msgid ""
msgstr ""
"Project-Id-Version: Free Culture by Lawrence Lessig\n"
-"POT-Creation-Date: 2012-08-10 09:11+0300\n"
+"POT-Creation-Date: 2012-08-10 12:50+0300\n"
"PO-Revision-Date: 2012-07-13 21:50+0200\n"
"Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n"
"Language-Team: Norwegian Bokmål <i18n-nb@lister.ping.uio.no>\n"
msgstr "Om forfatteren"
#. type: Content of: <book><bookinfo><abstract><para>
+#, fuzzy
+#| 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 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."
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 "
"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."
+"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."
msgstr ""
"Lawrense Lessig (<ulink url=\"http://www.lessig.org\">http://www.lessig.org</"
"ulink>), professor i juss og en John A. Wilson Distinguished Faculty Scholar "
#. type: Content of: <book><colophon><para>
msgid ""
-"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" "
-"<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright "
-"© 2003 by The New York Times Co. Reprinted with permission."
+"Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</"
+"quote> <citetitle>The New York Times</citetitle>, January 16, 2003. "
+"Copyright © 2003 by The New York Times Co. Reprinted with permission."
msgstr ""
#. type: Content of: <book><colophon><para>
"første bok, <citetitle>Code: And Other Laws of Cyberspace</citetitle>:"
#. type: Content of: <book><preface><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York "
+#| "Times</citetitle>, 30 January 2000."
msgid ""
-"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</"
-"citetitle>, 30 January 2000."
+"David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New "
+"York Times</citetitle>, 30 January 2000."
msgstr ""
"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</"
"citetitle>, 30. januar 2000"
"<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><preface><para>
+#, fuzzy
+#| msgid ""
+#| "Pogue was skeptical of the core argument of the book—that software, "
+#| "or \"code,\" functioned as a kind of law—and his review suggested "
+#| "the happy thought that if life in cyberspace got bad, we could always "
+#| "\"drizzle, drazzle, druzzle, drome\"-like simply flip a switch and be "
+#| "back home. Turn off the modem, unplug the computer, and any troubles that "
+#| "exist in <emphasis>that</emphasis> space wouldn't \"affect\" us anymore."
msgid ""
"Pogue was skeptical of the core argument of the book—that software, or "
-"\"code,\" functioned as a kind of law—and his review suggested the "
-"happy thought that if life in cyberspace got bad, we could always \"drizzle, "
-"drazzle, druzzle, drome\"-like simply flip a switch and be back home. Turn "
-"off the modem, unplug the computer, and any troubles that exist in "
-"<emphasis>that</emphasis> space wouldn't \"affect\" us anymore."
+"<quote>code,</quote> functioned as a kind of law—and his review "
+"suggested the happy thought that if life in cyberspace got bad, we could "
+"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a "
+"switch and be back home. Turn off the modem, unplug the computer, and any "
+"troubles that exist in <emphasis>that</emphasis> space wouldn't "
+"<quote>affect</quote> us anymore."
msgstr ""
"Pogue var skeptisk til argumentet som er kjernen av boken — at "
"programvaren, eller \"koden\", fungerte som en slags lov — og foreslo "
#. PAGE BREAK 12
#. type: Content of: <book><preface><para>
+#, fuzzy
+#| 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 "
+#| "Culture</citetitle> is about the troubles the Internet causes even after "
+#| "the modem is turned off. It is an argument about how the battles that now "
+#| "rage regarding life on-line have fundamentally affected \"people who "
+#| "aren't online.\" There is no switch that will insulate us from the "
+#| "Internet's effect."
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 "
"Culture</citetitle> is about the troubles the Internet causes even after the "
"modem is turned off. It is an argument about how the battles that now rage "
-"regarding life on-line have fundamentally affected \"people who aren't "
-"online.\" There is no switch that will insulate us from the Internet's "
+"regarding life on-line have fundamentally affected <quote>people who aren't "
+"online.</quote> There is no switch that will insulate us from the Internet's "
"effect."
msgstr ""
"Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. "
"(Joshua Gay, red. 2002)."
#. type: Content of: <book><preface><para>
+#, fuzzy
+#| msgid ""
+#| "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 "
+#| "free software movement<placeholder type=\"footnote\" id=\"0\"/>), 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 <emphasis>as free as possible</emphasis> 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."
msgid ""
"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 free "
-"software movement<placeholder type=\"footnote\" id=\"0\"/>), 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 "
-"<emphasis>as free as possible</emphasis> 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."
+"that follow, we come from a tradition of <quote>free culture</quote>—"
+"not <quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase "
+"from the founder of the free software movement<placeholder type=\"footnote\" "
+"id=\"0\"/>), but <quote>free</quote> as in <quote>free speech,</quote> "
+"<quote>free markets,</quote> <quote>free trade,</quote> <quote>free "
+"enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</"
+"quote> 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 <emphasis>as free as possible</emphasis> "
+"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 <quote>permission culture</quote>—"
+"a culture in which creators get to create only with the permission of the "
+"powerful, or of creators from the past."
msgstr ""
"Den tradisjonen er måten vår kultur blir laget på. Som jeg vil forklare i "
"sidene som følger, kommer vi fra en tradisjon av \"fri kultur\"—ikke "
"tillatelse fra de mektige, eller fra skaperne fra fortiden."
#. type: Content of: <book><preface><para>
-msgid ""
-"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."
+#, fuzzy
+#| msgid ""
+#| "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."
+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 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."
msgstr ""
"Hvis vi forsto denne endringen, så tror jeg vi ville stå imot den. Ikke \"vi"
"\" på venstresiden eller \"dere\" på høyresiden, men vi som ikke har "
msgstr "Safire, William"
#. type: Content of: <book><preface><para>
+#, fuzzy
+#| 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 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, <placeholder "
+#| "type=\"indexterm\" id=\"0\"/>"
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 "
"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, <placeholder type=\"indexterm\" id="
-"\"0\"/>"
+"marching <quote>uncomfortably alongside CodePink Women for Peace and the "
+"National Rifle Association, between liberal Olympia Snowe and conservative "
+"Ted Stevens,</quote> he formulated perhaps most simply just what was at "
+"stake: the concentration of power. And as he asked, <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"Vi så et glimt av dette tverrpolitiske raseri på forsommeren i 2003. Da FCC "
"vurderte endringer i reglene for medieeierskap som ville slakke på "
"<placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><preface><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</"
+#| "citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</"
-"citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
+"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York "
+"
Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</"
"citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
">"
#. type: Content of: <book><preface><para>
+#, fuzzy
+#| msgid ""
+#| "This idea is an element of the argument of <citetitle>Free Culture</"
+#| "citetitle>, 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 <citetitle>Free Software, Free Society</"
+#| "citetitle>, 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."
msgid ""
"This idea is an element of the argument of <citetitle>Free Culture</"
"citetitle>, though my focus is not just on the concentration of power "
"Foundation. Indeed, as I reread Stallman's own work, especially the essays "
"in <citetitle>Free Software, Free Society</citetitle>, 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."
+"decades ago. One could thus well argue that this work is <quote>merely</"
+"quote> derivative."
msgstr ""
"Denne idéen er et element i argumentet til <citetitle>Fri Kultur</"
"citetitle>, selv om min fokus ikke bare er på konsentrasjonen av makt som "
"Hackensack, N.J.: Rothman Reprints, 1969), 18."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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, but all the land below, down to the center of the earth, and all "
+#| "the space above, to \"an indefinite extent, upwards.\"<placeholder type="
+#| "\"footnote\" id=\"0\"/> 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?"
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, "
"but all the land below, down to the center of the earth, and all the space "
-"above, to \"an indefinite extent, upwards.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> 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?"
+"above, to <quote>an indefinite extent, upwards.</quote><placeholder type="
+"\"footnote\" id=\"0\"/> 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?"
msgstr ""
"Da Wright-brødrene fant opp flymaskinen, hevdet loven i USA at en grunneier "
"ble antatt å eie ikke bare overflaten på området sitt, men også alt landet "
msgstr "Causby, Tinie"
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 military aircraft (the terrified chickens apparently flew into "
+#| "the barn walls and died), the Causbys filed a lawsuit saying that the "
+#| "government was trespassing on their land. The airplanes, of course, never "
+#| "touched the surface of the Causbys' land. But if, as Blackstone, Kent, "
+#| "and Coke had said, their land reached to \"an indefinite extent, upwards,"
+#| "\" then the government was trespassing on their property, and the Causbys "
+#| "wanted it to stop."
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 "
"walls and died), the Causbys filed a lawsuit saying that the government was "
"trespassing on their land. The airplanes, of course, never touched the "
"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had "
-"said, their land reached to \"an indefinite extent, upwards,\" then the "
-"government was trespassing on their property, and the Causbys wanted it to "
-"stop."
+"said, their land reached to <quote>an indefinite extent, upwards,</quote> "
+"then the government was trespassing on their property, and the Causbys "
+"wanted it to stop."
msgstr ""
"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 "
"eiendom, og Causbys ønsket å sette en stopper for dette."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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, "
+#| "then Congress's declaration could well have been an unconstitutional "
+#| "\"taking\" of property without compensation. The Court acknowledged that "
+#| "\"it is ancient doctrine that common law ownership of the land extended "
+#| "to the periphery of the universe.\" But Justice Douglas had no patience "
+#| "for ancient doctrine. In a single paragraph, hundreds of years of "
+#| "property law were erased. As he wrote for the Court,"
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, "
-"then Congress's declaration could well have been an unconstitutional \"taking"
-"\" of property without compensation. The Court acknowledged that \"it is "
-"ancient doctrine that common law ownership of the land extended to the "
-"periphery of the universe.\" But Justice Douglas had no patience for ancient "
-"doctrine. In a single paragraph, hundreds of years of property law were "
-"erased. As he wrote for the Court,"
+"then Congress's declaration could well have been an unconstitutional "
+"<quote>taking</quote> of property without compensation. The Court "
+"acknowledged that <quote>it is ancient doctrine that common law ownership of "
+"the land extended to the periphery of the universe.</quote> But Justice "
+"Douglas had no patience for ancient doctrine. In a single paragraph, "
+"hundreds of years of property law were erased. As he wrote for the Court,"
msgstr ""
"Høyesterett gikk med på å ta opp Causbys sak. Kongressen hadde vedtatt at "
"luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig "
"eiendomslovgivningen strøket. Som han skrev på vegne av retten,"
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find "
+#| "that there could be a \"taking\" if the government's use of its land "
+#| "effectively destroyed the value of the Causbys' land. This example was "
+#| "suggested to me by Keith Aoki's wonderful piece, \"(Intellectual) "
+#| "Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,"
+#| "\" <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See "
+#| "also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: "
+#| "Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" "
+#| "id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgid ""
"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
-"there could be a \"taking\" if the government's use of its land effectively "
-"destroyed the value of the Causbys' land. This example was suggested to me "
-"by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: "
-"Notes Toward a Cultural Geography of Authorship,\" <citetitle>Stanford Law "
-"Review</citetitle> 48 (1996): 1293, 1333. See also Paul Goldstein, "
-"<citetitle>Real Property</citetitle> (Mineola, N.Y.: Foundation Press, "
-"1984), 1112–13. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
+"there could be a <quote>taking</quote> if the government's use of its land "
+"effectively destroyed the value of the Causbys' land. This example was "
+"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) "
+"Property and Sovereignty: Notes Toward a Cultural Geography of Authorship,</"
+"quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See "
+"also Paul Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: "
+"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id="
+"
\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være "
"å \"ta\" hvis regjeringens bruk av sitt land reelt sett hadde ødelagt "
"\"footnote\" id=\"0\"/>"
#. type: Content of: <book><chapter><para>
-msgid "\"Common sense revolts at the idea.\""
+#, fuzzy
+#| msgid "\"Common sense revolts at the idea.\""
+msgid "<quote>Common sense revolts at the idea.</quote>"
msgstr "\"Idéen er i strid med sunn fornuft.\""
#. PAGE BREAK 18
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 dither. Other justices would have blathered on for pages to reach "
+#| "the conclusion that Douglas holds in a single line: \"Common sense "
+#| "revolts at the idea.\" But whether it takes pages or a few words, it is "
+#| "the special 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."
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 dither. "
"Other justices would have blathered on for pages to reach the conclusion "
-"that Douglas holds in a single line: \"Common sense revolts at the idea.\" "
-"But whether it takes pages or a few words, it is the special 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."
+"that Douglas holds in a single line: <quote>Common sense revolts at the idea."
+"</quote> But whether it takes pages or a few words, it is the special 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."
msgstr ""
"Det er hvordan loven vanligvis fungerer. Ikke ofte like brått eller "
"utålmodig, men til slutt er dette hvordan loven fungerer. Det var ikke "
"solide som fjell i en tidsalder knuses i en annen."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 were no doubt many like them who were upset by the growing traffic "
+#| "in the air (though one hopes not many chickens flew themselves into "
+#| "walls), the Causbys of the world would find it very hard to unite and "
+#| "stop the idea, and the technology, that the Wright brothers had birthed. "
+#| "The Wright brothers spat airplanes into the technological meme pool; the "
+#| "idea then spread like a virus in a chicken coop; farmers like the Causbys "
+#| "found themselves surrounded by \"what seemed reasonable\" given the "
+#| "technology that the Wrights had produced. They could stand on their "
+#| "farms, dead chickens in hand, and shake their fists at these newfangled "
+#| "technologies all they wanted. They could call their representatives or "
+#| "even file a lawsuit. But in the end, the force of what seems \"obvious\" "
+#| "to everyone else—the power of \"common sense\"—would prevail. "
+#| "Their \"private interest\" would not be allowed to defeat an obvious "
+#| "public gain."
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 "
"the technology, that the Wright brothers had birthed. The Wright brothers "
"spat airplanes into the technological meme pool; the idea then spread like a "
"virus in a chicken coop; farmers like the Causbys found themselves "
-"surrounded by \"what seemed reasonable\" given the technology that the "
-"Wrights had produced. They could stand on their farms, dead chickens in "
-"hand, and shake their fists at these newfangled technologies all they "
-"wanted. They could call their representatives or even file a lawsuit. But "
-"in the end, the force of what seems \"obvious\" to everyone else—the "
-"power of \"common sense\"—would prevail. Their \"private interest\" "
-"would not be allowed to defeat an obvious public gain."
+"surrounded by <quote>what seemed reasonable</quote> given the technology "
+"that the Wrights had produced. They could stand on their farms, dead "
+"chickens in hand, and shake their fists at these newfangled technologies all "
+"they wanted. They could call their representatives or even file a lawsuit. "
+"But in the end, the force of what seems <quote>obvious</quote> to everyone "
+"else—the power of <quote>common sense</quote>—would prevail. "
+"Their <quote>private interest</quote> would not be allowed to defeat an "
+"obvious public gain."
msgstr ""
"Eller, det er hvordan ting skjer når det ikke er noen mektige på andre siden "
"av endringen. Causbyene var bare bønder. Og selv om det uten tvil var "
"lyd, med mye mindre senderstyrke og støy."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 "
+#| "City. He tuned his radio dial across a range of AM stations, until the "
+#| "radio locked on a broadcast that he had arranged from seventeen miles "
+#| "away. The radio fell totally silent, as if dead, and then with a clarity "
+#| "no one else in that room had ever heard from an electrical device, it "
+#| "produced the sound of an announcer's voice: \"This is amateur station "
+#| "W2AG at Yonkers, New York, operating on frequency modulation at two and a "
+#| "half meters.\""
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 City. "
"locked on a broadcast that he had arranged from seventeen miles away. The "
"radio fell totally silent, as if dead, and then with a clarity no one else "
"in that room had ever heard from an electrical device, it produced the sound "
-"of an announcer's voice: \"This is amateur station W2AG at Yonkers, New "
-"York, operating on frequency modulation at two and a half meters.\""
+"of an announcer's voice: <quote>This is amateur station W2AG at Yonkers, New "
+"York, operating on frequency modulation at two and a half meters.</quote>"
msgstr ""
"Den 5. november 1935 demonstrerte han teknologien på et møte hos institutt "
"for radioingeniører ved Empire State-bygningen i New York City. Han vred "
"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209."
#. type: Content of: <book><chapter><blockquote><para>
+#, fuzzy
+#| 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; it sounded like paper and not like a crackling forest 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 \"music box."
+#| "\"<placeholder type=\"footnote\" id=\"0\"/>"
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; "
"it sounded like paper and not like a crackling forest 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 \"music box.\"<placeholder type=\"footnote\" id="
-"\"0\"/>"
+"heard before from a radio <quote>music box.</quote><placeholder type="
+"\"footnote\" id=\"0\"/>"
msgstr ""
"Et glass vann ble fylt opp foran mikrofonen i Yonkers, og det hørtes ut som "
"et glass som ble fylt opp. … Et papir ble krøllet og revet opp, og "
msgstr "Sarnoff, David"
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 "
+#| "quite excited when Armstrong told him he had a device that removed static "
+#| "from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff "
+#| "was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>"
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 "
"quite excited when Armstrong told him he had a device that removed static "
-"from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff was "
-"not pleased. <placeholder type=\"indexterm\" id=\"0\"/>"
+"from <quote>radio.</quote> But when Armstrong demonstrated his invention, "
+"
Sarnoff was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"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 "
"ikke Sarnoff fornøyd. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See \"Saints: The Heroes and Geniuses of the Electronic Era,\" First "
+#| "Electronic Church of America, at www.webstationone.com/fecha, available "
+#| "at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
msgid ""
-"See \"Saints: The Heroes and Geniuses of the Electronic Era,\" First "
-"Electronic Church of America, at www.webstationone.com/fecha, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
+"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> "
+"First Electronic Church of America, at www.webstationone.com/fecha, "
+"
available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
msgstr ""
"Se \"Saints: The Heroes and Geniuses of the Electronic Era,\" første "
"elektroniske kirke i USA, hos www.webstationone.com/fecha, tilgjengelig fra "
"effekten av en teknologisk endring."
#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Amanda Lenhart, \"The Ever-Shifting Internet Population: A New Look at "
-"Internet Access and the Digital Divide,\" Pew Internet and American Life "
-"Project, 15 April 2003: 6, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #2</ulink>."
+#, fuzzy
+#| msgid ""
+#| "Amanda Lenhart, \"The Ever-Shifting Internet Population: A New Look at "
+#| "Internet Access and the Digital Divide,\" Pew Internet and American Life "
+#| "Project, 15 April 2003: 6, available at <ulink url=\"http://free-culture."
+#| "cc/notes/\">link #2</ulink>."
+msgid ""
+"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at "
+"Internet Access and the Digital Divide,</quote> Pew Internet and American "
+"Life Project, 15 April 2003: 6, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #2</ulink>."
msgstr ""
"Amanda Lenhart, \"The Ever-Shifting Internet Population: A New Look at "
"Internet Access and the Digital Divide,\" Pew Internet and American Life "
msgstr "Webster, Noah"
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 \"commercial culture\" I mean that part of our culture that "
+#| "is produced and sold or produced to be sold. By \"noncommercial culture\" "
+#| "I mean all the rest. When old men sat around parks or on street corners "
+#| "telling stories that kids and others consumed, that was noncommercial "
+#| "culture. When Noah Webster published his \"Reader,\" or Joel Barlow his "
+#| "poetry, that was commercial culture. <placeholder type=\"indexterm\" id="
+#| "\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
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 "
-"\"commercial culture\" I mean that part of our culture that is produced and "
-"sold or produced to be sold. By \"noncommercial culture\" I mean all the "
-"rest. When old men sat around parks or on street corners telling stories "
-"that kids and others consumed, that was noncommercial culture. When Noah "
-"Webster published his \"Reader,\" or Joel Barlow his poetry, that was "
-"
commercial culture. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
-"type=\"indexterm\" id=\"1\"/>"
+"<quote>commercial culture</quote> I mean that part of our culture that is "
+"produced and sold or produced to be sold. By <quote>noncommercial culture</"
+"quote> I mean all the rest. When old men sat around parks or on street "
+"corners telling stories that kids and others consumed, that was "
+"noncommercial culture. When Noah Webster published his <quote>Reader,</"
+"
quote> or Joel Barlow his poetry, that was commercial culture. <placeholder "
+"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"Vi kan få en følelse av denne endringen ved å skille mellom kommersiell og "
"ikke-kommersiell kultur, ved å knytte lovens reguleringer til hver av dem. "
"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "At the beginning of our history, and for just about the whole of our "
+#| "tradition, noncommercial culture was essentially unregulated. Of course, "
+#| "if your stories were lewd, or if your song disturbed the peace, then the "
+#| "law might intervene. But the law was never directly concerned with the "
+#| "creation or spread of this form of culture, and it left this culture "
+#| "\"free.\" The ordinary ways in which ordinary individuals shared and "
+#| "transformed their culture—telling stories, reenacting scenes from "
+#| "plays or TV, participating in fan clubs, sharing music, making "
+#| "tapes—were left alone by the law."
msgid ""
"At the beginning of our history, and for just about the whole of our "
"tradition, noncommercial culture was essentially unregulated. Of course, if "
"your stories were lewd, or if your song disturbed the peace, then the law "
"might intervene. But the law was never directly concerned with the creation "
-"or spread of this form of culture, and it left this culture \"free.\" The "
-"ordinary ways in which ordinary individuals shared and transformed their "
-"culture—telling stories, reenacting scenes from plays or TV, "
-"participating in fan clubs, sharing music, making tapes—were left "
-"alone by the law."
+"or spread of this form of culture, and it left this culture <quote>free.</"
+"quote> The ordinary ways in which ordinary individuals shared and "
+"transformed their culture—telling stories, reenacting scenes from "
+"plays or TV, participating in fan clubs, sharing music, making tapes—"
+"were left alone by the law."
msgstr ""
"Fra historisk tid, og for omtrent hele vår tradisjon, har ikke-kommersiell "
"kultur i hovedsak ikke vært regulert. Selvfølgelig, hvis din historie var "
msgstr "Brandeis, Louis D."
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "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 publication, but also a privacy interest. "
+#| "By granting authors the exclusive right to first publication, state "
+#| "copyright law gave authors the power to control the spread of facts about "
+#| "them. See Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,"
+#| "\" Harvard Law Review 4 (1890): 193, 198–200. <placeholder type="
+#| "\"indexterm\" id=\"0\"/>"
msgid ""
"This is not the only purpose of copyright, though it is the overwhelmingly "
"primary purpose of the copyright established in the federal constitution. "
"in publication, but also a privacy interest. By granting authors the "
"exclusive right to first publication, state copyright law gave authors the "
"power to control the spread of facts about them. See Samuel D. Warren and "
-"Louis D. Brandeis, \"The Right to Privacy,\" Harvard Law Review 4 (1890): "
-"193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 "
+"
(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Dette er ikke det eneste formålet med opphavsrett, men det er helt klart "
"hovedformålet med opphavsretten slik den er etablert i føderal grunnlov. "
"internettet før internettet gjør om på dem."
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
+#| "Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York "
+#| "Times</citetitle>, 17 January 2002."
msgid ""
-"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
-"Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York "
-"Times</citetitle>, 17 January 2002."
+"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 "
+"York Times</citetitle>, 17 January 2002."
msgstr ""
"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
"Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York "
"Times</citetitle>, 17. januar 2002."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 about a much simpler brace of questions—whether \"piracy\" "
+#| "will be permitted, and whether \"property\" will be protected. The \"war"
+#| "\" that has been waged against the technologies of the Internet—"
+#| "what Motion Picture Association of America (MPAA) president Jack Valenti "
+#| "calls his \"own terrorist war\"<placeholder type=\"footnote\" id=\"0\"/"
+#| ">—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."
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 "
-"about a much simpler brace of questions—whether \"piracy\" will be "
-"permitted, and whether \"property\" will be protected. The \"war\" that has "
-"been waged against the technologies of the Internet—what Motion "
-"Picture Association of America (MPAA) president Jack Valenti calls his \"own "
-"terrorist war\"<placeholder type=\"footnote\" id=\"0\"/>—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."
+"about a much simpler brace of questions—whether <quote>piracy</quote> "
+"will be permitted, and whether <quote>property</quote> will be protected. "
+"The <quote>war</quote> that has been waged against the technologies of the "
+"Internet—what Motion Picture Association of America (MPAA) president "
+"Jack Valenti calls his <quote>own terrorist war</quote><placeholder type="
+"\"footnote\" id=\"0\"/>—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."
msgstr ""
"Det ser ikke slik ut for mange. Kamphandlingene over opphavsrett og "
"internettet er fjernt for de fleste. For de få som følger dem, virker de i "
"er for eiendomsrett eller mot den."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 importance of what Mr. Valenti nicely calls \"creative property.\" "
+#| "I believe that \"piracy\" is wrong, and that the law, properly tuned, "
+#| "should punish \"piracy,\" whether on or off the Internet."
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 "
-"importance of what Mr. Valenti nicely calls \"creative property.\" I believe "
-"that \"piracy\" is wrong, and that the law, properly tuned, should punish "
-"\"piracy,\" whether on or off the Internet."
+"importance of what Mr. Valenti nicely calls <quote>creative property.</"
+"quote> I believe that <quote>piracy</quote> is wrong, and that the law, "
+"properly tuned, should punish <quote>piracy,</quote> whether on or off the "
+"Internet."
msgstr ""
"Hvis dette virkelig var alternativene, så ville jeg være enig med Jack "
"Valenti og innholdsindustrien. Jeg tror også på eiendomsretten, og spesielt "
"straffe \"piratvirksomhet\", både på og utenfor internettet."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 war to rid the world of Internet \"pirates\" will also rid our "
+#| "culture of values that have been integral to our tradition from the start."
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 "
-"war to rid the world of Internet \"pirates\" will also rid our culture of "
-"values that have been integral to our tradition from the start."
+"war to rid the world of Internet <quote>pirates</quote> will also rid our "
+"culture of values that have been integral to our tradition from the start."
msgstr ""
"Men disse enkle trosoppfatninger maskerer et mye mer grunnleggende spørsmål "
"og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner å "
msgstr "Netanel, Neil Weinstock"
#. type: Content of: <book><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" "
+#| "<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder "
+#| "type=\"indexterm\" id=\"0\"/>"
msgid ""
-"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" "
+"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> "
"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type="
"\"indexterm\" id=\"0\"/>"
msgstr ""
"vår tradisjon."
#. type: Content of: <book><chapter><para>
-msgid ""
-"The story that follows is about this war. Is it not about the \"centrality "
-"of technology\" to ordinary life. I don't believe in gods, digital or "
-"otherwise. Nor is it an effort to demonize any individual or group, for "
-"neither do I believe in a devil, corporate or otherwise. It is not a "
-"morality tale. Nor is it a call to jihad against an industry."
+#, fuzzy
+#| msgid ""
+#| "The story that follows is about this war. Is it not about the "
+#| "\"centrality of technology\" to ordinary life. I don't believe in gods, "
+#| "digital or otherwise. Nor is it an effort to demonize any individual or "
+#| "group, for neither do I believe in a devil, corporate or otherwise. It is "
+#| "not a morality tale. Nor is it a call to jihad against an industry."
+msgid ""
+"The story that follows is about this war. Is it not about the "
+"<quote>centrality of technology</quote> to ordinary life. I don't believe in "
+"gods, digital or otherwise. Nor is it an effort to demonize any individual "
+"or group, for neither do I believe in a devil, corporate or otherwise. It is "
+"not a morality tale. Nor is it a call to jihad against an industry."
msgstr ""
"Historien som følger er om denne krigen. Er det ikke om \"betydningen av "
"teknologi\" i vanlig liv. Jeg tror ikke på guder, hverken digitale eller "
"krigen. Vi må finne en løsning snart."
