<para>
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 and Society and is chairman of the Creative
- Commons
+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
(<ulink url="http://creativecommons.org/">http://creativecommons.org</ulink>).
-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.
+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.
</para>
</abstract>
</bookinfo>
<!-- PAGE BREAK 1 -->
<para>
-You can buy a copy of this book
-by clicking on one of the links below:
+You can buy a copy of this book by clicking on one of the links below:
</para>
<itemizedlist mark="number" spacing="compact">
<listitem><para><ulink url="http://www.amazon.com/">Amazon</ulink></para></listitem>
<!-- PAGE BREAK 3 -->
<para>
ALSO BY LAWRENCE LESSIG
-The Future of Ideas: The Fate of the Commons
+<sbr/>The Future of Ideas: The Fate of the Commons
in a Connected World
-Code: And Other Laws of Cyberspace
+<sbr/>Code: And Other Laws of Cyberspace
</para>
<!-- PAGE BREAK 4 -->
<para>
THE PENGUIN PRESS
-NEW YORK
+<sbr/>NEW YORK
</para>
<!-- PAGE BREAK 5 -->
<para>
FREE CULTURE
-HOW BIG MEDIA USES TECHNOLOGY AND THE
+<sbr/>HOW BIG MEDIA USES TECHNOLOGY AND THE
HOW BIG MEDIA USES TECHNOLOGY AND
LAW TO LOCK DOWN CULTURE AND CONTROL
THE LAW TO LOCK DOWN CULTURE
CREATIVITY
AND CONTROL CREATIVITY
-LAWRENCE LESSIG
+<sbr/>LAWRENCE LESSIG
</para>
<!-- PAGE BREAK 6 -->
<para>
THE PENGUIN PRESS
-a member of
-Penguin Group (USA) Inc.
-375 Hudson Street
-New York, New York
-Copyright © Lawrence Lessig,
-All rights reserved
-Excerpt from an editorial titled "The Coming of Copyright Perpetuity,"
+<sbr/>a member of Penguin Group (USA) Inc. 375 Hudson Street New
+York, New York
+<sbr/>Copyright © Lawrence Lessig,
+<sbr/>All rights reserved
+<sbr/>Excerpt from an editorial titled "The Coming of Copyright Perpetuity,"
The New York Times, January 16, 2003. Copyright © 2003 by The New York Times Co.
Reprinted with permission.
-Cartoon by Paul Conrad on page 159. Copyright Tribune Media Services, Inc.
-All rights reserved. Reprinted with permission.
-Diagram on page 164 courtesy of the office of FCC Commissioner, Michael J. Copps.
-Library of Congress Cataloging-in-Publication Data
-Lessig, Lawrence.
+<sbr/>Cartoon by Paul Conrad on page 159. Copyright Tribune Media Services, Inc.
+<sbr/>All rights reserved. Reprinted with permission.
+<sbr/>Diagram on page 164 courtesy of the office of FCC Commissioner, Michael J. Copps.
+<sbr/>Library of Congress Cataloging-in-Publication Data
+<sbr/>Lessig, Lawrence.
Free culture : how big media uses technology and the law to lock down
culture and control creativity / Lawrence Lessig.
-p. cm.
-Includes index.
-ISBN 1-59420-006-8 (hardcover)
-1. Intellectual property--United States. 2. Mass media--United States.
-3. Technological innovations--United States. 4. Art--United States. I. Title.
-KF2979.L47
-343.7309'9--dc22
-This book is printed on acid-free paper.
-Printed in the United States of America
-1 3 5 7 9 10 8 6 4
-Designed by Marysarah Quinn
-Without limiting the rights under copyright reserved above, no part of this publication may
-be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or
-by any means (electronic, mechanical, photocopying, recording or otherwise), without the
-prior written permission of both the copyright owner and the above publisher of this book.
-The scanning, uploading, and distribution of this book via the Internet or via any other
-means without the permission of the publisher is illegal and punishable by law. Please
- purchase
-only authorized electronic editions and do not participate in or encourage electronic
-piracy of copyrighted materials. Your support of the author's rights is appreciated.
+<sbr/>p. cm.
+<sbr/>Includes index.
+<sbr/>ISBN 1-59420-006-8 (hardcover)
+<sbr/>1. Intellectual property--United States. 2. Mass media--United States.
+<sbr/>3. Technological innovations--United States. 4. Art--United States. I. Title.
+<sbr/>KF2979.L47
+<sbr/>343.7309'9--dc22
+<sbr/>This book is printed on acid-free paper.
