's <quote>50 visionaries.</quote> 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.
</para>
-
-<para>
-<ulink url="http://free-culture.cc/"/>
-</para>
-
</abstract>
<!-- testing different ways to tag the cover page -->
-->
<biblioid class="libraryofcongress">2003063276</biblioid>
+ <biblioid class="uri">http://free-culture.cc/</biblioid>
+
</bookinfo>
<!-- PAGE BREAK 3 -->
<dedication id="alsobylessig">
</para>
<figure id="fig-1621">
<title></title>
-<graphic fileref="images/1621.png" align="center" width="50%"></graphic>
+<graphic fileref="images/aristotele-ebook.png" align="center" width="50%"></graphic>
</figure>
<para>
According to its permissions, no printing or copying is permitted
<title>— On which item have the courts ruled that manufacturers and
retailers be held responsible for having supplied the
equipment?</title>
-<graphic fileref="images/1711.png" align="center" width="100%"></graphic>
+<graphic fileref="images/vcr-comic.png" align="center" width="100%"></graphic>
</figure>
<indexterm><primary>Conrad, Paul</primary></indexterm>
<para>
<ulink url="http://free-culture.cc/"/>
</para>
-<para>
-This version of <citetitle>Free Culture</citetitle> 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
-<ulink url="http://creativecommons.org/licenses/by-nc/1.0/">http://creativecommons.org/licenses/by-nc/1.0/</ulink>
-</para>
-
<para>
Published 2015 by Petter Reinholdtsen in his spare time. First
published 2004 by The Penguin Press. Thomas Gramstad Forlag donated
<?latex } %\centering
?>
+<para>
+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
+<ulink url="http://creativecommons.org/licenses/by-nc/1.0/">http://creativecommons.org/licenses/by-nc/1.0/</ulink>
+</para>
+
<para>
The book source is in DocBook notation and the other formats are
derived from this. The source is based on a version from Hans Schou.
Typeset using Crimson Text and formatted using dblatex. Many thanks
-to the dblatex developer for his help. The source is available from
+to the dblatex developer Benoît Guillon for his help. The source is
+available from
<ulink url="https://github.com/petterreinholdtsen/free-culture-lessig"/>.
Please report any problems using the GitHub issue tracker.
</para>
<tbody>
<row>
<entry>978-82-8067-010-6</entry>
- <entry>Paper copy from XXX</entry>
+ <entry>Printed copy from Lulu</entry>
</row>
<row>
<entry>978-82-8067-011-3</entry>
\LoadClassWithOptions{report}
% report, book, memoir, scrreprt or scrbook ?
+% Show frames, make it easier to debug borders
+%\usepackage{showframe}% http://ctan.org/pkg/showframe
+
% Divide by 2 the index item indentation (10pt -> 5pt)
\makeatletter
\renewcommand\@idxitem{\par\hangindent 20\p@}
\newenvironment{colophon}{
\pagebreak %
- \fontsize{7}{8.4}\selectfont %
+ \fontsize{6.5}{7.8}\selectfont % fits in one pocket size page
+% \fontsize{7.5}{9}\selectfont % fits in one 5.06x7.71" size page
+% \fontsize{8.5}{10.2}\selectfont % fits in one 5.5x8.5" size page
\setlength{\parskip}{0.5em} %
\setlength{\parindent}{0pt} %
}{}
%% Redefines the headings to remove the chapter label
\titleformat{\chapter}[block]
-{\filcenter\huge}{\filcenter}{20pt}{\Huge}
+{\filcenter\Large}{\filcenter}{20pt}{\Large}
\titleformat{\section}
{\filcenter\Large\bfseries}{\thesection}{1em}{}
projects / text-free-culture-lessig.git / commitdiff