#. type: Content of: <book><chapter><para>
-msgid ""
-"Like the Causbys' battle, this war is, in part, about \"property.\" 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 this \"property"
-"\" are as obvious to most as the Causbys' claim about the sacredness of "
-"their farm was to them. We are the Causbys. Most of us take for granted the "
-"extraordinarily powerful claims that the owners of \"intellectual property\" "
-"now assert. Most of us, like the Causbys, treat these claims as obvious. And "
-"hence we, like the Causbys, object when a new technology interferes with "
-"this property. It is as plain to us as it was to them that the new "
-"technologies of the Internet are \"trespassing\" upon legitimate claims of "
-"\"property.\" It is as plain to us as it was to them that the law should "
-"intervene to stop this trespass."
+#, fuzzy
+#| msgid ""
+#| "Like the Causbys' battle, this war is, in part, about \"property.\" 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 this "
+#| "\"property\" are as obvious to most as the Causbys' claim about the "
+#| "sacredness of their farm was to them. We are the Causbys. Most of us take "
+#| "for granted the extraordinarily powerful claims that the owners of "
+#| "\"intellectual property\" now assert. Most of us, like the Causbys, treat "
+#| "these claims as obvious. And hence we, like the Causbys, object when a "
+#| "new technology interferes with this property. It is as plain to us as it "
+#| "was to them that the new technologies of the Internet are \"trespassing\" "
+#| "upon legitimate claims of \"property.\" It is as plain to us as it was to "
+#| "them that the law should intervene to stop this trespass."
+msgid ""
+"Like the Causbys' battle, this war is, in part, about <quote>property.</"
+"quote> 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 this "
+"<quote>property</quote> are as obvious to most as the Causbys' claim about "
+"the sacredness of their farm was to them. We are the Causbys. Most of us "
+"take for granted the extraordinarily powerful claims that the owners of "
+"<quote>intellectual property</quote> now assert. Most of us, like the "
+"Causbys, treat these claims as obvious. And hence we, like the Causbys, "
+"object when a new technology interferes with this property. It is as plain "
+"to us as it was to them that the new technologies of the Internet are "
+"<quote>trespassing</quote> upon legitimate claims of <quote>property.</"
+"quote> It is as plain to us as it was to them that the law should intervene "
+"to stop this trespass."
msgstr ""
"Lik Causbyenes kamp er denne krigen, delvis, om \"eiendomsrett\". Eiendommen "
"i denne krigen er ikke like håndfast som den til Causbyene, og ingen "
"til fordel for seg."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 "
+#| "importantly, its power to disable critical thought by policy makers and "
+#| "citizens. There has never been a time in our history when more of our "
+#| "\"culture\" was as \"owned\" as it is now. And yet there has never been a "
+#| "time when the concentration of power to control the <emphasis>uses</"
+#| "emphasis> of culture has been as unquestioningly accepted as it is now."
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 "
"importantly, its power to disable critical thought by policy makers and "
"citizens. There has never been a time in our history when more of our "
-"\"culture\" was as \"owned\" as it is now. And yet there has never been a "
-"time when the concentration of power to control the <emphasis>uses</"
-"emphasis> of culture has been as unquestioningly accepted as it is now."
+"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet "
+"there has never been a time when the concentration of power to control the "
+"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as "
+"it is now."
msgstr ""
"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 "
#. PAGE BREAK 28
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 believe it would be right for common sense to revolt against "
+#| "the extreme claims made today on behalf of \"intellectual property.\" "
+#| "What the law demands today is increasingly as silly as a sheriff "
+#| "arresting an airplane for trespass. But the consequences of this "
+#| "silliness will be much more profound."
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 "
"believe it would be right for common sense to revolt against the extreme "
-"claims made today on behalf of \"intellectual property.\" What the law "
-"demands today is increasingly as silly as a sheriff arresting an airplane "
-"for trespass. But the consequences of this silliness will be much more "
-"profound."
+"claims made today on behalf of <quote>intellectual property.</quote> What "
+"the law demands today is increasingly as silly as a sheriff arresting an "
+"airplane for trespass. But the consequences of this silliness will be much "
+"more profound."
msgstr ""
"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 "
"konsekvensene av den nye dumskapen vil bli mye mer dyptgripende."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The struggle that rages just now centers on two ideas: \"piracy\" and "
+#| "\"property.\" My aim in this book's next two parts is to explore these "
+#| "two ideas."
msgid ""
-"The struggle that rages just now centers on two ideas: \"piracy\" and "
-"\"property.\" My aim in this book's next two parts is to explore these two "
-"ideas."
+"The struggle that rages just now centers on two ideas: <quote>piracy</quote> "
+"and <quote>property.</quote> My aim in this book's next two parts is to "
+"explore these two ideas."
msgstr ""
"Basketaket som pågår akkurat nå senterer seg rundt to idéer: "
"\"piratvirksomhet\" og \"eiendom\". Mitt mål med denne bokens neste to "
"tilsynelatende enkle idéene kan bli fullt ut forstått."
#. type: Content of: <book><chapter><para>
+#, fuzzy
+#| 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 big media to respond to this \"something new,\" is destroying "
+#| "something very old. Rather than understanding the changes the Internet "
+#| "might permit, and rather than taking time to let \"common sense\" resolve "
+#| "how best to respond, we are allowing those most threatened by the changes "
+#| "to use their power to change the law—and more importantly, to use "
+#| "their power to change something fundamental about who we have always been."
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 "
-"big media to respond to this \"something new,\" is destroying something very "
-"old. Rather than understanding the changes the Internet might permit, and "
-"rather than taking time to let \"common sense\" resolve how best to respond, "
-"we are allowing those most threatened by the changes to use their power to "
-"change the law—and more importantly, to use their power to change "
-"something fundamental about who we have always been."
+"big media to respond to this <quote>something new,</quote> is destroying "
+"something very old. Rather than understanding the changes the Internet might "
+"permit, and rather than taking time to let <quote>common sense</quote> "
+"resolve how best to respond, we are allowing those most threatened by the "
+"changes to use their power to change the law—and more importantly, to "
+"use their power to change something fundamental about who we have always "
+"been."
msgstr ""
"De to delene setter opp kjernen i påstanden til denne boken: at mens "
"internettet faktisk har produsert noe fantastisk og nytt, bidrar våre "
"for de fleste av oss forblir ukjent med."
#. type: Content of: <book><part><title>
-msgid "\"PIRACY\""
-msgstr "<quote>Piratvirksomhet</quote>"
+msgid "<quote>PIRACY</quote>"
+msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
msgid "Mansfield, William Murray, Lord"
msgstr "Mansfield, William Murray, Lord"
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| msgid ""
+#| "Since the inception of the law regulating creative property, there has "
+#| "been a war against \"piracy.\" The precise contours of this concept, "
+#| "\"piracy,\" are hard to sketch, but the animating injustice is easy to "
+#| "capture. As Lord Mansfield wrote in a case that extended the reach of "
+#| "English copyright law to include sheet music,"
msgid ""
"Since the inception of the law regulating creative property, there has been "
-"a war against \"piracy.\" The precise contours of this concept, \"piracy,\" "
-"are hard to sketch, but the animating injustice is easy to capture. As Lord "
-"Mansfield wrote in a case that extended the reach of English copyright law "
-"to include sheet music,"
+"a war against <quote>piracy.</quote> The precise contours of this concept, "
+"<quote>piracy,</quote> are hard to sketch, but the animating injustice is "
+"easy to capture. As Lord Mansfield wrote in a case that extended the reach "
+"of English copyright law to include sheet music,"
msgstr ""
"Helt siden loven begynte å regulere kreative eierrettigheter, har det vært "
"en krig mot \"piratvirksomhet\". De presise konturene av dette konseptet, "
#. PAGE BREAK 31
#. type: Content of: <book><part><partintro><para>
-msgid ""
-"Today we are in the middle of another \"war\" against \"piracy.\" The "
-"Internet has provoked this war. The Internet makes possible the efficient "
-"spread of content. Peer-to-peer (p2p) file sharing is among the most "
-"efficient of the efficient technologies the Internet enables. Using "
-"distributed intelligence, p2p systems facilitate the easy spread of content "
-"in a way unimagined a generation ago."
+#, fuzzy
+#| msgid ""
+#| "Today we are in the middle of another \"war\" against \"piracy.\" The "
+#| "Internet has provoked this war. The Internet makes possible the efficient "
+#| "spread of content. Peer-to-peer (p2p) file sharing is among the most "
+#| "efficient of the efficient technologies the Internet enables. Using "
+#| "distributed intelligence, p2p systems facilitate the easy spread of "
+#| "content in a way unimagined a generation ago."
+msgid ""
+"Today we are in the middle of another <quote>war</quote> against "
+"<quote>piracy.</quote> The Internet has provoked this war. The Internet "
+"makes possible the efficient spread of content. Peer-to-peer (p2p) file "
+"sharing is among the most efficient of the efficient technologies the "
+"Internet enables. Using distributed intelligence, p2p systems facilitate the "
+"easy spread of content in a way unimagined a generation ago."
msgstr ""
"I dag er vi midt inne i en annen \"krig\" mot \"piratvirksomhet\". "
"Internettet har fremprovosert denne krigen. Internettet gjør det mulig å "
"innhold på en måte som ingen forestilte seg for en generasjon siden."
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| msgid ""
+#| "This efficiency does not respect the traditional lines of copyright. The "
+#| "network doesn't discriminate between the sharing of copyrighted and "
+#| "uncopyrighted content. Thus has there been a vast amount of sharing of "
+#| "copyrighted content. That sharing in turn has excited the war, as "
+#| "copyright owners fear the sharing will \"rob the author of the profit.\""
msgid ""
"This efficiency does not respect the traditional lines of copyright. The "
"network doesn't discriminate between the sharing of copyrighted and "
"uncopyrighted content. Thus has there been a vast amount of sharing of "
"copyrighted content. That sharing in turn has excited the war, as copyright "
-"owners fear the sharing will \"rob the author of the profit.\""
+"owners fear the sharing will <quote>rob the author of the profit.</quote>"
msgstr ""
"Denne effektiviteten respekterer ikke de tradisjonelle skillene i "
"opphavsretten. Nettverket skiller ikke mellom deling av "
"opphavsretter frykter delingen vil \"frata forfatteren overskuddet.\""
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| msgid ""
+#| "The warriors have turned to the courts, to the legislatures, and "
+#| "increasingly to technology to defend their \"property\" against this "
+#| "\"piracy.\" A generation of Americans, the warriors warn, is being raised "
+#| "to believe that \"property\" should be \"free.\" Forget tattoos, never "
+#| "mind body piercing—our kids are becoming <emphasis>thieves</"
+#| "emphasis>!"
msgid ""
"The warriors have turned to the courts, to the legislatures, and "
-"increasingly to technology to defend their \"property\" against this "
-"\"piracy.\" A generation of Americans, the warriors warn, is being raised to "
-"believe that \"property\" should be \"free.\" Forget tattoos, never mind "
-"body piercing—our kids are becoming <emphasis>thieves</emphasis>!"
+"increasingly to technology to defend their <quote>property</quote> against "
+"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is "
+"being raised to believe that <quote>property</quote> should be <quote>free.</"
+"quote> Forget tattoos, never mind body piercing—our kids are becoming "
+"<emphasis>thieves</emphasis>!"
msgstr ""
"Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større "
"grad til teknologi for å forsvare sin \"eiendom\" mot denne "
"ikke tenk på kroppspiercing—våre barn blir <emphasis>tyver</emphasis>!"
#. type: Content of: <book><part><partintro><para>
-msgid ""
-"There's no doubt that \"piracy\" is wrong, and that pirates should be "
-"punished. But before we summon the executioners, we should put this notion "
-"of \"piracy\" in some context. For as the concept is increasingly used, at "
-"its core is an extraordinary idea that is almost certainly wrong."
+#, fuzzy
+#| msgid ""
+#| "There's no doubt that \"piracy\" is wrong, and that pirates should be "
+#| "punished. But before we summon the executioners, we should put this "
+#| "notion of \"piracy\" in some context. For as the concept is increasingly "
+#| "used, at its core is an extraordinary idea that is almost certainly wrong."
+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 "
+"this notion of <quote>piracy</quote> in some context. For as the concept is "
+"increasingly used, at its core is an extraordinary idea that is almost "
+"certainly wrong."
msgstr ""
"Det er ingen tvil om at \"piratvirksomhet\" er galt, og at pirater bør "
"straffes. Men før vi roper på bødlene, bør vi sette dette \"piratvirksomhets"
#. f2
#. type: Content of: <book><part><partintro><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
+#| "the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 "
+#| "(1990): 397."
msgid ""
-"See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
-"the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 "
-"(1990): 397."
+"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language "
+"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</"
+"citetitle> 65 (1990): 397."
msgstr ""
"Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the "
"Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 (1990): "
msgstr "Zittrain, Jonathan"
#. type: Content of: <book><part><partintro><para><footnote><para>
-msgid ""
-"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
-"<citetitle>Wall Street Journal</citetitle>, 21 August 1996, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; Jonathan "
-"Zittrain, \"Calling Off the Copyright War: In Battle of Property vs. Free "
-"Speech, No One Wins,\" <citetitle>Boston Globe</citetitle>, 24 November "
-"2002. <placeholder type=\"indexterm\" id=\"0\"/>"
+#, fuzzy
+#| msgid ""
+#| "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,"
+#| "\" <citetitle>Wall Street Journal</citetitle>, 21 August 1996, available "
+#| "at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; Jonathan "
+#| "Zittrain, \"Calling Off the Copyright War: In Battle of Property vs. Free "
+#| "Speech, No One Wins,\" <citetitle>Boston Globe</citetitle>, 24 November "
+#| "2002. <placeholder type=\"indexterm\" id=\"0\"/>"
+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, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; "
+"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of "
+"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston Globe</"
+"citetitle>, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
"<citetitle>Wall Street Journal</citetitle>, 21. august 1996, tilgjengelig "
"2002. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| msgid ""
+#| "This view runs deep within the current debates. It is what NYU law "
+#| "professor Rochelle Dreyfuss criticizes as the \"if value, then right\" "
+#| "theory of creative property<placeholder type=\"footnote\" id=\"0\"/> "
+#| "—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.<placeholder type=\"footnote\" id=\"1\"/> "
+#| "There was \"value\" (the songs) so there must have been a \"right\"—"
+#| "even against the Girl Scouts."
msgid ""
"This view runs deep within the current debates. It is what NYU law professor "
-"Rochelle Dreyfuss criticizes as the \"if value, then right\" theory of "
-"creative property<placeholder type=\"footnote\" id=\"0\"/> —if there "
-"is value, then someone must have a right to that value. It is the "
+"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> "
+"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> —"
+"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.<placeholder type=\"footnote\" id=\"1\"/> There was \"value"
-"\" (the songs) so there must have been a \"right\"—even against the "
-"Girl Scouts."
+"Scout campfires.<placeholder type=\"footnote\" id=\"1\"/> There was "
+"<quote>value</quote> (the songs) so there must have been a <quote>right</"
+"quote>—even against the Girl Scouts."
msgstr ""
"Dette synet går dypt i de pågående debattene. Det er hva jussprofessor "
"Rochelle Dreyfuss ved NYU kritiserer som \"hvis verdi, så rettighet\"-"
#. PAGE BREAK 32
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| 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 "
+#| "protecting creative property. But the \"if value, then right\" theory of "
+#| "creative property has never been America's theory of creative property. "
+#| "It has never taken hold within our law."
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 "
-"protecting creative property. But the \"if value, then right\" theory of "
-"creative property has never been America's theory of creative property. It "
-"has never taken hold within our law."
+"protecting creative property. But the <quote>if value, then right</quote> "
+"theory of creative property has never been America's theory of creative "
+"property. It has never taken hold within our law."
msgstr ""
"Denne idéen er helt klart en mulig forståelse om hvordan kreative "
"eierrettigheter bør virke. Det er helt klart et mulig design for et "
"\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| 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 creators but effectively that of anyone. Although that "
+#| "expansion would not matter much if copyright law regulated only \"copying,"
+#| "\" when the law regulates as broadly and obscurely as it does, the "
+#| "extension matters a lot. The burden of this law now vastly outweighs any "
+#| "original benefit—certainly as it affects noncommercial creativity, "
+#| "and increasingly as it affects commercial creativity as well. Thus, as "
+#| "we'll see more clearly in the chapters below, the law's role is less and "
+#| "less to support creativity, and more and more to protect certain "
+#| "industries against competition. Just at the time digital technology could "
+#| "unleash an extraordinary range of commercial and noncommercial "
+#| "creativity, the law burdens this creativity with insanely complex and "
+#| "vague rules and with the threat of obscenely severe penalties. We may be "
+#| "seeing, as Richard Florida writes, the \"Rise of the Creative Class."
+#| "\"<placeholder type=\"footnote\" id=\"0\"/> Unfortunately, we are also "
+#| "seeing an extraordinary rise of regulation of this creative class."
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 "
"creators but effectively that of anyone. Although that expansion would not "
-"matter much if copyright law regulated only \"copying,\" when the law "
-"regulates as broadly and obscurely as it does, the extension matters a lot. "
-"The burden of this law now vastly outweighs any original benefit—"
+"matter much if copyright law regulated only <quote>copying,</quote> when the "
+"law regulates as broadly and obscurely as it does, the extension matters a "
+"lot. The burden of this law now vastly outweighs any original benefit—"
"certainly as it affects noncommercial creativity, and increasingly as it "
"affects commercial creativity as well. Thus, as we'll see more clearly in "
"the chapters below, the law's role is less and less to support creativity, "
"the time digital technology could unleash an extraordinary range of "
"commercial and noncommercial creativity, the law burdens this creativity "
"with insanely complex and vague rules and with the threat of obscenely "
-"severe penalties. We may be seeing, as Richard Florida writes, the \"Rise of "
-"the Creative Class.\"<placeholder type=\"footnote\" id=\"0\"/> "
-"Unfortunately, we are also seeing an extraordinary rise of regulation of "
-"this creative class."
+"severe penalties. We may be seeing, as Richard Florida writes, the "
+"<quote>Rise of the Creative Class.</quote><placeholder type=\"footnote\" id="
+"\"0\"/> Unfortunately, we are also seeing an extraordinary rise of "
+"regulation of this creative class."
msgstr ""
"Men da internettet dukket opp, forsvant denne naturlige begrensningen til "
"lovens virkeområde. Loven kontrollerer ikke bare kreativiteten til "
"også en ekstraordinær fremvekst av reguleringer av denne kreative klassen."
#. type: Content of: <book><part><partintro><para>
+#, fuzzy
+#| 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 "
+#| "context the current battles about behavior labeled \"piracy.\""
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 "
-"context the current battles about behavior labeled \"piracy.\""
+"context the current battles about behavior labeled <quote>piracy.</quote>"
msgstr ""
"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 "
msgstr "Iwerks, Ub"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Disney's then partner, and one of animation's most extraordinary talents, "
+#| "Ub Iwerks, put it more strongly: \"I have never been so thrilled in my "
+#| "life. Nothing since has ever equaled it.\" <placeholder type=\"indexterm"
+#| "\" id=\"0\"/>"
msgid ""
"Disney's then partner, and one of animation's most extraordinary talents, Ub "
-"Iwerks, put it more strongly: \"I have never been so thrilled in my life. "
-"Nothing since has ever equaled it.\" <placeholder type=\"indexterm\" id="
-"\"0\"/>"
+"Iwerks, put it more strongly: <quote>I have never been so thrilled in my "
+"life. Nothing since has ever equaled it.</quote> <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"Disneys daværende partner, og en av animasjonsverdenens mest ekstraordinære "
"talenter, Ub Iwerks, uttalte det sterkere: \"Jeg har aldri vært så "
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| 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 Smith of the Disney Archives, Disney paid royalties to use the "
+#| "music for five songs in <citetitle>Steamboat Willie</citetitle>: "
+#| "\"Steamboat Bill,\" \"The Simpleton\" (Delille), \"Mischief Makers"
+#| "\" (Carbonara), \"Joyful Hurry No. 1\" (Baron), and \"Gawky Rube"
+#| "\" (Lakay). A sixth song, \"The Turkey in the Straw,\" was already in the "
+#| "public domain. Letter from David Smith to Harry Surden, 10 July 2003, on "
+#| "file with author."
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 "
"Smith of the Disney Archives, Disney paid royalties to use the music for "
-"five songs in <citetitle>Steamboat Willie</citetitle>: \"Steamboat Bill,\" "
-"\"The Simpleton\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry "
-"No. 1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in "
-"the Straw,\" was already in the public domain. Letter from David Smith to "
+"five songs in <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill,"
+"</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief Makers</"
+"quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and "
+"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the "
+"Straw,</quote> was already in the public domain. Letter from David Smith to "
"Harry Surden, 10 July 2003, on file with author."
msgstr ""
"Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, "
"til forfatteren."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's "
+#| "cartoon Steamboat Willie. The coincidence of titles is not coincidental. "
+#| "Steamboat Willie is a direct cartoon parody of Steamboat Bill,"
+#| "<placeholder type=\"footnote\" id=\"0\"/> and both are built upon a "
+#| "common song as a source. It is not just from the invention of "
+#| "synchronized sound in <citetitle>The Jazz Singer</citetitle> that we get "
+#| "<citetitle>Steamboat Willie</citetitle>. It is also from Buster Keaton's "
+#| "invention of Steamboat Bill, Jr., itself inspired by the song \"Steamboat "
+#| "Bill,\" that we get Steamboat Willie, and then from Steamboat Willie, "
+#| "Mickey Mouse."
msgid ""
"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon "
"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat "
"It is not just from the invention of synchronized sound in <citetitle>The "
"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. "
"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself "
-"inspired by the song \"Steamboat Bill,\" that we get Steamboat Willie, and "
-"then from Steamboat Willie, Mickey Mouse."
+"inspired by the song <quote>Steamboat Bill,</quote> that we get Steamboat "
+"Willie, and then from Steamboat Willie, Mickey Mouse."
msgstr ""
"<citetitle>Steamboat Bill, Jr</citetitle>. kom før Disneys tegnefilm "
"Steamboat Willie. Det er ingen tilfeldighet at titlene er så like. "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "He was also a fan of the public domain. See Chris Sprigman, \"The Mouse "
+#| "that Ate the Public Domain,\" Findlaw, 5 March 2002, at <ulink url="
+#| "\"http://free-culture.cc/notes/\">link #5</ulink>."
msgid ""
-"He was also a fan of the public domain. See Chris Sprigman, \"The Mouse that "
-"Ate the Public Domain,\" Findlaw, 5 March 2002, at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #5</ulink>."
+"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 url="
+"\"http://free-culture.cc/notes/\">link #5</ulink>."
msgstr ""
"Han var også tilhenger av allmannseiet. Se Chris Sprigman, \"The Mouse that "
"Ate the Public Domain,\" Findlaw, 5. mars 2002, fra <ulink url=\"http://free-"
"culture.cc/notes/\">link #5</ulink>."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"This \"borrowing\" was nothing unique, either for Disney or for the "
-"industry. Disney was always parroting the feature-length mainstream films of "
-"his day.<placeholder type=\"footnote\" id=\"0\"/> 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 differences. With Disney, it was sound that gave his animation its "
-"spark. Later, it was the quality of his work relative to the production-line "
-"cartoons with which he competed. Yet these additions were built upon a base "
-"that was borrowed. Disney added to the work of others before him, creating "
-"something new out of something just barely old."
+#, fuzzy
+#| msgid ""
+#| "This \"borrowing\" was nothing unique, either for Disney or for the "
+#| "industry. Disney was always parroting the feature-length mainstream films "
+#| "of his day.<placeholder type=\"footnote\" id=\"0\"/> 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 differences. With Disney, it was sound that gave his "
+#| "animation its spark. Later, it was the quality of his work relative to "
+#| "the production-line cartoons with which he competed. Yet these additions "
+#| "were built upon a base that was borrowed. Disney added to the work of "
+#| "others before him, creating something new out of something just barely "
+#| "old."
+msgid ""
+"This <quote>borrowing</quote> was nothing unique, either for Disney or for "
+"the industry. Disney was always parroting the feature-length mainstream "
+"films of his day.<placeholder type=\"footnote\" id=\"0\"/> 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 differences. With Disney, it was sound that gave his "
+"animation its spark. Later, it was the quality of his work relative to the "
+"production-line cartoons with which he competed. Yet these additions were "
+"built upon a base that was borrowed. Disney added to the work of others "
+"before him, creating something new out of something just barely old."
msgstr ""
"Denne \"låningen\" var ikke unik, hverken for Disney eller for industrien. "
"Disney apet alltid etter full-lengde massemarkedsfilmene rundt ham."
"denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 this kind. We don't need to go that far to recognize its "
+#| "importance. We could call this \"Disney creativity,\" though that would "
+#| "be a bit misleading. It is, more precisely, \"Walt Disney creativity"
+#| "\"—a form of expression and genius that builds upon the culture "
+#| "around us and makes it something different."
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 "
"this kind. We don't need to go that far to recognize its importance. We "
-"could call this \"Disney creativity,\" though that would be a bit "
-"misleading. It is, more precisely, \"Walt Disney creativity\"—a form "
-"of expression and genius that builds upon the culture around us and makes it "
-"something different."
+"could call this <quote>Disney creativity,</quote> though that would be a bit "
+"misleading. It is, more precisely, <quote>Walt Disney creativity</"
+"quote>—a form of expression and genius that builds upon the culture "
+"around us and makes it something different."
msgstr ""
"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 "
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Until 1976, copyright law granted an author the possibility of two terms: "
+#| "an initial term and a renewal term. I have calculated the \"average\" "
+#| "term by determining the weighted average of total registrations for any "
+#| "particular year, and the proportion renewing. Thus, if 100 copyrights are "
+#| "registered in year 1, and only 15 are renewed, and the renewal term is 28 "
+#| "years, then the average term is 32.2 years. For the renewal data and "
+#| "other relevant data, see the Web site associated with this book, "
+#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>."
msgid ""
"Until 1976, copyright law granted an author the possibility of two terms: an "
-"initial term and a renewal term. I have calculated the \"average\" term by "
-"determining the weighted average of total registrations for any particular "
-"year, and the proportion renewing. Thus, if 100 copyrights are registered in "
-"year 1, and only 15 are renewed, and the renewal term is 28 years, then the "
-"average term is 32.2 years. For the renewal data and other relevant data, "
-"see the Web site associated with this book, available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #6</ulink>."
+"initial term and a renewal term. I have calculated the <quote>average</"
+"quote> term by determining the weighted average of total registrations for "
+"any particular year, and the proportion renewing. Thus, if 100 copyrights "
+"are registered in year 1, and only 15 are renewed, and the renewal term is "
+"28 years, then the average term is 32.2 years. For the renewal data and "
+"other relevant data, see the Web site associated with this book, available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #6</ulink>."
msgstr ""
"Inntil 1976 ga opphavsrettsloven en forfatter to mulige verneperioder: en "
"initiell periode, og en fornyingsperiode. Jeg har beregnet \"gjennomsnittlig"
"\"http://free-culture.cc/notes/\">link #6</ulink>."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "vibrant. The average term of copyright was just around thirty years—"
+#| "for that minority of creative work that was in fact copyrighted."
+#| "<placeholder type=\"footnote\" id=\"0\"/> That means that for thirty "
+#| "years, on average, the authors or copyright holders of a creative work "
+#| "had an \"exclusive right\" to control certain uses of the work. To use "
+#| "this copyrighted work in limited ways required the permission of the "
+#| "copyright owner."