+<sbr/>Printed in the United States of America
+<sbr/>1 3 5 7 9 10 8 6 4
+<sbr/>Designed by Marysarah Quinn
+</para>
+
+<para>
+Without limiting the rights under copyright reserved above, no part of
+this publication may be reproduced, stored in or introduced into a
+retrieval system, or transmitted, in any form or by any means
+(electronic, mechanical, photocopying, recording or otherwise),
+without the prior written permission of both the copyright owner and
+the above publisher of this book. The scanning, uploading, and
+distribution of this book via the Internet or via any other means
+without the permission of the publisher is illegal and punishable by
+law. Please purchase only authorized electronic editions and do not
+participate in or encourage electronic piracy of copyrighted
+materials. Your support of the author's rights is appreciated.
</para>
<!-- PAGE BREAK 7 -->
<para>
-To Eric Eldred--whose work first drew me
-to this cause, and for whom
+To Eric Eldred--whose work first drew me to this cause, and for whom
it continues still.
</para>
<para>
That tradition is the way our culture gets made. As I explain in the
pages that follow, we come from a tradition of "free culture"--not
-"free" as in "free beer" (to borrow a phrase from the founder of the
- freesoftware
-
movement<footnote><para>
+"free" as in "free beer" (to borrow a phrase from the founder of the
+freesoftware movement<footnote>
+<para>
Richard M. Stallman, Free Software, Free Societies 57 ( Joshua Gay, ed. 2002).
</para></footnote>), but "free" as in "free speech," "free markets," "free
-trade," "free enterprise," "free will," and "free elections." A free culture
-supports and protects creators and innovators. It does this directly by
-granting intellectual property rights. But it does so indirectly by
- limiting
-the reach of those rights, to guarantee that follow-on creators and
-innovators remain as free as possible from the control of the past. A free
-culture is not a culture without property, just as a free market is not a
-market in which everything is free. The opposite of a free culture is a
-"permission culture"--a culture in which creators get to create only
-with the permission of the powerful, or of creators from the past.
+trade," "free enterprise," "free will," and "free elections." A free
+culture supports and protects creators and innovators. It does this
+directly by granting intellectual property rights. But it does so
+indirectly by limiting the reach of those rights, to guarantee that
+follow-on creators and innovators remain as free as possible from the
+control of the past. A free culture is not a culture without property,
+just as a free market is not a market in which everything is free. The
+opposite of a free culture is a "permission culture"--a culture in
+which creators get to create only with the permission of the powerful,
+or of creators from the past.
</para>
<para>
If we understood this change, I believe we would resist it. Not "we"
on the Left or "you" on the Right, but we who have no stake in the
particular industries of culture that defined the twentieth century.
-Whether you are on the Left or the Right, if you are in this sense
- 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.
+Whether you are on the Left or the Right, if you are in this sense
+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.
</para>
<para>
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
generated more than 700,000 letters to the FCC opposing the change.
-As William Safire described marching "uncomfortably alongside
-CodePink Women for Peace and the National Rifle Association,
- between
- liberal Olympia Snowe and conservative Ted Stevens," he
- formulated
-perhaps most simply just what was at stake: the concentration
-of power. And as he asked,
+As William Safire described marching "uncomfortably alongside CodePink
+Women for Peace and the National Rifle Association, between liberal
+Olympia Snowe and conservative Ted Stevens," he formulated perhaps
+most simply just what was at stake: the concentration of power. And as
+he asked,
</para>
<blockquote>
<para>
-Does that sound unconservative? Not to me. The concentration
-of 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.<footnote><para>
-William Safire, "The Great Media Gulp," New York Times, 22 May 2003.
+Does that sound unconservative? Not to me. The concentration of
+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.<footnote><para> William Safire,
+"The Great Media Gulp," New York Times, 22 May 2003.
</para></footnote>
</para>
</blockquote>
<para>
This idea is an element of the argument of Free Culture, though my
-focus is not just on the concentration of power produced by
- concentrations
-in ownership, but more importantly, if because less visibly, on the
-concentration of power produced by a radical change in the effective
-scope of the law. The law is changing; that change is 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.
-The inspiration 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 Stallman's own work, especially
-the essays in Free Software, Free Society, I realize that all of the
- theoretical
-insights I develop here are insights Stallman described decades
-ago. One could thus well argue that this work is "merely" derivative.
+focus is not just on the concentration of power produced by
+concentrations in ownership, but more importantly, if because less
+visibly, on the concentration of power produced by a radical change in
+the effective scope of the law. The law is changing; that change is
+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. The inspiration 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
+Stallman's own work, especially the essays in Free Software, Free
+Society, I realize that all of the theoretical insights I develop here
+are insights Stallman described decades ago. One could thus well argue
+that this work is "merely" derivative.
</para>
<para>
I accept that criticism, if indeed it is a criticism. The work of a
projects / text-free-culture-lessig.git / commitdiff