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 vibrant. "
"The average term of copyright was just around thirty years—for that "
"minority of creative work that was in fact copyrighted.<placeholder type="
"\"footnote\" id=\"0\"/> That means that for thirty years, on average, the "
-"authors or copyright holders of a creative work had an \"exclusive right\" "
-"to control certain uses of the work. To use this copyrighted work in limited "
-"ways required the permission of the copyright owner."
+"authors or copyright holders of a creative work had an <quote>exclusive "
+"right</quote> to control certain uses of the work. To use this copyrighted "
+"work in limited ways required the permission of the copyright owner."
msgstr ""
"I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt "
"fersk. Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske "
"de begrensede måtene krevde tillatelse fra opphavsrettsinnehaveren."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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, hence, no lawyers. The public domain is a \"lawyer-free zone.\" "
+#| "Thus, most of the content from the nineteenth century was free 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."
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, "
-"hence, no lawyers. The public domain is a \"lawyer-free zone.\" Thus, most "
-"of the content from the nineteenth century was free 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."
+"hence, no lawyers. The public domain is a <quote>lawyer-free zone.</quote> "
+"Thus, most of the content from the nineteenth century was free 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."
msgstr ""
"Når opphavsrettens vernetid er over, faller et verk i det fri og blir "
"allemannseie. Ingen tillatelse trengs da for å bygge på eller bruke dette "
"innhold fra før mellomkrigstiden."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor "
+#| "does America. The norm of free culture has, until recently, and except "
+#| "within totalitarian nations, been broadly exploited and quite universal."
msgid ""
-"Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor "
-"does America. The norm of free culture has, until recently, and except "
-"within totalitarian nations, been broadly exploited and quite universal."
+"Of course, Walt Disney had no monopoly on <quote>Walt Disney creativity.</"
+"quote> Nor does America. The norm of free culture has, until recently, and "
+"except within totalitarian nations, been broadly exploited and quite "
+"universal."
msgstr ""
"Walt Disney hadde selvfølgelig ikke monopol på \"Walt Disney-kreativitet\". "
"Det har heller ikke USA. Normen med fri kultur har, inntil nylig, og "
"transport."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Americans tend to look down upon this form of culture. That's an "
+#| "unattractive characteristic of ours. We're likely to misunderstand much "
+#| "about manga, because few of us have ever read anything close to the "
+#| "stories that these \"graphic novels\" tell. For the Japanese, manga cover "
+#| "every aspect of social life. For us, comics are \"men in tights.\" And "
+#| "anyway, it's not as if the New York subways are filled with readers of "
+#| "Joyce or even Hemingway. People of different cultures distract themselves "
+#| "in different ways, the Japanese in this interestingly different way."
msgid ""
"Americans tend to look down upon this form of culture. That's an "
"unattractive characteristic of ours. We're likely to misunderstand much "
"about manga, because few of us have ever read anything close to the stories "
-"that these \"graphic novels\" tell. For the Japanese, manga cover every "
-"aspect of social life. For us, comics are \"men in tights.\" And anyway, "
-"it's not as if the New York subways are filled with readers of Joyce or even "
-"Hemingway. People of different cultures distract themselves in different "
-"ways, the Japanese in this interestingly different way."
+"that these <quote>graphic novels</quote> tell. For the Japanese, manga cover "
+"every aspect of social life. For us, comics are <quote>men in tights.</"
+"quote> And anyway, it's not as if the New York subways are filled with "
+"readers of Joyce or even Hemingway. People of different cultures distract "
+"themselves in different ways, the Japanese in this interestingly different "
+"way."
msgstr ""
"Amerikanere har en tendens til å se ned på denne formen for kultur. Det er "
"et lite attraktivt kjennetegn hos oss. Vi misforstår sannsynligvis mye "
#. PAGE BREAK 39
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 creation of doujinshi. It is not doujinshi if it is <emphasis>just</"
+#| "emphasis> a copy; the artist must make a contribution to the art he "
+#| "copies, by transforming it either subtly or significantly. A doujinshi "
+#| "comic can thus take a mainstream comic and develop it differently—"
+#| "with a different story line. Or the comic can keep the character in "
+#| "character but change its look slightly. There is no formula for what "
+#| "makes the doujinshi sufficiently \"different.\" But they must be "
+#| "different if they are to be considered true doujinshi. Indeed, there are "
+#| "committees that review doujinshi for inclusion within shows and reject "
+#| "any copycat comic that is merely a copy."
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 "
"thus take a mainstream comic and develop it differently—with a "
"different story line. Or the comic can keep the character in character but "
"change its look slightly. There is no formula for what makes the doujinshi "
-"sufficiently \"different.\" But they must be different if they are to be "
-"considered true doujinshi. Indeed, there are committees that review "
-"doujinshi for inclusion within shows and reject any copycat comic that is "
-"merely a copy."
+"sufficiently <quote>different.</quote> But they must be different if they "
+"are to be considered true doujinshi. Indeed, there are committees that "
+"review doujinshi for inclusion within shows and reject any copycat comic "
+"that is merely a copy."
msgstr ""
"Dette er fenomenet <citetitle>doujinshi</citetitle>. Doujinshi er også "
"tegneserier, men de er slags etterapings-tegneserier. En rik etikk styrer "
"avviser etterapninger som bare er en kopi."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "These copycat comics are not a tiny part of the manga market. They are "
+#| "huge. More than 33,000 \"circles\" of creators from across Japan produce "
+#| "these bits of Walt Disney creativity. More than 450,000 Japanese come "
+#| "together twice a year, in the largest public gathering in the country, to "
+#| "exchange and sell them. This market exists in parallel to the mainstream "
+#| "commercial manga market. In some ways, it obviously 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."
msgid ""
"These copycat comics are not a tiny part of the manga market. They are huge. "
-"More than 33,000 \"circles\" of creators from across Japan produce these "
-"bits of Walt Disney creativity. More than 450,000 Japanese come together "
-"twice a year, in the largest public gathering in the country, to exchange "
-"and sell them. This market exists in parallel to the mainstream commercial "
-"manga market. In some ways, it obviously 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 "
+"More than 33,000 <quote>circles</quote> of creators from across Japan "
+"produce these bits of Walt Disney creativity. More than 450,000 Japanese "
+"come together twice a year, in the largest public gathering in the country, "
+"to exchange and sell them. This market exists in parallel to the mainstream "
+"commercial manga market. In some ways, it obviously 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."
msgstr ""
"Disse etterapings-tegneseriene er ikke en liten del av manga-markedet. Det "
"på tross av konkurransen og til tross for loven."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "copyright law, which in this respect (on paper) mirrors American "
+#| "copyright law, the doujinshi market is an illegal one. Doujinshi are "
+#| "plainly \"derivative works.\" There is no general practice by doujinshi "
+#| "artists of securing the permission of the manga creators. Instead, the "
+#| "practice is simply to take and modify the creations of others, as Walt "
+#| "Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both "
+#| "Japanese and American law, that \"taking\" without 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."
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 "
"copyright law, which in this respect (on paper) mirrors American copyright "
"law, the doujinshi market is an illegal one. Doujinshi are plainly "
-"\"derivative works.\" There is no general practice by doujinshi artists of "
-"securing the permission of the manga creators. Instead, the practice is "
-"simply to take and modify the creations of others, as Walt Disney did with "
-"<citetitle>Steamboat Bill, Jr</citetitle>. Under both Japanese and American "
-"law, that \"taking\" without 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."
+"<quote>derivative works.</quote> There is no general practice by doujinshi "
+"artists of securing the permission of the manga creators. Instead, the "
+"practice is simply to take and modify the creations of others, as Walt "
+"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both "
+"Japanese and American law, that <quote>taking</quote> without 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."
msgstr ""
"Den mest gåtefulle egenskapen med doujinshi-markedet, for de som har "
"juridisk trening i hvert fall, er at det overhodet tillates å eksistere. "
"citetitle> (New York: Perennial, 2000)."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "flourish. As American graphic novelist Judd Winick said to me, \"The "
+#| "early days of comics in America are very much like what's going on in "
+#| "Japan now. … American comics were born out of copying each 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\" and "
+#| "building from them.<placeholder type=\"footnote\" id=\"0\"/>"
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 "
-"flourish. As American graphic novelist Judd Winick said to me, \"The early "
-"days of comics in America are very much like what's going on in Japan now. "
-"… American comics were born out of copying each other. … "
+"flourish. As American graphic novelist Judd Winick said to me, <quote>The "
+"early days of comics in America are very much like what's going on in Japan "
+"now. … American comics were born out of copying each 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\" and building from "
-"them.<placeholder type=\"footnote\" id=\"0\"/>"
+"not tracing them, but looking at them and copying them</quote> and building "
+"
from them.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og "
"etter manges syn er det nettopp fordi det eksisterer at japansk manga "
"og bygge basert på dem.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "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, \"there are these rules and you "
+#| "have to stick to them.\" There are things Superman \"cannot\" do. \"As a "
+#| "creator, it's frustrating having to stick to some parameters which are "
+#| "fifty years old.\""
msgid ""
"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, \"there are these rules and you have "
-"to stick to them.\" There are things Superman \"cannot\" do. \"As a creator, "
-"it's frustrating having to stick to some parameters which are fifty years "
-"old.\""
+"Speaking of Superman, Winick told me, <quote>there are these rules and you "
+"have to stick to them.</quote> There are things Superman <quote>cannot</"
+"quote> do. <quote>As a creator, it's frustrating having to stick to some "
+"parameters which are fifty years old.</quote>"
msgstr ""
"Amerikanske tegneserier nå er ganske annerledes, forklarer Winick, delvis på "
"grunn av de juridiske problemene med å tilpasse tegneserier slik doujinshi "
#. f6
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
-"All the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers Law "
-"Review</citetitle> 55 (2002): 155, 182. \"[T]here might be a collective "
-"economic rationality that would lead manga and anime artists to forgo "
-"bringing legal actions for infringement. One hypothesis is that all manga "
-"artists may be better off collectively if they set aside their individual "
-"self-interest and decide not to press their legal rights. This is "
-"essentially a prisoner's dilemma solved.\""
+#, fuzzy
+#| msgid ""
+#| "See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
+#| "All the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers "
+#| "Law Review</citetitle> 55 (2002): 155, 182. \"[T]here might be a "
+#| "collective economic rationality that would lead manga and anime artists "
+#| "to forgo bringing legal actions for infringement. One hypothesis is that "
+#| "all manga artists may be better off collectively if they set aside their "
+#| "individual self-interest and decide not to press their legal rights. This "
+#| "is essentially a prisoner's dilemma solved.\""
+msgid ""
+"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
+"Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
+"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, 182. <quote>[T]"
+"here might be a collective economic rationality that would lead manga and "
+"anime artists to forgo bringing legal actions for infringement. One "
+"hypothesis is that all manga artists may be better off collectively if they "
+"set aside their individual self-interest and decide not to press their legal "
+"rights. This is essentially a prisoner's dilemma solved.</quote>"
msgstr ""
"Se Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why All "
"the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers Law "
"bannlyser ikke doujinshi.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 well be that the market as a whole is better off if doujinshi are "
+#| "permitted rather than banned, but that doesn't explain why individual "
+#| "copyright owners don't sue nonetheless. If the law has no general "
+#| "exception for doujinshi, and indeed in some cases individual manga "
+#| "artists have sued doujinshi artists, why is there not a more general "
+#| "pattern of blocking this \"free taking\" by the doujinshi culture?"
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 "
"rather than banned, but that doesn't explain why individual copyright owners "
"don't sue nonetheless. If the law has no general exception for doujinshi, "
"and indeed in some cases individual manga artists have sued doujinshi "
-"artists, why is there not a more general pattern of blocking this \"free "
-"taking\" by the doujinshi culture?"
+"artists, why is there not a more general pattern of blocking this "
+"<quote>free taking</quote> by the doujinshi culture?"
msgstr ""
"Problemet med denne historien, derimot, og som Mehra helt klart erkjenner, "
"er at mekanismen som produserer denne \"hold hendene borte\"-responsen ikke "
"takingen\" hos doujinshi-kulturen?"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 a major Japanese law firm. \"We don't have enough lawyers,\" "
+#| "he told me one afternoon. There \"just aren't enough resources to "
+#| "prosecute cases like this.\""
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 "
-"a major Japanese law firm. \"We don't have enough lawyers,\" he told me one "
-"afternoon. There \"just aren't enough resources to prosecute cases like this."
-"\""
+"a major Japanese law firm. <quote>We don't have enough lawyers,</quote> he "
+"told me one afternoon. There <quote>just aren't enough resources to "
+"prosecute cases like this.</quote>"
msgstr ""
"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 "
msgstr "Vaidhyanathan, Siva"
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "The term <citetitle>intellectual property</citetitle> is of relatively "
+#| "recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and "
+#| "Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). "
+#| "See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New "
+#| "York: Random House, 2001), 293 n. 26. The term accurately describes a set "
+#| "of \"property\" rights—copyright, patents, trademark, and trade-"
+#| "secret—but the nature of those rights is very different. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
"The term <citetitle>intellectual property</citetitle> is of relatively "
"recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
"citetitle>, 11 (New York: New York University Press, 2001). See also "
"Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: "
"Random House, 2001), 293 n. 26. The term accurately describes a set of "
-"\"property\" rights—copyright, patents, trademark, and trade-"
-"secret—but the nature of those rights is very different. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"<quote>property</quote> rights—copyright, patents, trademark, and "
+"trade-secret—but the nature of those rights is very different. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Begrepet <citetitle>immateriell eiendom</citetitle> er av relativ ny "
"opprinnelse. Se See Siva Vaidhyanathan, <citetitle>Copyrights and "
"svært forskjellige.<placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "We live in a world that celebrates \"property.\" 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 "
+#| "\"intellectual property.\"<placeholder type=\"footnote\" id=\"0\"/> A "
+#| "large, diverse society cannot survive without property; a large, diverse, "
+#| "and modern society cannot flourish without intellectual property."
msgid ""
-"We live in a world that celebrates \"property.\" I am one of those "
-"celebrants. I believe in the value of property in general, and I also "
+"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 "
"believe in the value of that weird form of property that lawyers call "
-"\"intellectual property.\"<placeholder type=\"footnote\" id=\"0\"/> A large, "
-"diverse society cannot survive without property; a large, diverse, and "
-"modern society cannot flourish without intellectual property."
+"<quote>intellectual property.</quote><placeholder type=\"footnote\" id=\"0\"/"
+"> A large, diverse society cannot survive without property; a large, "
+"diverse, and modern society cannot flourish without intellectual property."
msgstr ""
"Vi lever i en verden som feirer \"eiendom\". Jeg er en av de som feierer. "
"Jeg tror på verdien av eiendom generelt, og jeg tror også på verdien av den "
"immaterielle eierrettigheter."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "But it takes just a second's reflection to realize that there is plenty "
+#| "of value out there that \"property\" doesn't capture. I don't mean "
+#| "\"money can't buy you love,\" but rather, value that is plainly part of a "
+#| "process of production, including commercial as well as noncommercial "
+#| "production. If Disney animators had stolen a set of pencils to draw "
+#| "Steamboat Willie, we'd have no hesitation in condemning that taking as "
+#| "wrong— even though trivial, even if unnoticed. Yet there was "
+#| "nothing wrong, at least under the law of the day, with Disney's taking "
+#| "from Buster Keaton or from the Brothers Grimm. There was nothing wrong "
+#| "with the taking from Keaton because Disney's use would have been "
+#| "considered \"fair.\" There was nothing wrong with the taking from the "
+#| "Grimms because the Grimms' work was in the public domain."
msgid ""
"But it takes just a second's reflection to realize that there is plenty of "
-"value out there that \"property\" doesn't capture. I don't mean \"money "
-"can't buy you love,\" but rather, value that is plainly part of a process of "
-"production, including commercial as well as noncommercial production. If "
-"Disney animators had stolen a set of pencils to draw Steamboat Willie, we'd "
-"have no hesitation in condemning that taking as wrong— even though "
-"trivial, even if unnoticed. Yet there was nothing wrong, at least under the "
-"law of the day, with Disney's taking from Buster Keaton or from the Brothers "
-"Grimm. There was nothing wrong with the taking from Keaton because Disney's "
-"use would have been considered \"fair.\" There was nothing wrong with the "
-"taking from the Grimms because the Grimms' work was in the public domain."
+"value out there that <quote>property</quote> doesn't capture. I don't mean "
+"<quote>money can't buy you love,</quote> but rather, value that is plainly "
+"part of a process of production, including commercial as well as "
+"noncommercial production. If Disney animators had stolen a set of pencils "
+"to draw Steamboat Willie, we'd have no hesitation in condemning that taking "
+"as wrong— even though trivial, even if unnoticed. Yet there was "
+"nothing wrong, at least under the law of the day, with Disney's taking from "
+"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the "
+"taking from Keaton because Disney's use would have been considered "
+"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms "
+"because the Grimms' work was in the public domain."
msgstr ""
"Men det tar bare noen sekunders refleksjon for å innse at det er masse av "
"verdi der ute som \"eiendom\" ikke dekker. Jeg mener ikke \"kjærlighet kan "
"i enhver form, uansett hvor stort eller lite som blir tatt."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Yet there is an obvious reluctance, even among Japanese lawyers, to say "
+#| "that the copycat comic artists are \"stealing.\" This form of Walt Disney "
+#| "creativity is seen as fair and right, even if lawyers in particular find "
+#| "it hard to say why."
msgid ""
"Yet there is an obvious reluctance, even among Japanese lawyers, to say that "
-"the copycat comic artists are \"stealing.\" This form of Walt Disney "
-"creativity is seen as fair and right, even if lawyers in particular find it "
-"hard to say why."
+"the copycat comic artists are <quote>stealing.</quote> This form of Walt "
+"Disney creativity is seen as fair and right, even if lawyers in particular "
+"find it hard to say why."
msgstr ""
"Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si "
"at etterapende tegneseriekunstnere \"stjeler\". Denne formen for Walt "
"synes det er vanskelig å forklare hvorfor."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 or paying for the privilege. (\"Excuse me, Professor Einstein, but "
+#| "may I have permission to use your theory of relativity to show that you "
+#| "were wrong about quantum physics?\") Acting companies perform adaptations "
+#| "of the works of Shakespeare without securing permission from anyone. "
+#| "(Does <emphasis>anyone</emphasis> believe Shakespeare would be better "
+#| "spread within our culture if there were a central Shakespeare rights "
+#| "clearinghouse that all productions of Shakespeare must appeal to first?) "
+#| "And Hollywood goes through cycles with a certain kind of movie: five "
+#| "asteroid films in the late 1990s; two volcano disaster films in 1997."
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 "
-"or paying for the privilege. (\"Excuse me, Professor Einstein, but may I "
-"have permission to use your theory of relativity to show that you were wrong "
-"about quantum physics?\") Acting companies perform adaptations of the works "
-"of Shakespeare without securing permission from anyone. (Does "
+"or paying for the privilege. (<quote>Excuse me, Professor Einstein, but may "
+"I have permission to use your theory of relativity to show that you were "
+"wrong about quantum physics?</quote>) Acting companies perform adaptations "
+"of the works of Shakespeare without securing permission from anyone. (Does "
"<emphasis>anyone</emphasis> believe Shakespeare would be better spread "
"within our culture if there were a central Shakespeare rights clearinghouse "
"that all productions of Shakespeare must appeal to first?) And Hollywood "
"samfunn."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 \"<emphasis>How</emphasis> free is this culture?\" How much, and how "
+#| "broadly, is the culture free for others to take and build upon? Is that "
+#| "freedom limited to party members? To members of the royal family? To the "
+#| "top ten corporations on the New York Stock Exchange? Or is that freedom "
+#| "spread broadly? To artists generally, whether affiliated with the Met or "
+#| "not? To musicians generally, whether white or not? To filmmakers "
+#| "generally, whether affiliated with a studio or not?"
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 "
-"\"<emphasis>How</emphasis> free is this culture?\" How much, and how "
-"broadly, is the culture free for others to take and build upon? Is that "
+"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and "
+"how broadly, is the culture free for others to take and build upon? Is that "
"freedom limited to party members? To members of the royal family? To the top "
"ten corporations on the New York Stock Exchange? Or is that freedom spread "
"broadly? To artists generally, whether affiliated with the Met or not? To "
"kultur. Den er på tur til å bli mindre fri."
#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER TWO: \"Mere Copyists\""
+#, fuzzy
+#| msgid "CHAPTER TWO: \"Mere Copyists\""
+msgid "CHAPTER TWO: <quote>Mere Copyists</quote>"
msgstr "Kapittel to: <quote>Kun etter-apere</quote>"
#. type: Content of: <book><part><chapter><indexterm><primary>
msgstr "Daguerre, Louis"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "In 1839, Louis Daguerre invented the first practical technology for "
+#| "producing what we would call \"photographs.\" Appropriately enough, they "
+#| "were called \"daguerreotypes.\" The process was complicated and "
+#| "expensive, and the field was thus limited to professionals and a few "
+#| "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.) "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
"In 1839, Louis Daguerre invented the first practical technology for "
-"producing what we would call \"photographs.\" Appropriately enough, they "
-"were called \"daguerreotypes.\" The process was complicated and expensive, "
-"and the field was thus limited to professionals and a few 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.) <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"producing what we would call <quote>photographs.</quote> Appropriately "
+"enough, they were called <quote>daguerreotypes.</quote> The process was "
+"complicated and expensive, and the field was thus limited to professionals "
+"and a few 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.) <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"I 1839 fant Louis Daguerre opp den første praktiske teknologien for å "
"produsere det vi ville kalle \"fotografier\". Rimelig nok ble de kalt "
msgstr "Talbot, William"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Yet despite high prices, the demand for daguerreotypes was strong. This "
+#| "pushed inventors to find simpler and cheaper ways to make \"automatic "
+#| "pictures.\" William Talbot soon discovered a process for making "
+#| "\"negatives.\" But because the negatives were glass, and had to be kept "
+#| "wet, the process still remained expensive and cumbersome. In the 1870s, "
+#| "dry plates were developed, making it easier to separate the taking of a "
+#| "picture from its developing. These were still plates of glass, and thus "
+#| "it was still not a process within reach of most amateurs. <placeholder "
+#| "type=\"indexterm\" id=\"0\"/>"
msgid ""
"Yet despite high prices, the demand for daguerreotypes was strong. This "
-"pushed inventors to find simpler and cheaper ways to make \"automatic "
-"pictures.\" William Talbot soon discovered a process for making \"negatives."
-"\" But because the negatives were glass, and had to be kept wet, the process "
-"still remained expensive and cumbersome. In the 1870s, dry plates were "
-"developed, making it easier to separate the taking of a picture from its "
-"developing. These were still plates of glass, and thus it was still not a "
-"process within reach of most amateurs. <placeholder type=\"indexterm\" id="
-"\"0\"/>"
+"pushed inventors to find simpler and cheaper ways to make <quote>automatic "
+"pictures.</quote> William Talbot soon discovered a process for making "
+"<quote>negatives.</quote> But because the negatives were glass, and had to "
+"be kept wet, the process still remained expensive and cumbersome. In the "
+"1870s, dry plates were developed, making it easier to separate the taking of "
+"a picture from its developing. These were still plates of glass, and thus it "
+"was still not a process within reach of most amateurs. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"Men til tross for høye priser var etterspørselen etter daguerreotyper "
"sterk. Dette inspirerte oppfinnere til å finne enklere og billigere måter å "
msgstr ""
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 of its simplicity. \"You press the button and we do the rest."
+#| "\"<placeholder type=\"footnote\" id=\"0\"/> As he described in "
+#| "<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" "
+#| "id=\"1\"/>"
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 "
-"of its simplicity. \"You press the button and we do the rest.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> As he described in <citetitle>The Kodak Primer</"
-"citetitle>: <placeholder type=\"indexterm\" id=\"1\"/>"
+"of its simplicity. <quote>You press the button and we do the rest.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> As he described in "
+"<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" id="
+"\"1\"/>"
msgstr ""
"Eastman utviklet bøyelig, emulsjons-belagt papirfilm og plasserte ruller med "
"dette i små, enkle kameraer: Kodaken. Enheten ble markedsfør med grunnlag "
msgstr "Coe, 58."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The real significance of Eastman's invention, however, was not economic. "
+#| "It was social. Professional photography gave individuals a glimpse of "
+#| "places they would never otherwise see. Amateur photography gave them the "
+#| "ability to record their own lives in a way they had never been able to do "
+#| "before. As author Brian Coe notes, \"For the first time the snapshot "
+#| "album provided the man on the street with a 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.\"<placeholder "
+#| "type=\"footnote\" id=\"0\"/>"
msgid ""
"The real significance of Eastman's invention, however, was not economic. It "
"was social. Professional photography gave individuals a glimpse of places "
"they would never otherwise see. Amateur photography gave them the ability to "
"record their own lives in a way they had never been able to do before. As "
-"author Brian Coe notes, \"For the first time the snapshot album provided the "
-"man on the street with a 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.\"<placeholder type=\"footnote\" id=\"0\"/>"
+"author Brian Coe notes, <quote>For the first time the snapshot album "
+"provided the man on the street with a 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.</quote><placeholder type="
+"\"footnote\" id=\"0\"/>"
msgstr ""
"Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke "
"økonomisk. Den var sosial. Profesjonell fotografering ga individer et "
"\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 took years of training before they could be deployed by amateurs "
+#| "in any useful or effective way. With the Kodak, expression was possible "
+#| "much sooner and more simply. The barrier to expression was lowered. Snobs "
+#| "would sneer at its \"quality\"; professionals would discount it as "
+#| "irrelevant. But watch a child study how best to frame a picture and you "
+#| "get a sense of the experience of creativity that the Kodak enabled. "
+#| "Democratic tools gave ordinary people a way to express themselves more "
+#| "easily than any tools could have before."
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 "
"took years of training before they could be deployed by amateurs in any "
"useful or effective way. With the Kodak, expression was possible much sooner "
"and more simply. The barrier to expression was lowered. Snobs would sneer at "
-"its \"quality\"; professionals would discount it as irrelevant. But watch a "
-"child study how best to frame a picture and you get a sense of the "
-"experience of creativity that the Kodak enabled. Democratic tools gave "
+"its <quote>quality</quote>; professionals would discount it as irrelevant. "
+"But watch a child study how best to frame a picture and you get a sense of "
+"the experience of creativity that the Kodak enabled. Democratic tools gave "
"ordinary people a way to express themselves more easily than any tools could "
"have before."
msgstr ""
#. PAGE BREAK 47
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The arguments in favor of requiring permission will sound surprisingly "
+#| "familiar. The photographer was \"taking\" something from the person or "
+#| "building whose photograph he shot—pirating something of value. Some "
+#| "even thought he was taking the target's soul. Just as Disney was not free "
+#| "to take the pencils that his animators used to draw Mickey, so, too, "
+#| "should these photographers not be free to take images that they thought "
+#| "valuable."
msgid ""
"The arguments in favor of requiring permission will sound surprisingly "
-"familiar. The photographer was \"taking\" something from the person or "
-"building whose photograph he shot—pirating something of value. Some "
-"even thought he was taking the target's soul. Just as Disney was not free to "
-"take the pencils that his animators used to draw Mickey, so, too, should "
-"these photographers not be free to take images that they thought valuable."
+"familiar. The photographer was <quote>taking</quote> something from the "
+"person or building whose photograph he shot—pirating something of "
+"value. Some even thought he was taking the target's soul. Just as Disney was "
+"not free to take the pencils that his animators used to draw Mickey, so, "
+"too, should these photographers not be free to take images that they thought "
+"valuable."
msgstr ""
"Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent "
"ut. Fotografen \"tok\" noe fra personen eller bygningen som ble "
msgstr "Warren, Samuel D."
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" "
+#| "<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder "
+#| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgid ""
-"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" "
+"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> "
"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type="
"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. f8
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"See Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and "
-"Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, "
-"\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) "
-"398–407; <citetitle>White</citetitle> v. <citetitle>Samsung "
-"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), "
-"cert. denied, 508 U.S. 951 (1993)."
+#, fuzzy
+#| msgid ""
+#| "See Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and "
+#| "Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, "
+#| "\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) "
+#| "398–407; <citetitle>White</citetitle> v. <citetitle>Samsung "
+#| "Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), "
+#| "cert. denied, 508 U.S. 951 (1993)."
+msgid ""
+"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> "
+"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William "
+"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law Review</"
+"citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. "
+"<citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 "
+"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)."
msgstr ""
"Se Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and "
"Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, "
"\"footnote\" id=\"0\"/>)"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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, then the photographer would have had to demonstrate "
+#| "permission. Perhaps Eastman Kodak would have had to demonstrate "
+#| "permission, too, before it developed the film upon which images were "
+#| "captured. After all, if permission were not granted, then Eastman Kodak "
+#| "would be benefiting from the \"theft\" committed by the photographer. "
+#| "Just as Napster benefited from the copyright infringements committed by "
+#| "Napster users, Kodak would be benefiting from the \"image-right\" "
+#| "infringement of its photographers. We could 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."
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, "
"then the photographer would have had to demonstrate permission. Perhaps "
"Eastman Kodak would have had to demonstrate permission, too, before it "
"developed the film upon which images were captured. After all, if permission "
-"were not granted, then Eastman Kodak would be benefiting from the \"theft\" "
-"committed by the photographer. Just as Napster benefited from the copyright "
-"infringements committed by Napster users, Kodak would be benefiting from the "
-"\"image-right\" infringement of its photographers. We could 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."
+"were not granted, then Eastman Kodak would be benefiting from the "
+"<quote>theft</quote> committed by the photographer. Just as Napster "
+"benefited from the copyright infringements committed by Napster users, Kodak "
+"would be benefiting from the <quote>image-right</quote> infringement of its "
+"photographers. We could 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."
msgstr ""
"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 "
#. PAGE BREAK 48
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 for permission had been built into the rules that govern it. "
+#| "Photography would have existed. It would have grown in importance over "
+#| "time. Professionals would have continued to use the technology as they "
+#| "did—since professionals could have more easily borne the burdens of "
+#| "the permission system. But the spread of photography to ordinary people "
+#| "would not have occurred. Nothing like that growth would have been "
+#| "realized. And certainly, nothing like that growth in a democratic "
+#| "technology of expression would have been realized. If you drive through "
+#| "San Francisco's Presidio, you might see two gaudy yellow school buses "
+#| "painted over with colorful and striking images, and the logo \"Just Think!"
+#| "\" in place of the name of a school. But there's little that's \"just\" "
+#| "cerebral in the projects that these busses enable. These buses are "
+#| "filled with technologies that teach kids to tinker with film. Not the "
+#| "film of Eastman. Not even the film of your VCR. Rather the \"film\" of "
+#| "digital cameras. Just Think! is a project that enables kids to make "
+#| "films, as a way to understand and critique the filmed culture that they "
+#| "find all around them. Each year, these busses travel to more than thirty "
+#| "schools and enable three hundred to five hundred children to learn "
+#| "something about media by doing something with media. By doing, they "
+#| "think. By tinkering, they learn."
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 "
"certainly, nothing like that growth in a democratic technology of expression "
"would have been realized. If you drive through San Francisco's Presidio, "
"you might see two gaudy yellow school buses painted over with colorful and "
-"striking images, and the logo \"Just Think!\" in place of the name of a "
-"school. But there's little that's \"just\" cerebral in the projects that "
-"these busses enable. These buses are filled with technologies that teach "
-"kids to tinker with film. Not the film of Eastman. Not even the film of your "
-"VCR. Rather the \"film\" of digital cameras. Just Think! is a project that "
-"enables kids to make films, as a way to understand and critique the filmed "
-"culture that they find all around them. Each year, these busses travel to "
-"more than thirty schools and enable three hundred to five hundred children "
-"to learn something about media by doing something with media. By doing, "
-"they think. By tinkering, they learn."
+"striking images, and the logo <quote>Just Think!</quote> in place of the "
+"name of a school. But there's little that's <quote>just</quote> cerebral in "
+"the projects that these busses enable. These buses are filled with "
+"technologies that teach kids to tinker with film. Not the film of Eastman. "
+"Not even the film of your VCR. Rather the <quote>film</quote> of digital "
+"cameras. Just Think! is a project that enables kids to make films, as a way "
+"to understand and critique the filmed culture that they find all around "
+"them. Each year, these busses travel to more than thirty schools and enable "
+"three hundred to five hundred children to learn something about media by "
+"doing something with media. By doing, they think. By tinkering, they learn."
msgstr ""
"Men selv om vi kan tenke oss dette godkjenningssystemet, så vil det være "
"svært vanskelig å se hvordan fotografering skulle ha blomstret slik det "
#. f9
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software "
-"You Need to Create Digital Multimedia Presentations,\" cadalyst, February "
-"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #7</"
-"ulink>."
+#, fuzzy
+#| msgid ""
+#| "H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software "
+#| "You Need to Create Digital Multimedia Presentations,\" cadalyst, February "
+#| "2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #7</"
+#| "ulink>."
+msgid ""
+"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and "
+"Software You Need to Create Digital Multimedia Presentations,</quote> "
+"cadalyst, February 2002, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #7</ulink>."
msgstr ""
"H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software "
"You Need to Create Digital Multimedia Presentations,\" cadalyst, februar "
"ulink>."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "dramatically. As one analyst puts it, \"Five years ago, a good real-time "
+#| "digital video editing system cost $25,000. Today you can get professional "
+#| "quality for $595.\"<placeholder type=\"footnote\" id=\"0\"/> 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 \"media literacy.\""
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 dramatically. As "
-"one analyst puts it, \"Five years ago, a good real-time digital video "
+"one analyst puts it, <quote>Five years ago, a good real-time digital video "
"editing system cost $25,000. Today you can get professional quality for $595."
-"\"<placeholder type=\"footnote\" id=\"0\"/> 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 \"media literacy.\""
+"</quote><placeholder type=\"footnote\" id=\"0\"/> 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 <quote>media literacy.</quote>"
msgstr ""
"Disse bussene er ikke billige, men teknologien de har med seg blir billigere "
"og billigere. Kostnaden til et høykvalitets digitalt videosystem har falt "
msgstr "Yanofsky, Dave"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "\"Media literacy,\" as Dave Yanofsky, the executive director of Just "
+#| "Think!, puts it, \"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.\" <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"\"Media literacy,\" as Dave Yanofsky, the executive director of Just Think!, "
-"puts it, \"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.\" <placeholder type=\"indexterm\" id=\"0\"/>"
+"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of "
+"Just Think!, puts it, <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.</quote> <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"\"Media-skriveføre,\" eller \"mediekompetanse\" som administrerende direktør "
"Dave Yanofsky i Just Think!, sier det, \"er evnen til … å forstå, "
"id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "This may seem like an odd way to think about \"literacy.\" For most "
+#| "people, literacy is about reading and writing. Faulkner and Hemingway and "
+#| "noticing split infinitives are the things that \"literate\" people know "
+#| "about."
msgid ""
-"This may seem like an odd way to think about \"literacy.\" For most people, "
-"literacy is about reading and writing. Faulkner and Hemingway and noticing "
-"split infinitives are the things that \"literate\" people know about."
+"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 "
+"and noticing split infinitives are the things that <quote>literate</quote> "
+"people know about."
msgstr ""
"Dette kan virke som en litt rar måte å tenke på \"skrivefør\". For de fleste "
"handler skrivefør å kunne lese og skrive. \"Skriveføre folk kjenner ting "
#. f10
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
+#| "(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on "
+#| "Family and TV Study,\" <citetitle>Denver Post</citetitle>, 25 May 1997, "
+#| "B6."
msgid ""
"Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
-"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family "
-"and TV Study,\" <citetitle>Denver Post</citetitle>, 25 May 1997, B6."
+"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on "
+"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May "
+"1997, B6."
msgstr ""
"Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family "
"and TV Study,\" <citetitle>Denver Post</citetitle>, 25. mai 1997, B6."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "generally,<placeholder type=\"footnote\" id=\"0\"/> it is increasingly "
+#| "important to understand the \"grammar\" 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 terrible prose, kids learn "
+#| "how to write media by constructing lots of (at least at first) terrible "
+#| "media."
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 generally,"
"<placeholder type=\"footnote\" id=\"0\"/> it is increasingly important to "
-"understand the \"grammar\" 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 terrible prose, kids learn how to write media by "
-"constructing lots of (at least at first) terrible media."
+"understand the <quote>grammar</quote> 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 terrible prose, kids learn how to "
+"write media by constructing lots of (at least at first) terrible media."
msgstr ""
"Mulig det. Men i en verden hvor barn ser i gjennomsnitt 390 timer med TV-"
"reklaager i året, eller generelt mellom 20 000 og 45 000 reklameinnslag,"
#. f12
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 November "
-"2000, available at <ulink url=\"http://free-culture.cc/notes/\">link #8</"
-"ulink>; \"Timeline,\" 22 November 2000, available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #9</ulink>."
+#, fuzzy
+#| msgid ""
+#| "See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 "
+#| "November 2000, available at <ulink url=\"http://free-culture.cc/notes/"
+#| "\">link #8</ulink>; \"Timeline,\" 22 November 2000, available at <ulink "
+#| "url=\"http://free-culture.cc/notes/\">link #9</ulink>."
+msgid ""
+"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, "
+"4 November 2000, available at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #9</ulink>."
msgstr ""
"Se Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4. november "
"2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #8</"
"\"http://free-culture.cc/notes/\">link #9</ulink>."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "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 \"the "
+#| "placement of objects, color, … rhythm, pacing, and texture."
+#| "\"<placeholder type=\"footnote\" id=\"0\"/> But as computers open up an "
+#| "interactive space where a story is \"played\" as well as experienced, "
+#| "that grammar changes. The simple control of narrative is lost, and so "
+#| "other techniques are necessary. Author Michael Crichton had mastered the "
+#| "narrative of science fiction. 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.<placeholder type="
+#| "\"footnote\" id=\"1\"/>"
msgid ""
"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 \"the placement "
-"of objects, color, … rhythm, pacing, and texture.\"<placeholder type="
-"\"footnote\" id=\"0\"/> But as computers open up an interactive space where "
-"a story is \"played\" as well as experienced, that grammar changes. The "
-"simple control of narrative is lost, and so other techniques are necessary. "
-"Author Michael Crichton had mastered the narrative of science fiction. 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.<placeholder type=\"footnote\" id=\"1\"/>"
+"of Cinema-Television, explained to me, the grammar was about <quote>the "
+"placement of objects, color, … rhythm, pacing, and texture.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> But as computers open up an "
+"interactive space where a story is <quote>played</quote> as well as "
+"experienced, that grammar changes. The simple control of narrative is lost, "
+"and so other techniques are necessary. Author Michael Crichton had mastered "
+"the narrative of science fiction. 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.<placeholder type=\"footnote\" "
+"id=\"1\"/>"
msgstr ""
"Denne gramatikken har endret seg etter hvert som media har endret seg. Da "
"det kun var film, som Elizabeth Daley, administrerende direktør ved "
msgstr "dataspill"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "This skill is precisely the craft a filmmaker learns. As Daley describes, "
+#| "\"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 have no idea. "
+#| "If a filmmaker succeeds you do not know how you were led.\" If you know "
+#| "you were led through a film, the film has failed."
msgid ""
"This skill is precisely the craft a filmmaker learns. As Daley describes, "
-"\"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 have no idea. If a "
-"filmmaker succeeds you do not know how you were led.\" If you know you were "
-"led through a film, the film has failed."
+"<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 have no idea. If "
+"a filmmaker succeeds you do not know how you were led.</quote> If you know "
+"you were led through a film, the film has failed."
msgstr ""
"Akkurat denne ferdigheten er håndverket en lærer til de som lager filmer. "
"Som Daley skriver, \"folk er svært overrasket over hvordan de blir ledet "
"skrive."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "\"Read-only.\" Passive recipients of culture produced elsewhere. Couch "
+#| "potatoes. Consumers. This is the world of media from the twentieth "
+#| "century."
msgid ""
-"\"Read-only.\" Passive recipients of culture produced elsewhere. Couch "
-"potatoes. Consumers. This is the world of media from the twentieth century."
+"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. "
+"Couch potatoes. Consumers. This is the world of media from the twentieth "
+"century."
msgstr ""
"\"ikke kunne skrive.\" Passive mottakerne av kultur produsert andre steder. "
"Sofapoteter. Forbrukere. Dette er medieverden fra det tjuende århundre."
msgstr "ibid."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 the craft of writing. Or best, reading and understanding "
+#| "the tools that enable the writing to lead or mislead. The aim of any "
+#| "literacy, and this literacy in particular, is to \"empower people to "
+#| "choose the appropriate language for what they need to create or express."
+#| "\"<placeholder type=\"footnote\" id=\"0\"/> It is to enable students \"to "
+#| "communicate in the language of the twenty-first century.\"<placeholder "
+#| "type=\"footnote\" id=\"1\"/>"
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 "
"the craft of writing. Or best, reading and understanding the tools that "
"enable the writing to lead or mislead. The aim of any literacy, and this "
-"literacy in particular, is to \"empower people to choose the appropriate "
-"language for what they need to create or express.\"<placeholder type="
-"\"footnote\" id=\"0\"/> It is to enable students \"to communicate in the "
-"language of the twenty-first century.\"<placeholder type=\"footnote\" id="
-"\"1\"/>"
+"literacy in particular, is to <quote>empower people to choose the "
+"appropriate language for what they need to create or express.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable students "
+"<quote>to communicate in the language of the twenty-first century.</"
+"quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
"Det tjueførste århundret kan bli annerledes. Dette er et kritisk punkt: Det "
"kan bli både lesing og skriving. Eller i det minste lesing og bedre "
"om—våpen-relatert vold."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 kids to come, the challenge in this class was keeping them away. The "
+#| "\"kids were showing up at 6 A.M. and leaving at 5 at night,\" said "
+#| "Barish. They were working harder than in any other class to do what "
+#| "education should be about—learning how to express themselves."
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 "
-"kids to come, the challenge in this class was keeping them away. The \"kids "
-"were showing up at 6 A.M. and leaving at 5 at night,\" said Barish. They "
-"were working harder than in any other class to do what education should be "
-"about—learning how to express themselves."
+"kids to come, the challenge in this class was keeping them away. The "
+"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> "
+"said Barish. They were working harder than in any other class to do what "
+"education should be about—learning how to express themselves."
msgstr ""
"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 "
"hvordan de skulle uttrykke seg."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"Using whatever \"free web stuff they could find,\" and relatively simple "
-"tools to enable the kids to mix \"image, sound, and text,\" Barish said this "
-"class produced a series of projects that showed something about gun violence "
-"that few would otherwise understand. This was an issue close to the lives of "
-"these students. The project \"gave them a tool and empowered them to be able "
-"to both understand it and talk about it,\" Barish explained. That tool "
-"succeeded in creating expression—far more successfully and powerfully "
-"than could have been created using only text. \"If you had said to these "
-"students, `you have to do it in text,' they would've just thrown their hands "
-"up and gone and done something else,\" Barish described, in part, no doubt, "
-"because expressing themselves in text is not something these students can do "
-"well. Yet neither is text a form in which <emphasis>these</emphasis> ideas "
-"can be expressed well. The power of this message depended upon its "
-"connection to this form of expression."
+#, fuzzy
+#| msgid ""
+#| "Using whatever \"free web stuff they could find,\" and relatively simple "
+#| "tools to enable the kids to mix \"image, sound, and text,\" Barish said "
+#| "this class produced a series of projects that showed something about gun "
+#| "violence that few would otherwise understand. This was an issue close to "
+#| "the lives of these students. The project \"gave them a tool and empowered "
+#| "them to be able to both understand it and talk about it,\" Barish "
+#| "explained. That tool succeeded in creating expression—far more "
+#| "successfully and powerfully than could have been created using only text. "
+#| "\"If you had said to these students, `you have to do it in text,' they "
+#| "would've just thrown their hands up and gone and done something else,\" "
+#| "Barish described, in part, no doubt, because expressing themselves in "
+#| "text is not something these students can do well. Yet neither is text a "
+#| "form in which <emphasis>these</emphasis> ideas can be expressed well. The "
+#| "power of this message depended upon its connection to this form of "
+#| "expression."
+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 text,</"
+"quote> Barish said this class produced a series of projects that showed "
+"something about gun violence that few would otherwise understand. This was "
+"an issue close to the lives of these students. The project <quote>gave them "
+"a tool and empowered them to be able to both understand it and talk about it,"
+"</quote> Barish explained. That tool succeeded in creating expression—"
+"far more successfully and powerfully than could have been created using only "
+"text. <quote>If you had said to these students, `you have to do it in text,' "
+"they would've just thrown their hands up and gone and done something else,</"
+"quote> Barish described, in part, no doubt, because expressing themselves in "
+"text is not something these students can do well. Yet neither is text a form "
+"in which <emphasis>these</emphasis> ideas can be expressed well. The power "
+"of this message depended upon its connection to this form of expression."
msgstr ""
"Ved å bruke hva som helst av \"fritt tilgjengelig web-stoff de kunne finne"
"\", og relativt enkle verktøy som gjorde det mulig for ungene å blande "
#. PAGE BREAK 52
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"\"But isn't education about teaching kids to write?\" I asked. In part, of "
-"course, it is. But why are we teaching kids to write? Education, Daley "
-"explained, is about giving students a way of \"constructing meaning.\" To "
-"say that that means just writing is like saying teaching writing is only "
-"about teaching kids how to spell. Text is one part—and increasingly, "
-"not the most powerful part—of constructing meaning. As Daley explained "
-"in the most moving part of our interview,"
+#, fuzzy
+#| msgid ""
+#| "\"But isn't education about teaching kids to write?\" I asked. In part, "
+#| "of course, it is. But why are we teaching kids to write? Education, Daley "
+#| "explained, is about giving students a way of \"constructing meaning.\" To "
+#| "say that that means just writing is like saying teaching writing is only "
+#| "about teaching kids how to spell. Text is one part—and "
+#| "increasingly, not the most powerful part—of constructing meaning. "
+#| "As Daley explained in the most moving part of our interview,"
+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, "
+"Daley explained, is about giving students a way of <quote>constructing "
+"meaning.</quote> To say that that means just writing is like saying teaching "
+"writing is only about teaching kids how to spell. Text is one part—and "
+"increasingly, not the most powerful part—of constructing meaning. As "
+"Daley explained in the most moving part of our interview,"
msgstr ""
"\"Men handler ikke utdanning om å lære unger å skrive?\" spurte jeg. Jo "
"delvis, naturligvis. Men hvorfor lærer vi unger å skrive? Utdanning, "
"Daley forklarte i den mest rørende delen av vårt intervju,"
#. type: Content of: <book><part><chapter><blockquote><para>
+#, fuzzy
+#| 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 know, you've got Johnny who can look at a video, he can play a "
+#| "video game, he can do graffiti all over your walls, he can take your car "
+#| "apart, and he can do all sorts of other things. He just can't read your "
+#| "text. So Johnny comes to school and you say, \"Johnny, you're illiterate. "
+#| "Nothing you can do matters.\" Well, Johnny then has two choices: He can "
+#| "dismiss you or he [can] dismiss himself. If his ego is healthy at all, "
+#| "he's going to dismiss you. [But i]nstead, if you say, \"Well, with all "
+#| "these things that you can do, let's talk about this issue. Play for me "
+#| "music that you think reflects that, or show me images that you think "
+#| "reflect that, or draw for me something that reflects that.\" Not by "
+#| "giving a kid a video camera and … saying, \"Let's go have fun with "
+#| "the video camera and make a little movie.\" But instead, really help you "
+#| "take these elements that you understand, that are your language, and "
+#| "construct meaning about the topic.…"
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 "
"know, you've got Johnny who can look at a video, he can play a video game, "
"he can do graffiti all over your walls, he can take your car apart, and he "
"can do all sorts of other things. He just can't read your text. So Johnny "
-"comes to school and you say, \"Johnny, you're illiterate. Nothing you can do "
-"matters.\" Well, Johnny then has two choices: He can dismiss you or he [can] "
-"dismiss himself. If his ego is healthy at all, he's going to dismiss you. "
-"[But i]nstead, if you say, \"Well, with all these things that you can do, "
-"let's talk about this issue. Play for me music that you think reflects that, "
-"or show me images that you think reflect that, or draw for me something that "
-"reflects that.\" Not by giving a kid a video camera and … saying, "
-"\"Let's go have fun with the video camera and make a little movie.\" But "
-"instead, really help you take these elements that you understand, that are "
-"your language, and construct meaning about the topic.…"
+"comes to school and you say, <quote>Johnny, you're illiterate. Nothing you "
+"can do matters.</quote> Well, Johnny then has two choices: He can dismiss "
+"you or he [can] dismiss himself. If his ego is healthy at all, he's going to "
+"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things "
+"that you can do, let's talk about this issue. Play for me music that you "
+"think reflects that, or show me images that you think reflect that, or draw "
+"for me something that reflects that.</quote> Not by giving a kid a video "
+"camera and … saying, <quote>Let's go have fun with the video camera "
+"and make a little movie.</quote> But instead, really help you take these "
+"elements that you understand, that are your language, and construct meaning "
+"about the topic.…"
msgstr ""
"Det du ønsker er å gi disse studentene en måte å konstruere mening. Hvis alt "
"du gir dem er tekst, så kommer de ikke til å gjøre det. Fordi de kan ikke. "
"temaet.…"
#. type: Content of: <book><part><chapter><blockquote><para>
+#, fuzzy
+#| 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, \"I need to explain this and I really need to write something."
+#| "\" And as one of the teachers told Stephanie, they would rewrite a "
+#| "paragraph 5, 6, 7, 8 times, till they got it right."
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, \"I "
-"need to explain this and I really need to write something.\" And as one of "
-"the teachers told Stephanie, they would rewrite a paragraph 5, 6, 7, 8 "
-"times, till they got it right."
+"as it has happened in all these classes, they bump up against the fact, "
+"<quote>I need to explain this and I really need to write something.</quote> "
+"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, "
+"6, 7, 8 times, till they got it right."
msgstr ""
"Dette bemyndiger enormt. Og det som skjer til slutt, selvfølgelig, som det "
"har skjedd i alle disse klassene, er at de stopper opp når de treffer "
#. PAGE BREAK 53
#. type: Content of: <book><part><chapter><blockquote><para>
+#, fuzzy
+#| 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 needed to use a language that they didn't speak very well. But "
+#| "they had come to understand that they had a lot of power with this "
+#| "language.\""
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 "
"needed to use a language that they didn't speak very well. But they had come "
-"to understand that they had a lot of power with this language.\""
+"to understand that they had a lot of power with this language."
msgstr ""
"Fordi de trengte det. Det var en grunn til å gjøre det. De trengte å si "
"noe, i motsetning til å kun danse etter din pipe. De trengte faktisk å "
"perfekt tidsatt for å sikre at hele verden ville være der for å se på."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "These retellings had an increasingly familiar feel. There was music "
+#| "scored for the intermissions, and fancy graphics that flashed across the "
+#| "screen. There was a formula to interviews. There was \"balance,\" and "
+#| "seriousness. This was news choreographed in the way we have increasingly "
+#| "come to expect it, \"news as entertainment,\" even if the entertainment "
+#| "is tragedy."
msgid ""
"These retellings had an increasingly familiar feel. There was music scored "
"for the intermissions, and fancy graphics that flashed across the screen. "
-"There was a formula to interviews. There was \"balance,\" and seriousness. "
-"This was news choreographed in the way we have increasingly come to expect "
-"it, \"news as entertainment,\" even if the entertainment is tragedy."
+"There was a formula to interviews. There was <quote>balance,</quote> and "
+"seriousness. This was news choreographed in the way we have increasingly "
+"come to expect it, <quote>news as entertainment,</quote> even if the "
+"entertainment is tragedy."
msgstr ""
"Disse gjenfortellingene ga en økende familiær følelse. Det var musikk "
"spesiallaget for mellom-innslagene, og avansert grafikk som blinket tvers "
msgstr "CBS"
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"But in addition to this produced news about the \"tragedy of September 11,\" "
-"those of us tied to the Internet came to see a very different production as "
-"well. The Internet was filled with accounts of the same events. Yet these "
-"Internet accounts had a very different flavor. Some people constructed photo "
-"pages that captured images from around the world and presented them as slide "
-"shows with text. Some offered open letters. There were sound recordings. "
-"There was anger and frustration. There were attempts to provide context. "
-"There was, in short, an extraordinary worldwide barn raising, in the sense "
-"Mike Godwin uses the term in his book <citetitle>Cyber Rights</citetitle>, "
-"around a news event that had captured the attention of the world. There was "
-"ABC and CBS, but there was also the Internet."
+#, fuzzy
+#| msgid ""
+#| "But in addition to this produced news about the \"tragedy of September 11,"
+#| "\" those of us tied to the Internet came to see a very different "
+#| "production as well. The Internet was filled with accounts of the same "
+#| "events. Yet these Internet accounts had a very different flavor. Some "
+#| "people constructed photo pages that captured images from around the world "
+#| "and presented them as slide shows with text. Some offered open letters. "
+#| "There were sound recordings. There was anger and frustration. There were "
+#| "attempts to provide context. There was, in short, an extraordinary "
+#| "worldwide barn raising, in the sense Mike Godwin uses the term in his "
+#| "book <citetitle>Cyber Rights</citetitle>, around a news event that had "
+#| "captured the attention of the world. There was ABC and CBS, but there was "
+#| "also the Internet."
+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 "
+"production as well. The Internet was filled with accounts of the same "
+"events. Yet these Internet accounts had a very different flavor. Some people "
+"constructed photo pages that captured images from around the world and "
+"presented them as slide shows with text. Some offered open letters. There "
+"were sound recordings. There was anger and frustration. There were attempts "
+"to provide context. There was, in short, an extraordinary worldwide barn "
+"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber "
+"Rights</citetitle>, around a news event that had captured the attention of "
+"the world. There was ABC and CBS, but there was also the Internet."
msgstr ""
"Men i tillegg til disse produserte nyhetene om \"tragedien 11. september\", "
"kunne de av oss som er knyttet til internettet i tillegg se en svært "
#. PAGE BREAK 54
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 to point to a significance in this form of speech. For like a "
+#| "Kodak, the Internet enables people to capture images. And like in a movie "
+#| "by a student on the \"Just Think!\" bus, the visual images could be mixed "
+#| "with sound or text."
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 "
"to point to a significance in this form of speech. For like a Kodak, the "
"Internet enables people to capture images. And like in a movie by a student "
-"on the \"Just Think!\" bus, the visual images could be mixed with sound or "
-"text."
+"on the <quote>Just Think!</quote> bus, the visual images could be mixed with "
+"sound or text."
msgstr ""
"Det er ikke så enkelt som at jeg ønsker å lovprise internettet—selv om "
"jeg mener at folkene som støtter denne formen for tale bør lovprises. Jeg "
"16."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "tradition, it also means control through reasoned discourse. This was "
+#| "the idea that captured the imagination of Alexis de Tocqueville, the "
+#| "nineteenth-century French lawyer who wrote the most important account of "
+#| "early \"Democracy in America.\" It wasn't popular elections that "
+#| "fascinated him—it was the jury, an institution that gave ordinary "
+#| "people the right to choose life or death for other citizens. And most "
+#| "fascinating for him was that the jury didn't just vote about the outcome "
+#| "they would impose. They deliberated. Members argued about the \"right\" "
+#| "result; they tried to persuade each other of the \"right\" result, and in "
+#| "criminal cases at least, they had to agree upon a unanimous result for "
+#| "the process to come to an end.<placeholder type=\"footnote\" id=\"0\"/>"
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 "
"tradition, it also means control through reasoned discourse. This was the "
"idea that captured the imagination of Alexis de Tocqueville, the nineteenth-"
"century French lawyer who wrote the most important account of early "
-"\"Democracy in America.\" It wasn't popular elections that fascinated "
-"him—it was the jury, an institution that gave ordinary people the "
-"right to choose life or death for other citizens. And most fascinating for "
-"him was that the jury didn't just vote about the outcome they would impose. "
-"They deliberated. Members argued about the \"right\" result; they tried to "
-"persuade each other of the \"right\" result, and in criminal cases at least, "
-"they had to agree upon a unanimous result for the process to come to an end."
-"<placeholder type=\"footnote\" id=\"0\"/>"
+"<quote>Democracy in America.</quote> It wasn't popular elections that "
+"fascinated him—it was the jury, an institution that gave ordinary "
+"people the right to choose life or death for other citizens. And most "
+"fascinating for him was that the jury didn't just vote about the outcome "
+"they would impose. They deliberated. Members argued about the <quote>right</"
+"quote> result; they tried to persuade each other of the <quote>right</quote> "
+"result, and in criminal cases at least, they had to agree upon a unanimous "
+"result for the process to come to an end.<placeholder type=\"footnote\" id="
+"\"0\"/>"
msgstr ""
"Men demokrati har aldri kun handlet om valg. Demokrati betyr at folket "
"styrer, og å styre betyr noe mer enn kun valg. I vår tradisjon betyr det "
#. f16
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" "
+#| "<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129."
msgid ""
-"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" <citetitle>Journal "
-"of Political Philosophy</citetitle> 10 (2) (2002): 129."
+"Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> "
+"<citetitle>Journal of Political Philosophy</citetitle> 10 (2) (2002): 129."
msgstr ""
"Bruce Ackerman og James Fishkin, \"Deliberation Day,\" <citetitle>Journal of "
"Political Philosophy</citetitle> 10 (2) (2002): 129."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "pushing to create just such an institution.<placeholder type=\"footnote\" "
+#| "id=\"0\"/> 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 \"democratic deliberation\" to occur."
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 "
"pushing to create just such an institution.<placeholder type=\"footnote\" id="
"\"0\"/> 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 \"democratic deliberation\" to occur."
+"for <quote>democratic deliberation</quote> to occur."
msgstr ""
"Og likevel fremheves denne institusjonen i USA i dag. Og i dets sted er det "
"ingen systematisk innsats for å muliggjøre borger-diskusjon. Noen gjør en "
#. f18
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New "
+#| "York Times, 16 January 2003, G5."
msgid ""
-"Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New "
-"York Times, 16 January 2003, G5."
+"Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</"
+"quote> New York Times, 16 January 2003, G5."
msgstr ""
"Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New "
"York Times, 16. januar 2003, G5."
msgstr "Lott, Trent"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "\"misspoke\" at a party for Senator Strom Thurmond, essentially praising "
+#| "Thurmond's segregationist policies, he calculated correctly that this "
+#| "story would disappear from the mainstream press within forty-eight hours. "
+#| "It did. But he didn't calculate its life cycle in blog space. The "
+#| "bloggers kept researching the story. Over time, more and more instances "
+#| "of the same \"misspeaking\" emerged. Finally, the story broke back into "
+#| "the mainstream press. In the end, Lott was forced to resign as senate "
+#| "majority leader.<placeholder type=\"footnote\" id=\"0\"/> <placeholder "
+#| "type=\"indexterm\" id=\"1\"/>"
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 \"misspoke"
-"\" at a party for Senator Strom Thurmond, essentially praising Thurmond's "
-"segregationist policies, he calculated correctly that this story would "
-"disappear from the mainstream press within forty-eight hours. It did. But he "
-"didn't calculate its life cycle in blog space. The bloggers kept researching "
-"the story. Over time, more and more instances of the same \"misspeaking\" "
-"emerged. Finally, the story broke back into the mainstream press. In the "
-"end, Lott was forced to resign as senate majority leader.<placeholder type="
-"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"mainstream media. The Trent Lott affair is an example. When Lott "
+"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially "
+"praising Thurmond's segregationist policies, he calculated correctly that "
+"this story would disappear from the mainstream press within forty-eight "
+"hours. It did. But he didn't calculate its life cycle in blog space. The "
+"bloggers kept researching the story. Over time, more and more instances of "
+"the same <quote>misspeaking</quote> emerged. Finally, the story broke back "
+"into the mainstream press. In the end, Lott was forced to resign as senate "
+"majority leader.<placeholder type=\"footnote\" id=\"0\"/> <placeholder type="
+"\"indexterm\" id=\"1\"/>"
msgstr ""
"En direkte effekt er på historier som hadde en annerledes livssyklus i de "
"store mediene. Trend Lott-affæren er et eksempel. Da Logg \"sa feil\" på "
#. PAGE BREAK 57
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 a software author for many decades, told me, another difference is "
+#| "the absence of a financial \"conflict of interest.\" \"I think you have "
+#| "to take the conflict of interest\" out of journalism, Winer told me. "
+#| "\"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.\""
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 "
"a software author for many decades, told me, another difference is the "
-"absence of a financial \"conflict of interest.\" \"I think you have to take "
-"the conflict of interest\" out of journalism, Winer told me. \"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.\""
+"absence of a financial <quote>conflict of interest.</quote> <quote>I think "
+"you have to take the conflict of interest</quote> out of journalism, Winer "
+"told me. <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.</quote>"
msgstr ""
"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 "
msgstr "Telefonintervju med David Winer, 16. april 2003."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "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."
+#| "<placeholder type=\"footnote\" id=\"0\"/> 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 New York headquarters was telling the "
+#| "reporter over and over that her 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 <emphasis>they</emphasis> were "
+#| "writing \"the story.\")"
msgid ""
"These conflicts become more important as media becomes more concentrated "
"(more on this below). A concentrated media can hide more from the public "
"with a reporter in Iraq. The New York headquarters was telling the reporter "
"over and over that her 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 <emphasis>they</emphasis> were writing \"the story.\")"
+"told her that <emphasis>they</emphasis> were writing <quote>the story.</"
+"quote>)"
msgstr ""
"Disse konfliktene blir mer viktig etter hvert som mediene blir mer "
"konsentert (mer om dette under). Konsenterte medier kan skjule mer fra "
#. f20
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information "
-"Online,\" <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci "
-"D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong Overall,\" Online "
-"Journalism Review, 2 February 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #10</ulink>."
+#, fuzzy
+#| msgid ""
+#| "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of "
+#| "Information Online,\" <citetitle>New York Times</citetitle>, 2 February "
+#| "2003, A28; Staci D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong "
+#| "Overall,\" Online Journalism Review, 2 February 2003, available at <ulink "
+#| "url=\"http://free-culture.cc/notes/\">link #10</ulink>."
+msgid ""
+"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of "
+"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 "
+"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, "
+"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>."
msgstr ""
"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information "
"Online,\" <citetitle>New York Times</citetitle>, 2 februar 2003, A28; Staci "
"free-culture.cc/notes/\">link #10</ulink>."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"Blog space gives amateurs a way to enter the debate—\"amateur\" 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.<placeholder type=\"footnote\" id=\"0\"/> And it "
-"drives readers to read across the range of accounts and \"triangulate,\" as "
-"Winer puts it, the truth. Blogs, Winer says, are \"communicating directly "
-"with our constituency, and the middle man is out of it\"—with all the "
-"benefits, and costs, that might entail."
+#, fuzzy
+#| msgid ""
+#| "Blog space gives amateurs a way to enter the debate—\"amateur\" 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.<placeholder type="
+#| "\"footnote\" id=\"0\"/> And it drives readers to read across the range of "
+#| "accounts and \"triangulate,\" as Winer puts it, the truth. Blogs, Winer "
+#| "says, are \"communicating directly with our constituency, and the middle "
+#| "man is out of it\"—with all the benefits, and costs, that might "
+#| "entail."
+msgid ""
+"Blog space gives amateurs a way to enter the debate—<quote>amateur</"
+"quote> 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.<placeholder type="
+"\"footnote\" id=\"0\"/> And it drives readers to read across the range of "
+"accounts and <quote>triangulate,</quote> as Winer puts it, the truth. Blogs, "
+"Winer says, are <quote>communicating directly with our constituency, and the "
+"middle man is out of it</quote>—with all the benefits, and costs, that "
+"might entail."
msgstr ""
"Blogg-sfæren gir amatører en måte å bli med i debatten—\"amatør\" ikke "
"i betydningen uerfaren, men i betydningen til en Olympisk atlet, det vil si "
"\"— med alle de fordeler og ulemper det kan føre med seg."
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" "
-"<citetitle>New York Times</citetitle>, 29 September 2003, C4. (\"Not all "
-"news organizations have been as accepting of employees who blog. Kevin "
+#, fuzzy
+#| msgid ""
+#| "See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" "
+#| "<citetitle>New York Times</citetitle>, 29 September 2003, C4. (\"Not all "
+#| "news organizations have been as accepting of employees who blog. Kevin "
+#| "Sites, a CNN correspondent in Iraq who started a blog about his reporting "
+#| "of the war on March 9, stopped posting 12 days later at his bosses' "
+#| "request. Last year Steve Olafson, a <citetitle>Houston Chronicle</"
+#| "citetitle> 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.\") <placeholder type=\"indexterm\" id=\"0\"/>"
+msgid ""
+"See Michael Falcone, <quote>Does an Editor's Pencil Ruin a Web Log?</quote> "
+"<citetitle>New York Times</citetitle>, 29 September 2003, C4. (<quote>Not "
+"all news organizations have been as accepting of employees who blog. Kevin "
"Sites, a CNN correspondent in Iraq who started a blog about his reporting of "
"the war on March 9, stopped posting 12 days later at his bosses' request. "
"Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> "
"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."
-"
\") <placeholder type=\"indexterm\" id=\"0\"/>"
+"pseudonym, that dealt with some of the issues and people he was covering.</"
+"
quote>) <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Se Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" "
"<citetitle>New York Times</citetitle>, 29. september 2003, C4. (\"Ikke alle "
#. PAGE BREAK 58
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Winer is optimistic about the future of journalism infected with blogs. "
+#| "\"It's going to become an essential skill,\" Winer predicts, for public "
+#| "figures and increasingly for private figures as well. It's not clear that "
+#| "\"journalism\" is happy about this—some journalists have been told "
+#| "to curtail their blogging.<placeholder type=\"footnote\" id=\"0\"/> But "
+#| "it is clear that we are still in transition. \"A lot of what we are doing "
+#| "now is warm-up exercises,\" Winer told me. There is a lot that must "
+#| "mature before this space has its mature effect. And as the inclusion of "
+#| "content in this space is the least infringing use of the Internet "
+#| "(meaning infringing on copyright), Winer said, \"we will be the last "
+#| "thing that gets shut down.\""
msgid ""
"Winer is optimistic about the future of journalism infected with blogs. "
-"\"It's going to become an essential skill,\" Winer predicts, for public "
-"figures and increasingly for private figures as well. It's not clear that "
-"\"journalism\" is happy about this—some journalists have been told to "
-"curtail their blogging.<placeholder type=\"footnote\" id=\"0\"/> But it is "
-"clear that we are still in transition. \"A lot of what we are doing now is "
-"warm-up exercises,\" Winer told me. There is a lot that must mature before "
-"this space has its mature effect. And as the inclusion of content in this "
-"space is the least infringing use of the Internet (meaning infringing on "
-"copyright), Winer said, \"we will be the last thing that gets shut down.\""
+"<quote>It's going to become an essential skill,</quote> Winer predicts, for "
+"public figures and increasingly for private figures as well. It's not clear "
+"that <quote>journalism</quote> is happy about this—some journalists "
+"have been told to curtail their blogging.<placeholder type=\"footnote\" id="
+"\"0\"/> But it is clear that we are still in transition. <quote>A lot of "
+"what we are doing now is warm-up exercises,</quote> Winer told me. There is "
+"a lot that must mature before this space has its mature effect. And as the "
+"inclusion of content in this space is the least infringing use of the "
+"Internet (meaning infringing on copyright), Winer said, <quote>we will be "
+"the last thing that gets shut down.</quote>"
msgstr ""
"Winer er optimistisk når det gjelder en journalistfremtid infisert av "
"blogger. \"Det kommer til å bli en nødvendig ferdighet\", spår Winer, for "
"\"."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"This speech affects democracy. Winer thinks that happens because \"you don't "
-"have to work for somebody who controls, [for] a gatekeeper.\" That is true. "
-"But it affects democracy in another way as well. As more and more citizens "
-"express what they think, and defend it in writing, that will change the way "
-"people understand public issues. It is easy to be wrong and misguided in "
-"your head. It is harder when the product of your mind can be criticized by "
-"others. Of course, it is a rare human who admits that he has been persuaded "
-"that he is wrong. But it is even rarer for a human to ignore when he has "
-"been proven wrong. The writing of ideas, arguments, and criticism improves "
-"democracy. 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."
+#, fuzzy
+#| msgid ""
+#| "This speech affects democracy. Winer thinks that happens because \"you "
+#| "don't have to work for somebody who controls, [for] a gatekeeper.\" That "
+#| "is true. But it affects democracy in another way as well. As more and "
+#| "more citizens express what they think, and defend it in writing, that "
+#| "will change the way people understand public issues. It is easy to be "
+#| "wrong and misguided in your head. It is harder when the product of your "
+#| "mind can be criticized by others. Of course, it is a rare human who "
+#| "admits that he has been persuaded that he is wrong. But it is even rarer "
+#| "for a human to ignore when he has been proven wrong. The writing of "
+#| "ideas, arguments, and criticism improves democracy. 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."
+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> "
+"That is true. But it affects democracy in another way as well. As more and "
+"more citizens express what they think, and defend it in writing, that will "
+"change the way people understand public issues. It is easy to be wrong and "
+"misguided in your head. It is harder when the product of your mind can be "
+"criticized by others. Of course, it is a rare human who admits that he has "
+"been persuaded that he is wrong. But it is even rarer for a human to ignore "
+"when he has been proven wrong. The writing of ideas, arguments, and "
+"criticism improves democracy. 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."
msgstr ""
"Slik tale påvirker demokratiet. Winer mener dette skjer fordi \"du trenger "
"ikke jobber for noen som kontrollerer, [for] en portvokter\". Det er sant. "
msgstr "Brown, John Seely"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "John Seely Brown is the chief scientist of the Xerox Corporation. His "
+#| "work, as his Web site describes it, is \"human learning and … the "
+#| "creation of knowledge ecologies for creating … innovation.\""
msgid ""
"John Seely Brown is the chief scientist of the Xerox Corporation. His work, "
-"as his Web site describes it, is \"human learning and … the creation "
-"of knowledge ecologies for creating … innovation.\""
+"as his Web site describes it, is <quote>human learning and … the "
+"creation of knowledge ecologies for creating … innovation.</quote>"
msgstr ""
"John Seely Brown er sjefsforsker ved Xerox Corporation. Hans arbeid, i "
"følge hans eget nettsted, er \"menneskelig læring og … å skape "
#. PAGE BREAK 59
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"As Brown believes, we learn by tinkering. When \"a lot of us grew up,\" he "
-"explains, that tinkering was done \"on motorcycle engines, lawnmower "
-"engines, automobiles, radios, and so on.\" But digital technologies enable a "
-"different kind of tinkering—with abstract ideas though in concrete "
-"form. The kids at Just Think! not only think about how a commercial portrays "
-"a politician; using digital technology, they can take the commercial apart "
-"and manipulate it, tinker with it to see how it does what it does. Digital "
-"technologies launch a kind of bricolage, or \"free collage,\" as Brown calls "
-"it. Many get to add to or transform the tinkering of many others."
+#, fuzzy
+#| msgid ""
+#| "As Brown believes, we learn by tinkering. When \"a lot of us grew up,\" "
+#| "he explains, that tinkering was done \"on motorcycle engines, lawnmower "
+#| "engines, automobiles, radios, and so on.\" But digital technologies "
+#| "enable a different kind of tinkering—with abstract ideas though in "
+#| "concrete form. The kids at Just Think! not only think about how a "
+#| "commercial portrays a politician; using digital technology, they can take "
+#| "the commercial apart and manipulate it, tinker with it to see how it does "
+#| "what it does. Digital technologies launch a kind of bricolage, or \"free "
+#| "collage,\" as Brown calls it. Many get to add to or transform the "
+#| "tinkering of many others."
+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 engines, "
+"lawnmower engines, automobiles, radios, and so on.</quote> But digital "
+"technologies enable a different kind of tinkering—with abstract ideas "
+"though in concrete form. The kids at Just Think! not only think about how a "
+"commercial portrays a politician; using digital technology, they can take "
+"the commercial apart and manipulate it, tinker with it to see how it does "
+"what it does. Digital technologies launch a kind of bricolage, or "
+"<quote>free collage,</quote> as Brown calls it. Many get to add to or "
+"transform the tinkering of many others."
msgstr ""
"Brown tror vi lærer med å fikle. Da \"mange av oss vokste opp\", forklarer "
"han, ble fiklingen gjort \"pa motorsykkelmotorer, gressklippermotorer, "
"bit av FS/OSS-teknologi fungerer kan fikle med koden."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "This opportunity creates a \"completely new kind of learning platform,\" "
+#| "as Brown describes. \"As soon as you start doing that, you … "
+#| "unleash a free collage on the community, so that other people can start "
+#| "looking at your code, tinkering with it, trying it out, seeing if they "
+#| "can improve it.\" Each effort is a kind of apprenticeship. \"Open source "
+#| "becomes a major apprenticeship platform.\""
msgid ""
-"This opportunity creates a \"completely new kind of learning platform,\" as "
-"Brown describes. \"As soon as you start doing that, you … unleash a "
-"free collage on the community, so that other people can start looking at "
-"your code, tinkering with it, trying it out, seeing if they can improve it."
-"\" Each effort is a kind of apprenticeship. \"Open source becomes a major "
-"apprenticeship platform.\""
+"This opportunity creates a <quote>completely new kind of learning platform,</"
+"quote> as Brown describes. <quote>As soon as you start doing that, you "
+"… unleash a free collage on the community, so that other people can "
+"start looking at your code, tinkering with it, trying it out, seeing if they "
+"can improve it.</quote> Each effort is a kind of apprenticeship. <quote>Open "
+"source becomes a major apprenticeship platform.</quote>"
msgstr ""
"Denne muligheten gir en \"helt ny type læringsplattform\", i følge Brown. "
"\"Så snart du begynner å gjøre dette, så … slipper du løs en fritt "
"lærlingeplatform.\"."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "In this process, \"the concrete things you tinker with are abstract. "
+#| "They are code.\" Kids are \"shifting to the ability to tinker in the "
+#| "abstract, and this tinkering is no longer an isolated activity that "
+#| "you're doing in your garage. You are tinkering with a community platform. "
+#| "… You are tinkering with other people's stuff. The more you tinker "
+#| "the more you improve.\" The more you improve, the more you learn."
msgid ""
-"In this process, \"the concrete things you tinker with are abstract. They "
-"are code.\" Kids are \"shifting to the ability to tinker in the abstract, "
-"and this tinkering is no longer an isolated activity that you're doing in "
-"your garage. You are tinkering with a community platform. … You are "
-"tinkering with other people's stuff. The more you tinker the more you "
-"improve.\" The more you improve, the more you learn."
+"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 "
+"the abstract, and this tinkering is no longer an isolated activity that "
+"you're doing in your garage. You are tinkering with a community platform. "
+"… You are tinkering with other people's stuff. The more you tinker "
+"the more you improve.</quote> The more you improve, the more you learn."
msgstr ""
"I denne prossesen, \"er de konkrete tingene du fikler med abstrakte. De er "
"kildekode\". Unger \"endres til å få evnen til å fikle med det abstrakte, "
"forbedrer, jo mer lærer du."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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, "
+#| "\"the Web [is] the first medium that truly honors multiple forms of "
+#| "intelligence.\" Earlier technologies, such as the typewriter or word "
+#| "processors, helped amplify text. But the Web amplifies much more than "
+#| "text. \"The Web … says if you are musical, if you are artistic, if "
+#| "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.\""
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, "
-"\"the Web [is] the first medium that truly honors multiple forms of "
-"intelligence.\" Earlier technologies, such as the typewriter or word "
+"<quote>the Web [is] the first medium that truly honors multiple forms of "
+"intelligence.</quote> Earlier technologies, such as the typewriter or word "
"processors, helped amplify text. But the Web amplifies much more than text. "
-"\"The Web … says if you are musical, if you are artistic, if 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.\""
+"<quote>The Web … says if you are musical, if you are artistic, if 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.</quote>"
msgstr ""
"Denne sammen tingen skjer også med innhold. Og det skjer på samme "
"samarbeidende måte når dette innholdet er del av nettet. Som Brown "
#. f22
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"See, for example, Edward Felten and Andrew Appel, \"Technological Access "
-"Control Interferes with Noninfringing Scholarship,\" "
+#, fuzzy
+#| msgid ""
+#| "See, for example, Edward Felten and Andrew Appel, \"Technological Access "
+#| "Control Interferes with Noninfringing Scholarship,\" "
+#| "<citetitle>Communications of the Association for Computer Machinery</"
+#| "citetitle> 43 (2000): 9."
+msgid ""
+"See, for example, Edward Felten and Andrew Appel, <quote>Technological "
+"Access Control Interferes with Noninfringing Scholarship,</quote> "
"<citetitle>Communications of the Association for Computer Machinery</"
"citetitle> 43 (2000): 9."
msgstr ""
"citetitle> 43 (2000): 9."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has "
+#| "developed a powerful argument in favor of the \"right to tinker\" as it "
+#| "applies to computer science and to knowledge in general.<placeholder type="
+#| "\"footnote\" id=\"0\"/> 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."
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 "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a "
-"powerful argument in favor of the \"right to tinker\" as it applies to "
-"computer science and to knowledge in general.<placeholder type=\"footnote\" "
-"id=\"0\"/> 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."
+"powerful argument in favor of the <quote>right to tinker</quote> as it "
+"applies to computer science and to knowledge in general.<placeholder type="
+"\"footnote\" id=\"0\"/> 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."
msgstr ""
"Disse begresningene har blitt fokusen for forskere og akademikere. Professor "
"Ed Felten ved Princeton (som vi vil se mer fra i kapittel <xref xrefstyle="
"slags læring unger kan få, eller ikke kan få, på grunn av loven."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "\"This is where education in the twenty-first century is going,\" Brown "
+#| "explains. We need to \"understand how kids who grow up digital think and "
+#| "want to learn.\""
msgid ""
-"\"This is where education in the twenty-first century is going,\" Brown "
-"explains. We need to \"understand how kids who grow up digital think and "
-"want to learn.\""
+"<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 "
+"think and want to learn.</quote>"
msgstr ""
"\"Dette er dit utviklingen av utdanning i det tjueførste århundret er på vei"
"\", forklarer Brown. Vi må \"forstå hvordan unger som vokser opp digitalt "
"tenker og ønsker å lære\"."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "\"Yet,\" as Brown continued, and as the balance of this book will evince, "
+#| "\"we are building a legal system that completely suppresses the 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.\""
msgid ""
-"\"Yet,\" as Brown continued, and as the balance of this book will evince, "
-"\"we are building a legal system that completely suppresses the 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.\""
+"<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 "
+"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.</quote>"
msgstr ""
"\"Likevel\", fortsatte Brown, og som balansen i denne boken vil føre bevis "
"for, \"bygger vi et juridisk system som fullstendig undertrykker den "
"teknologien."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in "
+#| "chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, "
+#| "quipped to me in a rare moment of despondence."
msgid ""
-"\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in chapter "
-"<xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, quipped to "
-"me in a rare moment of despondence."
+"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet "
+"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, "
+"quipped to me in a rare moment of despondence."
msgstr ""
"\"Ikke måten å drive en kultur på\", sa Brewster Kahle, som vi møtte i "
"kapittel <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, "
#. PAGE BREAK 62
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 search on the network. Specialty search engines can do this even "
+#| "better. The idea of \"intranet\" search engines, search engines that "
+#| "search within the network of a particular institution, is to provide "
+#| "users of that institution with better access to material from that "
+#| "institution. Businesses do this all the time, enabling employees to have "
+#| "access to material that people outside the business can't get. "
+#| "Universities do it as well."
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 "
"search on the network. Specialty search engines can do this even better. The "
-"idea of \"intranet\" search engines, search engines that search within the "
-"network of a particular institution, is to provide users of that institution "
-"with better access to material from that institution. Businesses do this "
-"all the time, enabling employees to have access to material that people "
-"outside the business can't get. Universities do it as well."
+"idea of <quote>intranet</quote> search engines, search engines that search "
+"within the network of a particular institution, is to provide users of that "
+"institution with better access to material from that institution. "
+"Businesses do this all the time, enabling employees to have access to "
+"material that people outside the business can't get. Universities do it as "
+"well."
msgstr ""
"Søkemotorer er et mål pa hvor nært et nettverk oppleves å være. Google "
"brakte internettet mye nærmere oss alle ved en utrolig forbedring av "
"forbauset."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"\"It was absurd,\" he told me. \"I don't think I did anything wrong. "
-"… I don't think there's anything wrong with the search engine that I "
-"ran or … what I had done to it. I mean, I hadn't modified it in any "
-"way that promoted or enhanced the work of pirates. I just modified the "
-"search engine in a way that would make it easier to use\"—again, a "
-"<emphasis>search engine</emphasis>, which Jesse had not himself built, using "
-"the Windows filesharing system, which Jesse had not himself built, to enable "
-"members of the 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."
+#, fuzzy
+#| msgid ""
+#| "\"It was absurd,\" he told me. \"I don't think I did anything wrong. "
+#| "… I don't think there's anything wrong with the search engine that "
+#| "I ran or … what I had done to it. I mean, I hadn't modified it in "
+#| "any way that promoted or enhanced the work of pirates. I just modified "
+#| "the search engine in a way that would make it easier to use\"—"
+#| "again, a <emphasis>search engine</emphasis>, which Jesse had not himself "
+#| "built, using the Windows filesharing system, which Jesse had not himself "
+#| "built, to enable members of the 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."
+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 "
+"search engine that I ran or … what I had done to it. I mean, I hadn't "
+"modified it in any way that promoted or enhanced the work of pirates. I just "
+"modified the search engine in a way that would make it easier to use</"
+"quote>—again, a <emphasis>search engine</emphasis>, which Jesse had "
+"not himself built, using the Windows filesharing system, which Jesse had not "
+"himself built, to enable members of the 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."
msgstr ""
"\"Det var absurd\", fortalte han meg. \"Jeg mener at jeg ikke gjorde noe "
"galt. … Jeg mener det ikke er noe galt med søkemotoren som jeg kjørte "
#. PAGE BREAK 64
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "But the RIAA branded Jesse a pirate. They claimed he operated a network "
+#| "and had therefore \"willfully\" violated copyright laws. They demanded "
+#| "that he pay them the damages for his wrong. For cases of \"willful "
+#| "infringement,\" the Copyright Act specifies something lawyers call "
+#| "\"statutory damages.\" These damages permit a copyright owner to 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."
msgid ""
"But the RIAA branded Jesse a pirate. They claimed he operated a network and "
-"had therefore \"willfully\" violated copyright laws. They demanded that he "
-"pay them the damages for his wrong. For cases of \"willful infringement,\" "
-"the Copyright Act specifies something lawyers call \"statutory damages.\" "
-"These damages permit a copyright owner to 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."
+"had therefore <quote>willfully</quote> violated copyright laws. They "
+"demanded that he pay them the damages for his wrong. For cases of "
+"<quote>willful infringement,</quote> the Copyright Act specifies something "
+"lawyers call <quote>statutory damages.</quote> These damages permit a "
+"copyright owner to 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."
msgstr ""
"Men RIAA kalte Jesse en pirat. De hevdet at han opererte et nettverk og "
"dermed \"med vilje\" hadde brutt opphavsrettslovene. De krevde at han "
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
+#| "Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group "
+#| "LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443."
msgid ""
-"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
-"Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group LCC</"
-"citetitle> 6 (2003): 5, available at 2003 WL 55179443."
+"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit "
+"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media "
+"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443."
msgstr ""
"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
"Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group LCC</"
"citetitle> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "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 was "
+#| "different in detail, the bottom line in each was exactly the same: huge "
+#| "demands for \"damages\" that the RIAA claimed it was entitled to. If you "
+#| "added up the claims, these four lawsuits were asking courts in the United "
+#| "States to award the plaintiffs close to $100 <emphasis>billion</"
+#| "emphasis>—six times the <emphasis>total</emphasis> profit of the "
+#| "film industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>"
msgid ""
"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 was different in "
"detail, the bottom line in each was exactly the same: huge demands for "
-"\"damages\" that the RIAA claimed it was entitled to. If you added up the "
-"claims, these four lawsuits were asking courts in the United States to award "
-"the plaintiffs close to $100 <emphasis>billion</emphasis>—six times "
-"the <emphasis>total</emphasis> profit of the film industry in 2001."
-"<placeholder type=\"footnote\" id=\"0\"/>"
+"<quote>damages</quote> that the RIAA claimed it was entitled to. If you "
+"added up the claims, these four lawsuits were asking courts in the United "
+"States to award the plaintiffs close to $100 <emphasis>billion</"
+"emphasis>—six times the <emphasis>total</emphasis> profit of the film "
+"
industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Lignende søksmål ble gjort mot tre andre studenter: en annen student ved "
"RPI, en ved Michegan Technical University og en ved Princeton. Deres "
"sommerjobber og annet arbeid. De krevde 12 000 for å trekke saken."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "impossible for him to work in many fields of technology for the rest of "
+#| "his life. He refused. They made him understand that this process of being "
+#| "sued was not going to be pleasant. (As Jesse's father recounted to me, "
+#| "the chief lawyer on the case, Matt Oppenheimer, told Jesse, \"You don't "
+#| "want to pay another visit to a dentist like me.\") And throughout, the "
+#| "RIAA insisted it would not settle the case until it took every penny "
+#| "Jesse had saved."
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 "
"impossible for him to work in many fields of technology for the rest of his "
"life. He refused. They made him understand that this process of being sued "
"was not going to be pleasant. (As Jesse's father recounted to me, the chief "
-"lawyer on the case, Matt Oppenheimer, told Jesse, \"You don't want to pay "
-"another visit to a dentist like me.\") And throughout, the RIAA insisted it "
-"would not settle the case until it took every penny Jesse had saved."
+"lawyer on the case, Matt Oppenheimer, told Jesse, <quote>You don't want to "
+"pay another visit to a dentist like me.</quote>) And throughout, the RIAA "
+"insisted it would not settle the case until it took every penny Jesse had "
+"saved."
msgstr ""
"RIAA ville at Jesse skulle innrømme at han hadde gjort noe galt. Han "
"nektet. De ville ha han til å godta en kjennelse som i praksis ville gjøre "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" "
+#| "<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24."
msgid ""
-"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" "
-"<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24."
+"Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</"
+"quote> <citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24."
msgstr ""
"Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" "
"<citetitle>Wall Street Journal</citetitle>, 10. september 2003, A24."
"absurd det RIAA har gjort."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Jesse's parents betray a certain pride in their reluctant activist. As "
+#| "his father told me, Jesse \"considers himself very conservative, and so "
+#| "do 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.\""
msgid ""
"Jesse's parents betray a certain pride in their reluctant activist. As his "
-"father told me, Jesse \"considers himself very conservative, and so do I. "
-"… He's not a tree hugger. … I think it's bizarre that they "
+"father told me, Jesse <quote>considers himself very conservative, and so do "
+"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.\""
+"wrong message. And he wants to correct the record.</quote>"
msgstr ""
"Foreldrene til Jesse avslører en viss stolthet over deres motvillige "
"aktivist. Som hans far fortalte meg, Jesse \"anser seg selv for å være "
"rullebladet.\""
#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER FOUR: \"Pirates\""
+#, fuzzy
+#| msgid "CHAPTER FOUR: \"Pirates\""
+msgid "CHAPTER FOUR: <quote>Pirates</quote>"
msgstr "Kapittel fire: <quote>Pirater</quote>"
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"If \"piracy\" means using the creative property of others without their "
-"permission—if \"if value, then right\" is true—then the history "
-"of the content industry is a history of piracy. Every important sector of "
-"\"big media\" today—film, records, radio, and cable TV—was born "
-"of a kind of piracy so defined. The consistent story is how last "
-"generation's pirates join this generation's country club—until now."
+#, fuzzy
+#| msgid ""
+#| "If \"piracy\" means using the creative property of others without their "
+#| "permission—if \"if value, then right\" is true—then the "
+#| "history of the content industry is a history of piracy. Every important "
+#| "sector of \"big media\" today—film, records, radio, and cable "
+#| "TV—was born of a kind of piracy so defined. The consistent story is "
+#| "how last generation's pirates join this generation's country club—"
+#| "until now."
+msgid ""
+"If <quote>piracy</quote> means using the creative property of others without "
+"their permission—if <quote>if value, then right</quote> is true—"
+"then the history of the content industry is a history of piracy. Every "
+"important sector of <quote>big media</quote> today—film, records, "
+"radio, and cable TV—was born of a kind of piracy so defined. The "
+"consistent story is how last generation's pirates join this generation's "
+"country club—until now."
msgstr ""
"Hvis \"piratvirksomhet\" betyr å bruke den kreative eiendommen til andre "
"uten deres tillatelse—hvis \"hvis verdi, så rettighet\" er sant—"
msgstr "Film"
#. type: Content of: <book><part><chapter><section><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "I am grateful to Peter DiMauro for pointing me to this extraordinary "
+#| "history. See also Siva Vaidhyanathan, <citetitle>Copyrights and "
+#| "Copywrongs</citetitle>, 87–93, which details Edison's \"adventures"
+#| "\" with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
"I am grateful to Peter DiMauro for pointing me to this extraordinary "
"history. See also Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
-"citetitle>, 87–93, which details Edison's \"adventures\" with "
-"copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>"
+"citetitle>, 87–93, which details Edison's <quote>adventures</quote> "
+"
with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Jeg er takknemlig til Peter DiMauro for å ha pekt meg i retning av denne "
"ekstraordinære historien. Se også Siva Vaidhyanathan, <citetitle>Copyrights "
#. PAGE BREAK 67
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "The film industry of Hollywood was built by fleeing pirates.<placeholder "
+#| "type=\"footnote\" id=\"0\"/> 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 exercised through a monopoly \"trust,\" the Motion "
+#| "Pictures Patents Company, and were based on Thomas Edison's creative "
+#| "property—patents. Edison formed the MPPC to exercise the rights "
+#| "this creative property gave him, and the MPPC was serious about the "
+#| "control it demanded."
msgid ""
"The film industry of Hollywood was built by fleeing pirates.<placeholder "
"type=\"footnote\" id=\"0\"/> 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 exercised through a monopoly \"trust,\" the Motion "
-"Pictures Patents Company, and were based on Thomas Edison's creative "
+"These controls were exercised through a monopoly <quote>trust,</quote> the "
+"Motion Pictures Patents Company, and were based on Thomas Edison's creative "
"property—patents. Edison formed the MPPC to exercise the rights this "
"creative property gave him, and the MPPC was serious about the control it "
"demanded."
msgid ""
"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent "
"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and "
-"expanded texts posted at \"The Edison Movie Monopoly: The Motion Picture "
-"Patents Company vs. the Independent Outlaws,\" available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #11</ulink>. For a discussion of the "
-"economic motive behind both these limits and the limits imposed by Victor on "
-"phonographs, see Randal C. Picker, \"From Edison to the Broadcast Flag: "
-"Mechanisms of Consent and Refusal and the Propertization of Copyright"
-"\" (September 2002), University of Chicago Law School, James M. Olin Program "
-"in Law and Economics, Working Paper No. 159."
+"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion "
+"Picture Patents Company vs. the Independent Outlaws,</quote> available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a "
+"discussion of the economic motive behind both these limits and the limits "
+"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison "
+"to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
+"Propertization of Copyright</quote> (September 2002), University of Chicago "
+"Law School, James M. Olin Program in Law and Economics, Working Paper No. "
+"159."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary>
#. f3
#. type: Content of: <book><part><chapter><section><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</"
+#| "citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/\">link "
+#| "#12</ulink>."
msgid ""
-"Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</"
-"citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#12</ulink>."
+"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents "
+"Majority</citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/"
+"\">link #12</ulink>."
msgstr ""
"Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</"
"citetitle>, arkivert på <ulink url=\"http://free-culture.cc/notes/\">link "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
-"The Napsters of those days, the \"independents,\" were companies like Fox. "
-"And no less than today, these independents were vigorously resisted. "
-"\"Shooting was disrupted by machinery stolen, and `accidents' resulting in "
-"loss of negatives, equipment, buildings and sometimes life and limb "
-"frequently occurred.\"<placeholder type=\"footnote\" id=\"0\"/> That led the "
-"independents to flee the East Coast. California was remote enough from "
-"Edison's reach that filmmakers there could pirate his inventions without "
-"fear of the law. And the leaders of Hollywood filmmaking, Fox most "
-"prominently, did just that."
+"The Napsters of those days, the <quote>independents,</quote> were companies "
+"like Fox. And no less than today, these independents were vigorously "
+"resisted. <quote>Shooting was disrupted by machinery stolen, and "
+"`accidents' resulting in loss of negatives, equipment, buildings and "
+"sometimes life and limb frequently occurred.</quote><placeholder type="
+"\"footnote\" id=\"0\"/> That led the independents to flee the East Coast. "
+"California was remote enough from Edison's reach that filmmakers there could "
+"pirate his inventions without fear of the law. And the leaders of Hollywood "
+"filmmaking, Fox most prominently, did just that."
msgstr ""
#. PAGE BREAK 68
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "Of course, California grew quickly, and the effective enforcement of "
+#| "federal law eventually spread west. But because patents grant the patent "
+#| "holder a truly \"limited\" monopoly (just seventeen years at that time), "
+#| "by the time enough federal marshals appeared, the patents had expired. A "
+#| "new industry had been born, in part from the piracy of Edison's creative "
+#| "property."
msgid ""
"Of course, California grew quickly, and the effective enforcement of federal "
"law eventually spread west. But because patents grant the patent holder a "
-"truly \"limited\" monopoly (just seventeen years at that time), by the time "
-"enough federal marshals appeared, the patents had expired. A new industry "
-"had been born, in part from the piracy of Edison's creative property."
+"truly <quote>limited</quote> monopoly (just seventeen years at that time), "
+"by the time enough federal marshals appeared, the patents had expired. A new "
+"industry had been born, in part from the piracy of Edison's creative "
+"property."
msgstr ""
"California vokste naturligvis raskt, og effektiv håndhevelse av føderale "
"lover spredte seg til slutt vestover. Men fordi patenter tildeler "
"reproducing music (Edison the phonograph, Fourneaux the player piano), the "
"law gave composers the exclusive right to control copies of their music and "
"the exclusive right to control public performances of their music. In other "
-"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit \"Happy Mose,\" "
-"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."
+"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy "
+"Mose,</quote> 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."
msgstr ""
"på tiden at edison og henri fourneaux oppfunnet maskiner for å gjengi musikk "
"(edison fonograf, fourneaux spiller piano), ga loven komponister den "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"But what if I wanted to record \"Happy Mose,\" 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 performed in making "
-"this recording. And it was clear enough that I would have to pay for any "
-"public performance of the work I was recording. But it wasn't totally clear "
-"that I would have to pay for a \"public performance\" if I recorded the song "
-"in my own house (even today, you don't owe the Beatles anything if you sing "
-"their songs in the shower), or if I recorded the song from memory (copies in "
-"your brain are not—yet— regulated by copyright law). So if I "
-"simply sang the song into a recording device in the privacy of my own home, "
-"it wasn't clear that I owed the composer anything. And more importantly, it "
-"wasn't clear whether I owed the composer anything if 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."
+"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 "
+"enough that I would have to buy any copy of the musical score that I "
+"performed in making this recording. And it was clear enough that I would "
+"have to pay for any public performance of the work I was recording. But it "
+"wasn't totally clear that I would have to pay for a <quote>public "
+"performance</quote> if I recorded the song in my own house (even today, you "
+"don't owe the Beatles anything if you sing their songs in the shower), or if "
+"I recorded the song from memory (copies in your brain are not—"
+"yet— regulated by copyright law). So if I simply sang the song into a "
+"recording device in the privacy of my own home, it wasn't clear that I owed "
+"the composer anything. And more importantly, it wasn't clear whether I owed "
+"the composer anything if 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."
msgstr ""
"men hva om jeg ønsket å spille inn \"happy mose,\" ved hjelp av Edisons "
"fonograf eller fourneaux's Pianola? Her snublet loven. Det var klar nok til "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"The innovators who developed the technology to record other people's works "
-"were \"sponging upon the toil, the work, the talent, and genius of American "
-"composers,\"<placeholder type=\"footnote\" id=\"0\"/> and the \"music "
-"publishing industry\" was thereby \"at the complete mercy of this one pirate."
-"\"<placeholder type=\"footnote\" id=\"1\"/> As John Philip Sousa put it, in "
-"as direct a way as possible, \"When they make money out of my pieces, I want "
-"a share of it.\"<placeholder type=\"footnote\" id=\"2\"/>"
+"were <quote>sponging upon the toil, the work, the talent, and genius of "
+"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the "
+"<quote>music publishing industry</quote> was thereby <quote>at the complete "
+"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> "
+"As John Philip Sousa put it, in as direct a way as possible, <quote>When "
+"they make money out of my pieces, I want a share of it.</quote><placeholder "
+"type=\"footnote\" id=\"2\"/>"
msgstr ""
#. f8
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 "
-"argued that \"it is perfectly demonstrable that the introduction of "
+"argued that <quote>it is perfectly demonstrable that the introduction of "
"automatic music players has not deprived any composer of anything he had "
-"before their introduction.\" Rather, the machines increased the sales of "
-"sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
-"innovators argued, the job of Congress was \"to consider first the interest "
-"of [the public], whom they represent, and whose servants they are.\" \"All "
-"talk about `theft,'\" the general counsel of the American Graphophone "
-"Company wrote, \"is the merest claptrap, for there exists no property in "
-"ideas musical, literary or artistic, except as defined by statute."
-"\"<placeholder type=\"footnote\" id=\"1\"/> <placeholder type=\"indexterm\" "
-"id=\"2\"/>"
+"before their introduction.</quote> Rather, the machines increased the sales "
+"
of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
+"innovators argued, the job of Congress was <quote>to consider first the "
+"interest of [the public], whom they represent, and whose servants they are.</"
+"quote> <quote>All talk about `theft,'</quote> the general counsel of the "
+"American Graphophone Company wrote, <quote>is the merest claptrap, for there "
+"exists no property in ideas musical, literary or artistic, except as defined "
+"by statute.</quote><placeholder type=\"footnote\" id=\"1\"/> <placeholder "
+"type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. PAGE BREAK 70
msgid ""
"The law soon resolved this battle in favor of the composer <emphasis>and</"
"emphasis> the recording artist. Congress amended the law to make sure that "
-"composers would be paid for the \"mechanical reproductions\" of their music. "
-"But rather than simply granting the composer complete control over the right "
-"to make mechanical reproductions, Congress gave recording artists a right to "
-"record the music, at a price set by Congress, once the composer allowed it "
-"to be recorded once. This is the part of copyright law that makes cover "
-"songs possible. Once a composer authorizes a recording of his song, others "
-"are free to record the same song, so long as they pay the original composer "
-"a fee set by the law."
+"composers would be paid for the <quote>mechanical reproductions</quote> of "
+"their music. But rather than simply granting the composer complete control "
+"over the right to make mechanical reproductions, Congress gave recording "
+"artists a right to record the music, at a price set by Congress, once the "
+"composer allowed it to be recorded once. This is the part of copyright law "
+"that makes cover songs possible. Once a composer authorizes a recording of "
+"his song, others are free to record the same song, so long as they pay the "
+"original composer a fee set by the law."
msgstr ""
"loven løst snart denne kampen til fordel for komponisten og opptak "
"kunstneren. kongressen endret loven å sørge for at komponister ville bli "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"American law ordinarily calls this a \"compulsory license,\" but I will "
-"refer to it as a \"statutory license.\" A statutory license is a license "
-"whose key terms are set by law. After Congress's amendment of the Copyright "
-"Act in 1909, record companies were free to distribute copies of recordings "
-"so long as they paid the composer (or copyright holder) the fee set by the "
-"statute."
+"American law ordinarily calls this a <quote>compulsory license,</quote> but "
+"I will refer to it as a <quote>statutory license.</quote> A statutory "
+"license is a license whose key terms are set by law. After Congress's "
+"amendment of the Copyright Act in 1909, record companies were free to "
+"distribute copies of recordings so long as they paid the composer (or "
+"copyright holder) the fee set by the statute."
msgstr ""
"amerikansk lov vanligvis kaller dette en \"tvangslisens\", men jeg vil se "
"det som en \"lovbestemte lisens.\" en lovbestemte lisens er en lisens som "
#, mtrans, fuzzy
msgid ""
"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At "
-"the beginning, record companies printed \"Not Licensed for Radio Broadcast\" "
-"and other messages purporting to restrict the ability to play a record on a "
-"radio station. Judge Learned Hand rejected the argument that a warning "
-"attached to a record might restrict the rights of the radio station. See "
-"<citetitle>RCA Manufacturing Co</citetitle>. v. <citetitle>Whiteman</"
-"citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From "
-"Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
-"Propertization of Copyright,\" <citetitle>University of Chicago Law Review</"
-"citetitle> 70 (2003): 281. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
+"the beginning, record companies printed <quote>Not Licensed for Radio "
+"Broadcast</quote> and other messages purporting to restrict the ability to "
+"play a record on a radio station. Judge Learned Hand rejected the argument "
+"that a warning attached to a record might restrict the rights of the radio "
+"station. See <citetitle>RCA Manufacturing Co</citetitle>. v. "
+"<citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also "
+"Randal C. Picker, <quote>From Edison to the Broadcast Flag: Mechanisms of "
+"Consent and Refusal and the Propertization of Copyright,</quote> "
+"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. "
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"id=\"1\"/>"
msgstr ""
"se 17, united states code, inndelinger 106 og 110. på begynnelsen av, spille "
"inn selskapene skrives ut \"ikke lisensiert for radiosendingen\" og andre "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
-"When a radio station plays a record on the air, that constitutes a \"public "
-"performance\" of the composer's work.<placeholder type=\"footnote\" id=\"0\"/"
-"> 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."
+"When a radio station plays a record on the air, that constitutes a "
+"<quote>public performance</quote> of the composer's work.<placeholder type="
+"\"footnote\" id=\"0\"/> 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."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
"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 "
"performing a copy of the <emphasis>recording artist's</emphasis> work. It's "
-"one thing to have \"Happy Birthday\" sung on the radio by the local "
-"children's choir; it's quite another to have it sung by the Rolling Stones "
-"or Lyle Lovett. The recording artist is adding to the value of the "
+"one thing to have <quote>Happy Birthday</quote> sung on the radio by the "
+"local children's choir; it's quite another to have it sung by the Rolling "
+"Stones or Lyle Lovett. The recording artist is adding to the value of the "
"composition performed on the radio station. And if the 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. <placeholder "
"Madonna ønsker å synge din sang offentlig, må hun få din tillatelse."
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| 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 "
+#| "our law, every time a radio station plays your song, you get some money. "
+#| "But Madonna gets nothing, save the indirect effect on the sale of her "
+#| "CDs. The public performance of her recording is not a \"protected\" "
+#| "right. The radio station thus gets to <emphasis>pirate</emphasis> the "
+#| "value of Madonna's work without paying her anything."
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 "
"our law, every time a radio station plays your song, you get some money. But "
"Madonna gets nothing, save the indirect effect on the sale of her CDs. The "
-"public performance of her recording is not a \"protected\" right. The radio "
-"station thus gets to <emphasis>pirate</emphasis> the value of Madonna's work "
-"without paying her anything."
+"public performance of her recording is not a <quote>protected</quote> right. "
+"The radio station thus gets to <emphasis>pirate</emphasis> the value of "
+"Madonna's work without paying her anything."
msgstr ""
"Tenkt deg videre at hun syner din sang, og at hun liker den veldig godt. "
"Hun bestemmer seg deretter for å spille inn sangen din, og den blir en "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Broadcasters and copyright owners were quick to attack this theft. Rosel "
-"Hyde, chairman of the FCC, viewed the practice as a kind of \"unfair and "
-"potentially destructive competition.\"<placeholder type=\"footnote\" id="
-"\"0\"/> There may have been a \"public interest\" 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, \"Does "
-"public interest dictate that you use somebody else's property?\"<placeholder "
-"type=\"footnote\" id=\"1\"/> As another broadcaster put it,"
+"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair "
+"and potentially destructive competition.</quote><placeholder type=\"footnote"
+"\" id=\"0\"/> There may have been a <quote>public interest</quote> 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, <quote>Does public interest dictate that you use somebody "
+"else's property?</quote><placeholder type=\"footnote\" id=\"1\"/> As another "
+"broadcaster put it,"
msgstr ""
#. f15
"president i Screen Actors Guild). <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "These were \"free-ride[rs],\" Screen Actor's Guild president Charlton "
+#| "Heston said, who were \"depriving actors of compensation.\"<placeholder "
+#| "type=\"footnote\" id=\"0\"/>"
msgid ""
-"These were \"free-ride[rs],\" Screen Actor's Guild president Charlton Heston "
-"said, who were \"depriving actors of compensation.\"<placeholder type="
-"\"footnote\" id=\"0\"/>"
+"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president "
+"Charlton Heston said, who were <quote>depriving actors of compensation.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Disse var \"gratispassasjerer\", sa presidenten Charlton Heston i Screen "
"Actor's Guild, som \"tok lønna fra skuespillerne\"<placeholder type="
#, mtrans, fuzzy
msgid ""
"It took Congress almost thirty years before it resolved the question of "
-"whether cable companies had to pay for the content they \"pirated.\" In the "
-"end, Congress resolved this question in the same way that it resolved the "
-"question about record players and player pianos. Yes, cable companies would "
-"have to pay for the content that they broadcast; but the price they would "
-"have to pay was not set by the copyright owner. The price was set by law, "
-"so that the broadcasters couldn't exercise veto power over the emerging "
-"technologies of cable. Cable companies thus built their empire in part upon "
-"a \"piracy\" of the value created by broadcasters' content."
+"whether cable companies had to pay for the content they <quote>pirated.</"
+"quote> In the end, Congress resolved this question in the same way that it "
+"resolved the question about record players and player pianos. Yes, cable "
+"companies would have to pay for the content that they broadcast; but the "
+"price they would have to pay was not set by the copyright owner. The price "
+"was set by law, so that the broadcasters couldn't exercise veto power over "
+"the emerging technologies of cable. Cable companies thus built their empire "
+"in part upon a <quote>piracy</quote> of the value created by broadcasters' "
+"content."
msgstr ""
"Det tok Kongressen nesten tretti år før det løst spørsmålet på om "
"kabelselskaper måtte betale for innholdet de \"piratkopiert.\" til slutt, "
"See, for example, National Music Publisher's Association, <citetitle>The "
"Engine of Free Expression: Copyright on the Internet—The Myth of Free "
"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #13</ulink>. \"The threat of piracy—the use of someone "
-"else's creative work without permission or compensation—has grown with "
-"the Internet.\""
+"notes/\">link #13</ulink>. <quote>The threat of piracy—the use of "
+"someone else's creative work without permission or compensation—has "
+"grown with the Internet.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
msgid ""
-"These separate stories sing a common theme. If \"piracy\" means using value "
-"from someone else's creative property without permission from that "
-"creator—as it is increasingly described today<placeholder type="
+"These separate stories sing a common theme. If <quote>piracy</quote> means "
+"using value from someone else's creative property without permission from "
+"
that creator—as it is increasingly described today<placeholder type="
"\"footnote\" id=\"0\"/> — then <emphasis>every</emphasis> 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 "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER FIVE: \"Piracy\""
+#, fuzzy
+#| msgid "CHAPTER FIVE: \"Piracy\""
+msgid "CHAPTER FIVE: <quote>Piracy</quote>"
msgstr "Kapittel fem: <quote>Piratvirksomhet</quote>"
#. type: Content of: <book><part><chapter><para>
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"But as well as copy-shop piracy, there is another kind of \"taking\" that is "
-"more directly related to the Internet. That taking, too, seems wrong to "
-"many, and it is wrong much of the time. Before we paint this taking \"piracy,"
-"\" however, we should understand its nature a bit more. For the harm of "
-"this taking is significantly more ambiguous than outright copying, and the "
-"law should account for that ambiguity, as it has so often done in the past."
+"But as well as copy-shop piracy, there is another kind of <quote>taking</"
+"quote> that is more directly related to the Internet. That taking, too, "
+"seems wrong to many, and it is wrong much of the time. Before we paint this "
+"taking <quote>piracy,</quote> however, we should understand its nature a bit "
+"more. For the harm of this taking is significantly more ambiguous than "
+"outright copying, and the law should account for that ambiguity, as it has "
+"so often done in the past."
msgstr ""
"men samt kopieringsfirma piratkopiering, det er en annen type \"tar\" som er "
"mer direkte relatert til Internett. det tar også, synes galt å mange, og det "
"See IFPI (International Federation of the Phonographic Industry), "
"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, "
"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#14</ulink>. See also Ben Hunt, \"Companies Warned on Music Piracy Risk,\" "
-"<citetitle>Financial Times</citetitle>, 14 February 2003, 11."
+"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy Risk,"
+"</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"For an analysis of the economic impact of copying technology, see Stan "
"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: "
-"Amacom, 2002), 144–90. \"In some instances … the impact of "
+"Amacom, 2002), 144–90. <quote>In some instances … the impact of "
"piracy on the copyright holder's ability to appropriate the value of the "
"work will 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.\" Ibid., 149. <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"pirating were not an option.</quote> Ibid., 149. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"for en analyse av økonomiske virkningen av kopiering teknologi, kan du se "
"stan liebowitz, rethinking nettverk økonomien (new york: amacom, 2002), 144"
"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 "
"have taken), and it does mitigate to some degree the harm caused by such "
-"taking. Extremists in this debate love to say, \"You wouldn't go into Barnes "
-"& Noble and take a book off of the shelf without paying; why should it "
-"be any different with on-line music?\" The difference is, of course, that "
-"when you take a book from Barnes & Noble, it has one less book to sell. "
-"By contrast, when you take an MP3 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."
+"taking. Extremists in this debate love to say, <quote>You wouldn't go into "
+"Barnes & Noble and take a book off of the shelf without paying; why "
+"should it be any different with on-line music?</quote> The difference is, of "
+"course, that when you take a book from Barnes & Noble, it has one less "
+"book to sell. By contrast, when you take an MP3 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."
msgstr ""
"Dette er ofte til stede (skjønt jeg har venner som har kjøpt mange tusenvis "
"av piratkopiert DVD som absolutt har nok penger til å betale for innholdet "
"the terms under which content is shared. If the copyright owner doesn't want "
"to sell, she doesn't have to. There are exceptions: important statutory "
"licenses that apply to copyrighted content regardless of the wish of the "
-"copyright owner. Those licenses give people the right to \"take\" "
+"copyright owner. Those licenses give people the right to <quote>take</quote> "
"copyrighted content whether or not the copyright owner wants to sell. But "
"where the law does not give people the right to take content, it is wrong to "
"take that content even if the wrong does no harm. If we have 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 \"property\" means."
+"owner. That is exactly what <quote>property</quote> means."
msgstr ""
"Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en "
"egenskap høyre i en veldig spesiell sortering, er det en egenskap som er "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Finally, we could try to excuse this piracy with the argument that the "
-"piracy actually helps the copyright owner. When the Chinese \"steal\" "
-"Windows, that makes the Chinese dependent on Microsoft. Microsoft loses the "
-"value of the software that was taken. But it gains users who are used to "
-"life in the Microsoft world. Over time, as the nation grows more wealthy, "
-"more and more people will buy software rather than steal it. And hence over "
-"time, because that buying will benefit Microsoft, Microsoft benefits from "
-"the piracy. If instead of pirating 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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
+"piracy actually helps the copyright owner. When the Chinese <quote>steal</"
+"quote> Windows, that makes the Chinese dependent on Microsoft. Microsoft "
+"loses the value of the software that was taken. But it gains users who are "
+"used to life in the Microsoft world. Over time, as the nation grows more "
+"wealthy, more and more people will buy software rather than steal it. And "
+"hence over time, because that buying will benefit Microsoft, Microsoft "
+"benefits from the piracy. If instead of pirating 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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
"\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
"<placeholder type=\"indexterm\" id=\"3\"/>"
msgstr ""
#, mtrans, fuzzy
msgid ""
"But as the examples from the four chapters that introduced this part "
-"suggest, even if some piracy is plainly wrong, not all \"piracy\" is. Or at "
-"least, not all \"piracy\" is wrong if that term is understood in the way it "
-"is increasingly used today. Many kinds of \"piracy\" are useful and "
-"productive, to produce either new content or new ways of doing business. "
-"Neither our tradition nor any tradition has ever banned all \"piracy\" in "
-"that sense of the term."
+"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> "
+"is. Or at least, not all <quote>piracy</quote> is wrong if that term is "
+"understood in the way it is increasingly used today. Many kinds of "
+"<quote>piracy</quote> are useful and productive, to produce either new "
+"content or new ways of doing business. Neither our tradition nor any "
+"tradition has ever banned all <quote>piracy</quote> in that sense of the "
+"term."
msgstr ""
"men som eksempler fra fire kapitlene som innført denne del foreslå, selv om "
"noen piratkopiering er tydelig galt, ikke alle \"piratkopiering\" er. eller "
#. PAGE BREAK 80
#. type: Content of: <book><part><chapter><section><para>
msgid ""
-"The key to the \"piracy\" that the law aims to quash is a use that \"rob[s] "
-"the author of [his] profit.\"<placeholder type=\"footnote\" id=\"0\"/> 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."
+"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 type="
+"\"footnote\" id=\"0\"/> 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" "
-"<citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, A1; "
-"\"Rock 'n' Roll Suicide,\" <citetitle>New Scientist</citetitle>, 6 July "
-"2002, 42; Benny Evangelista, \"Napster Names CEO, Secures New Financing,\" "
-"<citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1; \"Napster's "
-"Wake-Up Call,\" <citetitle>Economist</citetitle>, 24 June 2000, 23; John "
-"Naughton, \"Hollywood at War with the Internet\" (London) <citetitle>Times</"
+"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</"
+"quote> <citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, "
+"A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New Scientist</"
+"citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO, "
+"Secures New Financing,</quote> <citetitle>San Francisco Chronicle</"
+"citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up Call,</quote> "
+"<citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton, "
+"<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</"
"citetitle>, 26 July 2002, 18."
msgstr ""
"se carolyn lochhead, \"silicon valley dream, hollywood mareritt\" san "
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" "
+"Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> "
"<citetitle>New York Times</citetitle>, 6 June 2003, A1."
msgstr ""
"Amy harmon, \"industri tilbyr en gulrot i online musikk kamp,\" new york "
"estimated that 43 million citizens used file-sharing networks to exchange "
"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast "
"majority of these are not kids. Whatever the actual figure, a massive "
-"quantity of content is being \"taken\" on these networks. The ease and "
-"inexpensiveness of file-sharing networks have inspired millions to enjoy "
-"music in a way that they hadn't before."
+"quantity of content is being <quote>taken</quote> on these networks. The "
+"ease and inexpensiveness of file-sharing networks have inspired millions to "
+"enjoy music in a way that they hadn't before."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
"among the most rewarding for many. Songs that were part of your childhood "
"but have long vanished from the marketplace magically appear again on the "
"network. (One friend told me that when she discovered Napster, she spent a "
-"solid weekend \"recalling\" old songs. She was astonished at the range and "
-"mix of content that was available.) For content not sold, this is still "
-"technically a violation of copyright, though because the copyright owner is "
-"not selling the content anymore, the economic harm is zero—the same "
-"harm that occurs when I sell my collection of 1960s 45-rpm records to a "
-"local collector."
+"solid weekend <quote>recalling</quote> old songs. She was astonished at the "
+"range and mix of content that was available.) For content not sold, this is "
+"still technically a violation of copyright, though because the copyright "
+"owner is not selling the content anymore, the economic harm is zero—"
+"the same harm that occurs when I sell my collection of 1960s 45-rpm records "
+"to a local collector."
msgstr ""
"Det er mange som bruk deling av nettverk for å få tilgang til "
"opphavsrettsbeskyttet innhold som selges ikke lenger, eller at de ikke ville "
"type A sharing is. Just as Edison complained about Hollywood, composers "
"complained about piano rolls, recording artists complained about radio, and "
"broadcasters complained about cable TV, the music industry complains that "
-"type A sharing is a kind of \"theft\" that is \"devastating\" the industry."
+"type A sharing is a kind of <quote>theft</quote> that is <quote>devastating</"
+"quote> the industry."
msgstr ""
"om på saldo deling er skadelig avhenger av viktigere på hvordan skadelige "
"type en deling er. akkurat som edison klaget om hollywood, klaget "
"Music Industry's Business Model Crisis</citetitle> (2003), 3. This report "
"describes the music industry's effort to stigmatize the budding practice of "
"cassette taping in the 1970s, including an advertising campaign featuring a "
-"cassette-shape skull and the caption \"Home taping is killing music.\" At "
-"the time digital audio tape became a threat, the Office of Technical "
-"Assessment conducted a survey of consumer behavior. In 1988, 40 percent of "
-"consumers older than ten had taped music to a cassette format. U.S. "
-"Congress, Office of Technology Assessment, <citetitle>Copyright and Home "
+"cassette-shape skull and the caption <quote>Home taping is killing music.</"
+"quote> At the time digital audio tape became a threat, the Office of "
+"Technical Assessment conducted a survey of consumer behavior. In 1988, 40 "
+"percent of consumers older than ten had taped music to a cassette format. U."
+"S. Congress, Office of Technology Assessment, <citetitle>Copyright and Home "
"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, "
"D.C.: U.S. Government Printing Office, October 1989), 145–56."
msgstr ""
"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 "
"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, \"Rather "
-"than exploiting this new, popular technology, the labels fought it."
-"\"<placeholder type=\"footnote\" id=\"0\"/> 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."
+"good example. As a study by Cap Gemini Ernst & Young put it, "
+"<quote>Rather than exploiting this new, popular technology, the labels "
+"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> 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."
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
-"regulation, MTV was launched, and the industry had a record turnaround. \"In "
-"the end,\" Cap Gemini concludes, \"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.\"<placeholder type=\"footnote\" id=\"0\"/>"
+"regulation, MTV was launched, and the industry had a record turnaround. "
+"<quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' "
+"… was not the fault of the tapers—who did not [stop after MTV "
+"came into being]—but had to a large extent resulted from stagnation in "
+"musical innovation at the major labels.</quote><placeholder type=\"footnote"
+"\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
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 "
-"\"net harm\" to the industry as a whole is the amount by which type A "
-"sharing exceeds type B. If the record companies sold more records through "
-"sampling than they lost through substitution, then sharing networks would "
-"actually benefit music companies on balance. They would therefore have "
+"<quote>net harm</quote> to the industry as a whole is the amount by which "
+"type A sharing exceeds type B. If the record companies sold more records "
+"through sampling than they lost through substitution, then sharing networks "
+"would actually benefit music companies on balance. They would therefore have "
"little <emphasis>static</emphasis> reason to resist them."
msgstr ""
"Vi begynner å svare på dette spørsmålet ved å fokusere på netto skade, fra "
"notes/\">link #15</ulink>. A later report indicates even greater losses. See "
"Recording Industry Association of America, <citetitle>Some Facts About Music "
"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #16</ulink>: \"In the past four years, unit "
+"culture.cc/notes/\">link #16</ulink>: <quote>In the past four years, unit "
"shipments of recorded music have fallen by 26 percent from 1.16 billion "
"units in to 860 million units in 2002 in the United States (based on units "
"shipped). In terms of sales, revenues are down 14 percent, from $14.6 "
"billion in to $12.6 billion last year (based on U.S. dollar value of "
"shipments). The music 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).\""
+"dollar value of shipments).</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
msgstr "Black, Jane"
#. type: Content of: <book><part><chapter><section><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13 "
+#| "February 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+#| "\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
-"Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13 February "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #17</"
-"ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, "
+"13 February 2003, available at <ulink url=\"http://free-culture.cc/notes/"
+"
\">link #17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13. februar "
"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
"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. \"From 1999 to 2001, the average "
-"price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type="
-"\"footnote\" id=\"1\"/> Competition from other forms of media could also "
-"account for some of the decline. As Jane Black of <citetitle>BusinessWeek</"
-"citetitle> notes, \"The soundtrack to the film <citetitle>High Fidelity</"
-"citetitle> has a list price of $18.98. You could get the whole movie [on "
-"DVD] for $19.99.\"<placeholder type=\"footnote\" id=\"2\"/>"
+"account for at least some of the loss. <quote>From 1999 to 2001, the average "
+"price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><placeholder "
+"type=\"footnote\" id=\"1\"/> Competition from other forms of media could "
+"also account for some of the decline. As Jane Black of "
+"<citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to the film "
+"<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could "
+"get the whole movie [on DVD] for $19.99.</quote><placeholder type=\"footnote"
+"\" id=\"2\"/>"
msgstr ""
#. PAGE BREAK 84
msgid ""
"There are too many different things happening at the same time to explain "
"these numbers definitively, but one conclusion is unavoidable: The recording "
-"industry constantly asks, \"What's the difference between downloading a song "
-"and stealing a CD?\"—but their own numbers reveal the difference. If I "
-"steal a CD, then there is one less CD to sell. Every taking is a lost sale. "
-"But on the basis of the numbers the RIAA provides, it is absolutely clear "
-"that the same is not true of downloads. If every download were a lost "
-"sale—if every use of Kazaa \"rob[bed] the author of [his] profit"
-"\"—then the industry would have suffered a 100 percent drop in sales "
-"last year, not a 7 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 \"downloading a song and stealing a CD.\""
+"industry constantly asks, <quote>What's the difference between downloading a "
+"song and stealing a CD?</quote>—but their own numbers reveal the "
+"difference. If I steal a CD, then there is one less CD to sell. Every taking "
+"is a lost sale. But on the basis of the numbers the RIAA provides, it is "
+"absolutely clear that the same is not true of downloads. If every download "
+"were a lost sale—if every use of Kazaa <quote>rob[bed] the author of "
+"[his] profit</quote>—then the industry would have suffered a 100 "
+"percent drop in sales last year, not a 7 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 "
+"<quote>downloading a song and stealing a CD.</quote>"
msgstr ""
"Det er for mange forskjellige ting skjer samtidig å forklare disse tallene "
"definitively, men en konklusjon er uunngåelig: recording industry stadig "
"Quiet Revolution: The Expansion of the Used Book Market</citetitle> (2002), "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. "
"Used records accounted for $260 million in sales in 2002. See National "
-"Association of Recording Merchandisers, \"2002 Annual Survey Results,\" "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>."
+"Association of Recording Merchandisers, <quote>2002 Annual Survey Results,</"
+"quote> available at <ulink url=\"http://free-culture.cc/notes/\">link #20</"
+"ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
"available isn't making money from making the content available. It is also "
"different, of course, because in real space, when I sell a record, I don't "
"have it anymore, while in cyberspace, when someone shares my 1949 recording "
-"of Bernstein's \"Two Love Songs,\" I still have it. That difference would "
-"matter economically if the owner of the copyright were selling the record in "
-"competition to my sharing. But we're talking about the class of content that "
-"is not currently commercially available. The Internet is making it "
-"available, through cooperative sharing, without competing with the market."
+"of Bernstein's <quote>Two Love Songs,</quote> I still have it. That "
+"difference would matter economically if the owner of the copyright were "
+"selling the record in competition to my sharing. But we're talking about the "
+"class of content that is not currently commercially available. The Internet "
+"is making it available, through cooperative sharing, without competing with "
+"the market."
msgstr ""
"type c deling, deretter er veldig mye som brukte boken lagrer eller brukes "
"posten butikker. Det er forskjellige, naturligvis, fordi personen å gjøre "
"for example, released his first novel, <citetitle>Down and Out in the Magic "
"Kingdom</citetitle>, both free on-line and in bookstores on the same day. "
"His (and his publisher's) thinking was that the on-line distribution would "
-"be a great advertisement for the \"real\" book. People would read part on-"
-"line, and then decide whether they liked the book or not. If they liked it, "
-"they would be more likely to buy it. Doctorow's content is 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!)"
+"be a great advertisement for the <quote>real</quote> book. People would read "
+"part on-line, and then decide whether they liked the book or not. If they "
+"liked it, they would be more likely to buy it. Doctorow's content is 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!)"
msgstr ""
"til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d deling "
"oppstår—deling av innhold som eiere av opphavsretter vil har delt "
#, mtrans, fuzzy
msgid ""
"The point throughout is this: While the recording industry understandably "
-"says, \"This is how much we've lost,\" we must also ask, \"How much has "
-"society gained from p2p sharing? What are the efficiencies? What is the "
-"content that otherwise would be unavailable?\""
+"says, <quote>This is how much we've lost,</quote> we must also ask, "
+"<quote>How much has society gained from p2p sharing? What are the "
+"efficiencies? What is the content that otherwise would be unavailable?</"
+"quote>"
msgstr ""
"det hele er dette: mens recording industry forståelig sier, \"Dette er hvor "
"mye vi har mistet,\" må vi også stille, \"hvor mye har samfunnet fra p2p "
#, mtrans, fuzzy
msgid ""
"For unlike the piracy I described in the first section of this chapter, much "
-"of the \"piracy\" that file sharing enables is plainly legal and good. And "
-"like the piracy I described in chapter <xref xrefstyle=\"select: labelnumber"
-"\" linkend=\"pirates\"/>, 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 cable TV, the question we should be asking about file sharing "
-"is how best to preserve its benefits while minimizing (to the extent "
-"possible) the wrongful harm it causes artists. The question is one of "
-"balance. The law should seek that balance, and that balance will be found "
-"only with time."
+"of the <quote>piracy</quote> that file sharing enables is plainly legal and "
+"good. And like the piracy I described in chapter <xref xrefstyle=\"select: "
+"labelnumber\" linkend=\"pirates\"/>, 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 cable TV, the question we should be "
+"asking about file sharing is how best to preserve its benefits while "
+"minimizing (to the extent possible) the wrongful harm it causes artists. The "
+"question is one of balance. The law should seek that balance, and that "
+"balance will be found only with time."
msgstr ""
"for i motsetning til piratkopiering jeg beskrevet i den første delen av "
"dette kapitlet, er mye av \"piratkopiering\" det arkiv deler aktiverer "
"denne balansen blir funnet bare med tid."
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "\"But isn't the war just a war against illegal sharing? Isn't the target "
+#| "just what you call type A sharing?\""
msgid ""
-"\"But isn't the war just a war against illegal sharing? Isn't the target "
-"just what you call type A sharing?\""
+"<quote>But isn't the war just a war against illegal sharing? Isn't the "
+"target just what you call type A sharing?</quote>"
msgstr ""
"Men er ikke krigen bare en krig mot ulovlig deling? Er ikke angrepsmålet "
"bare det du kaller type A-deling?"
"When Napster told the district court that it had developed a technology to "
"block the transfer of 99.4 percent of identified infringing material, the "
"district court told counsel for Napster 99.4 percent was not good enough. "
-"Napster had to push the infringements \"down to zero.\"<placeholder type="
-"\"footnote\" id=\"0\"/>"
+"Napster had to push the infringements <quote>down to zero.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"So, as we've seen, when \"mechanical reproduction\" threatened the interests "
-"of composers, Congress balanced the rights of composers against the "
-"interests of the recording industry. It granted rights to composers, but "
-"also to the recording artists: Composers were to be paid, but at a price set "
-"by Congress. But when radio started broadcasting the recordings made by "
-"these recording artists, and they complained to Congress that their "
-"\"creative property\" was not being respected (since the radio station did "
-"not have to pay them for the creativity it broadcast), Congress rejected "
-"their claim. An indirect benefit was enough."
+"So, as we've seen, when <quote>mechanical reproduction</quote> threatened "
+"the interests of composers, Congress balanced the rights of composers "
+"against the interests of the recording industry. It granted rights to "
+"composers, but also to the recording artists: Composers were to be paid, but "
+"at a price set by Congress. But when radio started broadcasting the "
+"recordings made by these recording artists, and they complained to Congress "
+"that their <quote>creative property</quote> was not being respected (since "
+"the radio station did not have to pay them for the creativity it broadcast), "
+"Congress rejected their claim. An indirect benefit was enough."
msgstr ""
"så, som vi har sett, når \"mekaniske reproduksjon\" truet interessene til "
"komponister, Kongressen balansert rettigheter mot interessene til "
"produced, the Betamax. Disney's and Universal's claim against Sony was "
"relatively simple: Sony produced a device, Disney and Universal claimed, "
"that enabled consumers to engage in copyright infringement. Because the "
-"device that Sony built had a \"record\" button, the device could be used to "
-"record copyrighted movies 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."
+"device that Sony built had a <quote>record</quote> button, the device could "
+"be used to record copyrighted movies 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."
msgstr ""
"samme år at Kongressen traff denne balansen, to store produsenter og "
"distributører av filmen innhold anlagt en sak mot en annen teknologi, video "
"design its machine to make it very simple to record television shows. It "
"could have built the machine to block or inhibit any direct copying from a "
"television broadcast. Or possibly, it could have built the machine to copy "
-"only if there were a special \"copy me\" signal on the line. It was clear "
-"that there were many television shows that did not grant anyone permission "
-"to copy. Indeed, if anyone had asked, no doubt the majority of shows would "
-"not have authorized copying. And in the face of this obvious preference, "
-"Sony could have designed its system to minimize the opportunity for "
-"copyright infringement. It did not, and for that, Disney and Universal "
+"only if there were a special <quote>copy me</quote> signal on the line. It "
+"was clear that there were many television shows that did not grant anyone "
+"permission to copy. Indeed, if anyone had asked, no doubt the majority of "
+"shows would not have authorized copying. And in the face of this obvious "
+"preference, Sony could have designed its 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."
msgstr ""
"Det var noe til disney's og universal's krav. Sony bestemmer deg for å "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
-"called VCRs \"tapeworms.\" He warned, \"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.\"<placeholder type=\"footnote\" id=\"0\"/"
-"> \"One does not have to be trained in sophisticated marketing and creative "
-"judgment,\" he told Congress, \"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."
-"\"<placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys would later "
-"show, percent of VCR owners had movie libraries of ten videos or "
-"more<placeholder type=\"footnote\" id=\"2\"/> — a use the Court would "
-"later hold was not \"fair.\" By \"allowing VCR owners to copy freely by the "
-"means of an exemption from copyright infringementwithout creating a "
-"mechanism to compensate copyrightowners,\" Valenti testified, Congress would "
-"\"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.\"<placeholder type=\"footnote\" id="
-"\"3\"/>"
+"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, "
+"30, 40 million of these VCRs in the land, we will be invaded by millions of "
+"`tapeworms,' eating away at the very heart and essence of the most precious "
+"asset the copyright owner has, his copyright.</quote><placeholder type="
+"\"footnote\" id=\"0\"/> <quote>One does not have to be trained in "
+"sophisticated marketing and creative judgment,</quote> he told Congress, "
+"<quote>to understand the devastation on the after-theater marketplace caused "
+"by the hundreds of millions of tapings that will adversely impact on the "
+"future of the creative community in this country. It is simply a question of "
+"basic economics and plain common sense.</quote><placeholder type=\"footnote"
+"\" id=\"1\"/> Indeed, as surveys would later show, percent of VCR owners had "
+"movie libraries of ten videos or more<placeholder type=\"footnote\" id=\"2\"/"
+"> — a use the Court would later hold was not <quote>fair.</quote> By "
+"<quote>allowing VCR owners to copy freely by the means of an exemption from "
+"copyright infringementwithout creating a mechanism to compensate "
+"copyrightowners,</quote> Valenti testified, Congress would <quote>take from "
+"the owners the very essence of their property: the exclusive right to "
+"control who may use their work, that is, who may copy it and thereby profit "
+"from its reproduction.</quote><placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""
#. f22
"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 Kozinski, who sits on that court, "
-"refers to it as the \"Hollywood Circuit\"—held that Sony would be "
-"liable for the copyright infringement made possible by its machines. Under "
-"the Ninth Circuit's rule, this totally familiar technology—which Jack "
-"Valenti had called \"the Boston Strangler of the American film industry"
-"\" (worse yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of "
-"the American film industry)—was an illegal technology.<placeholder "
-"type=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"refers to it as the <quote>Hollywood Circuit</quote>—held that Sony "
+"would be liable for the copyright infringement made possible by its "
+"machines. Under the Ninth Circuit's rule, this totally familiar "
+"technology—which Jack Valenti had called <quote>the Boston Strangler "
+"of the American film industry</quote> (worse yet, it was a "
+"<emphasis>Japanese</emphasis> Boston Strangler of the American film industry)"
+"—was an illegal technology.<placeholder type=\"footnote\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. PAGE BREAK 90
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 "
-"request. Congress was convinced that American film got enough, this \"taking"
-"\" notwithstanding. If we put these cases together, a pattern is clear:"
+"request. Congress was convinced that American film got enough, this "
+"<quote>taking</quote> notwithstanding. If we put these cases together, a "
+"pattern is clear:"
msgstr ""
"Kongressen ble bedt om å svare på den Høyesterett beslutningen. men som med "
"appell av artister om radiosendinger, Kongressen ignorert forespørselen. "
msgstr "Tilfelle"
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-msgid "WHOSE VALUE WAS \"PIRATED\""
+#, fuzzy
+#| msgid "WHOSE VALUE WAS \"PIRATED\""
+msgid "WHOSE VALUE WAS <quote>PIRATED</quote>"
msgstr "Hvems verdi ble \"røvet\""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. "
"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not "
"eliminate the opportunity for free riding in the sense I've described. See "
-"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, \"From Edison to "
-"the Broadcast Flag,\" <citetitle>University of Chicago Law Review</"
-"citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" id="
-"\"0\"/>"
+"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From "
+"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law "
+"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
"disse er de viktigste forekomstene i vår historie, men det finnes andre "
"tilfeller også. teknologi for digital audio tape (dat), for eksempel var "
msgid ""
"In each case throughout our history, a new technology changed the way "
"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each "
-"case, throughout our history, that change meant that someone got a \"free "
-"ride\" on someone else's work."
+"case, throughout our history, that change meant that someone got a "
+"<quote>free ride</quote> on someone else's work."
msgstr ""
#. PAGE BREAK 91
"Congress eliminate all free riding. In <emphasis>none</emphasis> of these "
"cases did the courts or Congress insist that the law should assure that the "
"copyright holder get all the value that his copyright created. In every "
-"case, the copyright owners complained of \"piracy.\" In every case, Congress "
-"acted to recognize some of the legitimacy in the behavior of the \"pirates."
-"\" In each case, Congress allowed some new technology to benefit from "
-"content made before. It balanced the interests at stake."
+"case, the copyright owners complained of <quote>piracy.</quote> In every "
+"case, Congress acted to recognize some of the legitimacy in the behavior of "
+"the <quote>pirates.</quote> In each case, Congress allowed some new "
+"technology to benefit from content made before. It balanced the interests at "
+"stake."
msgstr ""
"Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle "
"gratis ridning. Ingen av disse tilfellene gjorde domstoler eller Kongressen "
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 "
-"\"has never accorded the copyright owner complete control over all possible "
-"uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> 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 balancing has historically been done "
-"<emphasis>after</emphasis> a technology has matured, or settled into the mix "
-"of technologies that facilitate the distribution of content."
+"<quote>has never accorded the copyright owner complete control over all "
+"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> "
+"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 balancing has historically "
+"been done <emphasis>after</emphasis> a technology has matured, or settled "
+"into the mix of technologies that facilitate the distribution of content."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
"We should be doing the same thing today. The technology of the Internet is "
"changing quickly. The way people connect to the Internet (wires vs. "
"wireless) is changing very quickly. No doubt the network should not become a "
-"tool for \"stealing\" from artists. But neither should the law become a tool "
-"to entrench one particular way in which artists (or more accurately, "
-"distributors) get paid. As I describe in some detail in the last chapter of "
-"this book, we should be securing income to artists while we allow the market "
-"to secure the most efficient way to promote and distribute content. This "
-"will require changes in the law, at least in the interim. These changes "
-"should be designed to balance the protection of the law against the strong "
-"public interest that innovation continue."
+"tool for <quote>stealing</quote> from artists. But neither should the law "
+"become a tool to entrench one particular way in which artists (or more "
+"accurately, distributors) get paid. As I describe in some detail in the last "
+"chapter of this book, we should be securing income to artists while we allow "
+"the market to secure the most efficient way to promote and distribute "
+"content. This will require changes in the law, at least in the interim. "
+"These changes should be designed to balance the protection of the law "
+"against the strong public interest that innovation continue."
msgstr ""
"Vi bør gjøre samme i dag. teknologien for Internett endrer seg raskt. endrer "
"måten brukere koble seg til Internett (ledninger vs. trådløs) svært raskt. "
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes "
-"Past Efforts,\" <citetitle>New York Times</citetitle>, 22 September 2003, C3."
+"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software "
+"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 "
+"September 2003, C3."
msgstr ""
"John schwartz, \"nye økonomien: angrepet på node-til-node-programvare "
"reflekterer forbi innsats,\" new york times, 22 september 2003, c3."
"of distribution. And this p2p has done. P2p technologies can be ideally "
"efficient in moving content across a widely diverse network. Left to "
"develop, they could make the network vastly more efficient. Yet these "
-"\"potential public benefits,\" as John Schwartz writes in <citetitle>The New "
-"York Times</citetitle>, \"could be delayed in the P2P fight.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> Yet when anyone begins to talk about \"balance,"
-"\" the copyright warriors raise a different argument. \"All this hand waving "
-"about balance and incentives,\" they say, \"misses a fundamental point. Our "
-"content,\" the warriors insist, \"is our <emphasis>property</emphasis>. Why "
-"should we wait for Congress to `rebalance' our property rights? Do you have "
-"to wait before calling the police when your car has been stolen? And why "
-"should Congress deliberate at all about the merits of this theft? Do we ask "
-"whether the car thief had a good use for the car before we arrest him?\""
+"<quote>potential public benefits,</quote> as John Schwartz writes in "
+"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the "
+"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/> Yet when anyone "
+"begins to talk about <quote>balance,</quote> the copyright warriors raise a "
+"different argument. <quote>All this hand waving about balance and incentives,"
+"</quote> they say, <quote>misses a fundamental point. Our content,</quote> "
+"the warriors insist, <quote>is our <emphasis>property</emphasis>. Why should "
+"we wait for Congress to `rebalance' our property rights? Do you have to wait "
+"before calling the police when your car has been stolen? And why should "
+"Congress deliberate at all about the merits of this theft? Do we ask whether "
+"the car thief had a good use for the car before we arrest him?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And "
+#| "it should be protected just as any other property is protected.\""
msgid ""
-"\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And it "
-"should be protected just as any other property is protected.\""
+"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors insist. "
+"<quote>And it should be protected just as any other property is protected.</"
+"quote>"
msgstr ""
"\"Det er <emphasis>vår eiendom</emphasis>,\" insisterer krigerne. \"og den "
"bør være beskyttet på samme måte som all annen eiendom er beskyttet.\""
#. type: Content of: <book><part><title>
-msgid "\"PROPERTY\""
-msgstr "<quote>Eiendom</quote>"
+msgid "<quote>PROPERTY</quote>"
+msgstr ""
#. PAGE BREAK 94
#. type: Content of: <book><part><partintro><para>
"kan få."
#. type: Content of: <book><part><partintro><para>
-msgid ""
-"But in ordinary language, to call a copyright a \"property\" right is a bit "
-"misleading, for the property of copyright is an odd kind of property. "
-"Indeed, the very idea of property in any idea or any expression is very odd. "
-"I understand what I am taking when I take the picnic table you put in your "
-"backyard. I am taking a thing, the picnic table, and after I take it, you "
-"don't have it. But what am I taking when I take the good <emphasis>idea</"
-"emphasis> you had to put a picnic 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?"
+#, fuzzy
+#| msgid ""
+#| "But in ordinary language, to call a copyright a \"property\" right is a "
+#| "bit misleading, for the property of copyright is an odd kind of "
+#| "property. Indeed, the very idea of property in any idea or any "
+#| "expression is very odd. I understand what I am taking when I take the "
+#| "picnic table you put in your backyard. I am taking a thing, the picnic "
+#| "table, and after I take it, you don't have it. But what am I taking when "
+#| "I take the good <emphasis>idea</emphasis> you had to put a picnic 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?"
+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 "
+"property. Indeed, the very idea of property in any idea or any expression "
+"is very odd. I understand what I am taking when I take the picnic table you "
+"put in your backyard. I am taking a thing, the picnic table, and after I "
+"take it, you don't have it. But what am I taking when I take the good "
+"<emphasis>idea</emphasis> you had to put a picnic 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?"
msgstr ""
"Men i vanlig språk er det å kalle opphavsrett for en \"eiendoms\"-rett litt "
"misvisende, for eindommen i opphavsretten er en merkelig type eiendom. "
"anything from you when I copy the way you dress—though I might seem "
"weird if I did it every day, and especially weird if you are a woman. "
"Instead, as Thomas Jefferson said (and as is especially true when I copy the "
-"way someone else dresses), \"He who receives an idea from me, receives "
+"way someone else dresses), <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.\"<placeholder type=\"footnote\" "
-"id=\"0\"/>"
+"mine, receives light without darkening me.</quote><placeholder type="
+"\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><partintro><para>
"intangible. A property right is simply a right that an individual has "
"against the world to do or not do certain things that may or may not attach "
"to a physical object. The right itself is intangible, even if the object to "
-"which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What "
-"Is Property? Putting the Pieces Back Together,\" <citetitle>Arizona Law "
-"Review</citetitle> 45 (2003): 373, 429 n. 241."
+"which it is (metaphorically) attached is tangible. See Adam Mossoff, "
+"<quote>What Is Property? Putting the Pieces Back Together,</quote> "
+"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241."
msgstr ""
"som de juridiske realistene lærte amerikansk lov, er alle "
"eiendomsrettigheter immaterielle. egenskapen rett er ganske enkelt en "
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 "
-"intangible into property emerged, we need to place this \"property\" in its "
-"proper context.<placeholder type=\"footnote\" id=\"0\"/>"
+"intangible into property emerged, we need to place this <quote>property</"
+"
quote> in its proper context.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><partintro><para>
#, mtrans, fuzzy
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 \"copyright material is "
-"property\" in context. Where did the idea come from? What are its limits? "
-"How does it function in practice? After these stories, the significance of "
-"this true statement—\"copyright material is property\"— 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."
+"part. I offer four stories to help put the idea of <quote>copyright material "
+"is property</quote> in context. Where did the idea come from? What are its "
+"limits? How does it function in practice? After these stories, the "
+"significance of this true statement—<quote>copyright material is "
+"property</quote>— 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."
msgstr ""
"min strategi for å gjøre dette vil være det samme som min strategi i den "
"foregående delen. Jeg tilbyr fire historier å hjelpe sette idéen om "
msgstr "Henry V"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in "
+#| "1595. The play was first published in 1597. It was the eleventh major "
+#| "play that Shakespeare had written. He would continue to write plays "
+#| "through 1613, and the plays that he wrote have continued to define Anglo-"
+#| "American culture ever since. So deeply have the works of a sixteenth-"
+#| "century writer seeped into our culture that we often don't even recognize "
+#| "their source. I once overheard someone commenting on Kenneth Branagh's "
+#| "adaptation of Henry V: \"I liked it, but Shakespeare is so full of "
+#| "clichés.\""
msgid ""
"William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in 1595. "
"The play was first published in 1597. It was the eleventh major play that "
"the plays that he wrote have continued to define Anglo-American culture ever "
"since. So deeply have the works of a sixteenth-century writer seeped into "
"our culture that we often don't even recognize their source. I once "
-"overheard someone commenting on Kenneth Branagh's adaptation of Henry V: \"I "
-"liked it, but Shakespeare is so full of clichés.\""
+"overheard someone commenting on Kenneth Branagh's adaptation of Henry V: "
+"<quote>I liked it, but Shakespeare is so full of clichés.</quote>"
msgstr ""
"William Shakespeare skrev <citetitle>Romeo og Julie</citetitle> i 1595. "
"Skuespillet ble først utgitt i 1597. Det var det ellevte store skuespillet "
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Jacob Tonson is typically remembered for his associations with prominent "
+#| "eighteenth-century literary figures, especially John Dryden, and for his "
+#| "handsome \"definitive editions\" of classic works. In addition to "
+#| "<citetitle>Romeo and Juliet</citetitle>, he published an astonishing "
+#| "array of works that still remain at the heart of the English canon, "
+#| "including collected works of Shakespeare, Ben Jonson, John Milton, and "
+#| "John Dryden. See Keith Walker, \"Jacob Tonson, Bookseller,\" "
+#| "<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31."
msgid ""
"Jacob Tonson is typically remembered for his associations with prominent "
"eighteenth-century literary figures, especially John Dryden, and for his "
-"handsome \"definitive editions\" of classic works. In addition to "
+"handsome <quote>definitive editions</quote> of classic works. In addition to "
"<citetitle>Romeo and Juliet</citetitle>, he published an astonishing array "
"of works that still remain at the heart of the English canon, including "
"collected works of Shakespeare, Ben Jonson, John Milton, and John Dryden. "
-"See Keith Walker, \"Jacob Tonson, Bookseller,\" <citetitle>American Scholar</"
-"citetitle> 61:3 (1992): 424–31."
+"See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> "
+"<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31."
msgstr ""
"Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets litterære "
"storheter, spesielt John Dryden, og for hans kjekke\"ferdige versjoner\" av "
#. PAGE BREAK 97
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> "
+#| "was written, the \"copy-right\" for the work was still thought by many to "
+#| "be the exclusive right of a single London publisher, Jacob Tonson."
+#| "<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent "
+#| "of a small group of publishers called the Conger<placeholder type="
+#| "\"footnote\" id=\"1\"/> who controlled bookselling in England during the "
+#| "eighteenth century. The Conger claimed a perpetual right to control the "
+#| "\"copy\" of books that they had acquired from authors. That perpetual "
+#| "right meant that no 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."
msgid ""
"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was "
-"written, the \"copy-right\" for the work was still thought by many to be the "
-"exclusive right of a single London publisher, Jacob Tonson.<placeholder type="
-"\"footnote\" id=\"0\"/> Tonson was the most prominent of a small group of "
-"publishers called the Conger<placeholder type=\"footnote\" id=\"1\"/> who "
-"controlled bookselling in England during the eighteenth century. The Conger "
-"claimed a perpetual right to control the \"copy\" of books that they had "
-"acquired from authors. That perpetual right meant that no 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."
+"written, the <quote>copy-right</quote> for the work was still thought by "
+"many to be the exclusive right of a single London publisher, Jacob Tonson."
+"<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a "
+"small group of publishers called the Conger<placeholder type=\"footnote\" id="
+"\"1\"/> who controlled bookselling in England during the eighteenth century. "
+"The Conger claimed a perpetual right to control the <quote>copy</quote> of "
+"books that they had acquired from authors. That perpetual right meant that "
+"no 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."
msgstr ""
"I 1774, nesten 180 år etter at <citetitle>Romeo og Julie</citetitle> ble "
"skrevet, mente mange at \"opphavsretten\" kun tilhørte én eneste utgiver i "
"konkurrenter som lagde bedre eller billigere utgaver, ble fjernet."
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
+#| "\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and "
+#| "Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>"
msgid ""
"As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
-"\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
-"citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>"
+"<quote>copyright law.</quote> See Vaidhyanathan, <citetitle>Copyrights and "
+"
Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Som Siva Vaidhyanathan så pent argumenterer, er det feilaktige å kalle dette "
"en \"opphavsrettslov.\" Se Vaidhyanathan, <citetitle>Copyrights and "
"Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "copyright is 1710, the year that the British Parliament adopted the first "
+#| "\"copyright\" act. Known as the Statute of Anne, the 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.<placeholder "
+#| "type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</"
+#| "citetitle> should have been free in 1731. So why was there any issue "
+#| "about it still being under Tonson's control in 1774?"
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 "
"copyright is 1710, the year that the British Parliament adopted the first "
-"\"copyright\" act. Known as the Statute of Anne, the 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.<placeholder type=\"footnote"
-"\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</citetitle> should "
-"have been free in 1731. So why was there any issue about it still being "
-"under Tonson's control in 1774?"
+"<quote>copyright</quote> act. Known as the Statute of Anne, the 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.<placeholder "
+"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</"
+"citetitle> should have been free in 1731. So why was there any issue about "
+"it still being under Tonson's control in 1774?"
msgstr ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"The reason is that the English hadn't yet agreed on what a \"copyright\" "
-"was—indeed, no one had. At the time the English passed the Statute of "
-"Anne, there was no other legislation governing copyrights. The last law "
-"regulating publishers, the Licensing Act of 1662, had expired in 1695. That "
-"law gave publishers a monopoly over publishing, as a way to make it easier "
-"for the Crown to control what was published. But after it expired, there "
-"was no positive law that said that the publishers, or \"Stationers,\" had an "
-"exclusive right to print books. <placeholder type=\"indexterm\" id=\"0\"/>"
+#, fuzzy
+#| msgid ""
+#| "The reason is that the English hadn't yet agreed on what a \"copyright\" "
+#| "was—indeed, no one had. At the time the English passed the Statute "
+#| "of Anne, there was no other legislation governing copyrights. The last "
+#| "law regulating publishers, the Licensing Act of 1662, had expired in "
+#| "1695. That law gave publishers a monopoly over publishing, as a way to "
+#| "make it easier for the Crown to control what was published. But after it "
+#| "expired, there was no positive law that said that the publishers, or "
+#| "\"Stationers,\" had an exclusive right to print books. <placeholder type="
+#| "\"indexterm\" id=\"0\"/>"
+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 English passed the "
+"Statute of Anne, there was no other legislation governing copyrights. The "
+"last law regulating publishers, the Licensing Act of 1662, had expired in "
+"1695. That law gave publishers a monopoly over publishing, as a way to make "
+"it easier for the Crown to control what was published. But after it "
+"expired, there was no positive law that said that the publishers, or "
+"<quote>Stationers,</quote> had an exclusive right to print books. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva "
"opphavsrett innebar -- faktisk hadde ingen i verden det. På den tiden da "
"\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 of legislatures and the words of judges to know the rules that are "
+#| "to govern how people are to behave. We call the words from legislatures "
+#| "\"positive law.\" We call the words from judges \"common law.\" The "
+#| "common law sets the background against which legislatures legislate; the "
+#| "legislature, ordinarily, can trump that 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."
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 "
"of legislatures and the words of judges to know the rules that are to govern "
-"how people are to behave. We call the words from legislatures \"positive law."
-"\" We call the words from judges \"common law.\" The common law sets the "
-"background against which legislatures legislate; the legislature, "
-"ordinarily, can trump that 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."
+"how people are to behave. We call the words from legislatures "
+"<quote>positive law.</quote> We call the words from judges <quote>common law."
+"</quote> The common law sets the background against which legislatures "
+"legislate; the legislature, ordinarily, can trump that 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."
msgstr ""
"At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at "
"det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser både "
#. PAGE BREAK 98
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"This question was important to the publishers, or \"booksellers,\" as they "
-"were called, because there was growing competition from foreign publishers. "
-"The Scottish, in particular, were increasingly publishing and exporting "
-"books to England. That competition reduced the profits of the Conger, which "
-"reacted by demanding that Parliament pass a law to again give them exclusive "
-"control over publishing. That demand ultimately resulted in the Statute of "
-"Anne."
+#, fuzzy
+#| msgid ""
+#| "This question was important to the publishers, or \"booksellers,\" as "
+#| "they were called, because there was growing competition from foreign "
+#| "publishers. The Scottish, in particular, were increasingly publishing and "
+#| "exporting books to England. That competition reduced the profits of the "
+#| "Conger, which reacted by demanding that Parliament pass a law to again "
+#| "give them exclusive control over publishing. That demand ultimately "
+#| "resulted in the Statute of Anne."
+msgid ""
+"This question was important to the publishers, or <quote>booksellers,</"
+"quote> as they were called, because there was growing competition from "
+"foreign publishers. The Scottish, in particular, were increasingly "
+"publishing and exporting books to England. That competition reduced the "
+"profits of the Conger, which reacted by demanding that Parliament pass a law "
+"to again give them exclusive control over publishing. That demand ultimately "
+"resulted in the Statute of Anne."
msgstr ""
"Dette spørsmålet var viktig for utgiverne eller \"bokselgere,\" som de ble "
"kalt, fordi det var økende konkurranse fra utenlandske utgivere, Særlig fra "
"Anne\"."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The Statute of Anne granted the author or \"proprietor\" of a book an "
+#| "exclusive right to print that book. In an important limitation, however, "
+#| "and to the horror of the booksellers, the law gave the bookseller that "
+#| "right for a limited term. At the end of that term, the copyright "
+#| "\"expired,\" and the work would then be free and could be published by "
+#| "anyone. Or so the legislature is thought to have believed."
msgid ""
-"The Statute of Anne granted the author or \"proprietor\" of a book an "
-"exclusive right to print that book. In an important limitation, however, and "
-"to the horror of the booksellers, the law gave the bookseller that right for "
-"a limited term. At the end of that term, the copyright \"expired,\" and the "
-"work would then be free and could be published by anyone. Or so the "
-"legislature is thought to have believed."
+"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, "
+"however, and to the horror of the booksellers, the law gave the bookseller "
+"that right for a limited term. At the end of that term, the copyright "
+"<quote>expired,</quote> and the work would then be free and could be "
+"published by anyone. Or so the legislature is thought to have believed."
msgstr ""
"\"Statute of Anne\" ga forfatteren eller \"eieren\" av en bok en eksklusiv "
"rett til å publisere denne boken. Men det var, til bokhandernes forferdelse "
"men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "For the booksellers, and the authors whom they represented, had a very "
+#| "strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: "
+#| "That play was written by Shakespeare. It was his genius that brought it "
+#| "into the world. He didn't take anybody's property when he created this "
+#| "play (that's a controversial claim, but never mind), and by his creating "
+#| "this play, he didn't make it any harder for others to craft a play. So "
+#| "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 \"steal\" Shakespeare's work?"
msgid ""
"For the booksellers, and the authors whom they represented, had a very "
"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: "
"play, he didn't make it any harder for others to craft a play. So 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 \"steal\" Shakespeare's work?"
+"there to allow someone else to <quote>steal</quote> Shakespeare's work?"
msgstr ""
"Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt "
"krav. Ta <citetitle>romeo og Julie</citetitle> som et eksempel: Skuespillet "
"finnes for å tillate at noen \"stjeler\" Shakespeares verk?"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The answer comes in two parts. We first need to see something special "
+#| "about the notion of \"copyright\" that existed at the time of the Statute "
+#| "of Anne. Second, we have to see something important about \"booksellers.\""
msgid ""
"The answer comes in two parts. We first need to see something special about "
-"the notion of \"copyright\" that existed at the time of the Statute of Anne. "
-"Second, we have to see something important about \"booksellers.\""
+"the notion of <quote>copyright</quote> that existed at the time of the "
+"Statute of Anne. Second, we have to see something important about "
+"<quote>booksellers.</quote>"
msgstr ""
"Svaret er todel. Først må vi se på noe spesielt med oppfatningen av "
"opphavsrett som fantes på tidspunktet da \"Statute of Anne\" ble vedtatt. "
#. PAGE BREAK 99
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "First, about copyright. In the last three hundred years, we have come to "
+#| "apply the concept of \"copyright\" ever more broadly. But in 1710, it "
+#| "wasn't so much a concept as it was a very particular right. The copyright "
+#| "was born as a very specific set of restrictions: It forbade others from "
+#| "reprinting a book. In 1710, the \"copy-right\" was a right to use a "
+#| "particular machine to replicate a particular work. It did not go beyond "
+#| "that very narrow right. It did not control any more generally how a work "
+#| "could be <emphasis>used</emphasis>. Today the right includes a 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."
msgid ""
"First, about copyright. In the last three hundred years, we have come to "
-"apply the concept of \"copyright\" ever more broadly. But in 1710, it wasn't "
-"so much a concept as it was a very particular right. The copyright was born "
-"as a very specific set of restrictions: It forbade others from reprinting a "
-"book. In 1710, the \"copy-right\" was a right to use a particular machine to "
-"replicate a particular work. It did not go beyond that very narrow right. It "
-"did not control any more generally how a work could be <emphasis>used</"
-"emphasis>. Today the right includes a 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."
+"apply the concept of <quote>copyright</quote> ever more broadly. But in "
+"1710, it wasn't so much a concept as it was a very particular right. The "
+"copyright was born as a very specific set of restrictions: It forbade others "
+"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right "
+"to use a particular machine to replicate a particular work. It did not go "
+"beyond that very narrow right. It did not control any more generally how a "
+"work could be <emphasis>used</emphasis>. Today the right includes a 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."
msgstr ""
"Først om opphavsretten. I de siste tre hundre år har vi kommet til å bruke "
"begrepet \"copyright\" i stadig videre forstand. Men i 1710 var det ikke så "
"så videre."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 was that no one could reprint Shakespeare's work without the "
+#| "permission of the Shakespeare estate. It would not have controlled "
+#| "anything, for example, about how the work could be performed, whether the "
+#| "work could be translated, or whether Kenneth Branagh would be allowed to "
+#| "make his films. The \"copy-right\" was only an exclusive right to "
+#| "print—no less, of course, but also no more."
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 "
"was that no one could reprint Shakespeare's work without the permission of "
"the Shakespeare estate. It would not have controlled anything, for example, "
"about how the work could be performed, whether the work could be translated, "
-"or whether Kenneth Branagh would be allowed to make his films. The \"copy-"
-"right\" was only an exclusive right to print—no less, of course, but "
-"also no more."
+"or whether Kenneth Branagh would be allowed to make his films. The "
+"<quote>copy-right</quote> was only an exclusive right to print—no "
+"less, of course, but also no more."
msgstr ""
"Så selv om f. eks. opphavsretten til Shakespeares verker var evigvarende, "
"betydde det under den opprinnelige betydningen av begrepet at ingen kunne "
msgstr "Henry VIII, Konge av England"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Even that limited right was viewed with skepticism by the British. They "
+#| "had had a long and ugly experience with \"exclusive rights,\" especially "
+#| "\"exclusive rights\" granted by the Crown. The English had fought a civil "
+#| "war in part about the Crown's practice of handing out monopolies—"
+#| "especially monopolies for works that already existed. King Henry VIII "
+#| "granted a patent to print the Bible and a monopoly to Darcy to print "
+#| "playing cards. The English Parliament began to fight back against this "
+#| "power of the Crown. In 1656, it passed the Statute of Monopolies, "
+#| "limiting monopolies to patents for new inventions. And by 1710, "
+#| "Parliament was eager to deal with the growing monopoly in publishing."
msgid ""
"Even that limited right was viewed with skepticism by the British. They had "
-"had a long and ugly experience with \"exclusive rights,\" especially "
-"\"exclusive rights\" granted by the Crown. The English had fought a civil "
-"war in part about the Crown's practice of handing out monopolies—"
-"especially monopolies for works that already existed. King Henry VIII "
-"granted a patent to print the Bible and a monopoly to Darcy to print playing "
-"cards. The English Parliament began to fight back against this power of the "
-"Crown. In 1656, it passed the Statute of Monopolies, limiting monopolies to "
-"patents for new inventions. And by 1710, Parliament was eager to deal with "
-"the growing monopoly in publishing."
+"had a long and ugly experience with <quote>exclusive rights,</quote> "
+"especially <quote>exclusive rights</quote> granted by the Crown. The English "
+"had fought a civil war in part about the Crown's practice of handing out "
+"monopolies—especially monopolies for works that already existed. King "
+"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to "
+"print playing cards. The English Parliament began to fight back against this "
+"power of the Crown. In 1656, it passed the Statute of Monopolies, limiting "
+"monopolies to patents for new inventions. And by 1710, Parliament was eager "
+"to deal with the growing monopoly in publishing."
msgstr ""
"Selv dnne begrensede retten ble møtt med skepsis av britene. De hadde hatt "
"en lang og stygg erfaring med \"eksklusive rettigheter,\" spesielt \"enerett"
"monopolet på publisering."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"Thus the \"copy-right,\" when viewed as a monopoly right, was naturally "
-"viewed as a right that should be limited. (However convincing the claim that "
-"\"it's my property, and I should have it forever,\" try sounding convincing "
-"when uttering, \"It's my monopoly, and I should have it forever.\") 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."
+#, fuzzy
+#| msgid ""
+#| "Thus the \"copy-right,\" when viewed as a monopoly right, was naturally "
+#| "viewed as a right that should be limited. (However convincing the claim "
+#| "that \"it's my property, and I should have it forever,\" try sounding "
+#| "convincing when uttering, \"It's my monopoly, and I should have it "
+#| "forever.\") 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."
+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 "
+"claim that <quote>it's my property, and I should have it forever,</quote> "
+"try sounding convincing when uttering, <quote>It's my monopoly, and I should "
+"have it forever.</quote>) 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."
msgstr ""
"Dermed ble \"kopi-retten\", når den sees på som en monopolrett, en rettighet "
"som bør være begrenset. (Uansett hvor overbevisende påstanden om at \"det er "
"Property</citetitle> (New York: J. Messner, Inc., 1937), 31."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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. "
+#| "Booksellers sound quaint and harmless to us. They were not viewed as "
+#| "harmless in seventeenth-century England. Members of the Conger were "
+#| "increasingly seen as monopolists of the worst kind—tools of the "
+#| "Crown's repression, selling the liberty of England to guarantee "
+#| "themselves a monopoly profit. The attacks against these monopolists were "
+#| "harsh: Milton described them as \"old patentees and monopolizers in the "
+#| "trade of book-selling\"; they were \"men who do not therefore labour in "
+#| "an honest profession to which learning is indetted.\"<placeholder type="
+#| "\"footnote\" id=\"0\"/>"
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. Booksellers "
"seventeenth-century England. Members of the Conger were increasingly seen as "
"monopolists of the worst kind—tools of the Crown's repression, selling "
"the liberty of England to guarantee themselves a monopoly profit. The "
-"attacks against these monopolists were harsh: Milton described them as \"old "
-"patentees and monopolizers in the trade of book-selling\"; they were \"men "
-"who do not therefore labour in an honest profession to which learning is "
-"
indetted.\"<placeholder type=\"footnote\" id=\"0\"/>"
+"attacks against these monopolists were harsh: Milton described them as "
+"<quote>old patentees and monopolizers in the trade of book-selling</quote>; "
+"they were <quote>men who do not therefore labour in an honest profession to "
+"
which learning is indetted.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"Dernest, om bokhandlerne. Det var ikke bare at kopiretten var et monopol. "
"Det var også et monopol holdt av bokhandlerne. En bokhandler høres greie og "
"bokhandlernes personlige rikdom.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 authors certain protections through positive law, but those "
+#| "protections were not intended as replacements for the common law. "
+#| "Instead, they were intended simply to supplement the common law. Under "
+#| "common law, it was already wrong to take another person's creative "
+#| "\"property\" and use it without his permission. The Statute of Anne, the "
+#| "booksellers argued, didn't change that. Therefore, just because the "
+#| "protections of the Statute of Anne expired, that didn't mean the "
+#| "protections of the common law expired: Under the common law 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."
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 "
"authors certain protections through positive law, but those protections were "
"not intended as replacements for the common law. Instead, they were "
"intended simply to supplement the common law. Under common law, it was "
-"already wrong to take another person's creative \"property\" and use it "
-"without his permission. The Statute of Anne, the booksellers argued, didn't "
-"change that. Therefore, just because the protections of the Statute of Anne "
-"expired, that didn't mean the protections of the common law expired: Under "
-"the common law 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."
+"already wrong to take another person's creative <quote>property</quote> and "
+"use it without his permission. The Statute of Anne, the booksellers argued, "
+"didn't change that. Therefore, just because the protections of the Statute "
+"of Anne expired, that didn't mean the protections of the common law expired: "
+"Under the common law 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."
msgstr ""
"Etter å ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke "
"saker. Deres argument var enkelt og direkte: \"Statute of Anne\" ga "
"falt i det fri. Dette, mente de, var den eneste måten å beskytte forfatterne."
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" "
+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" "
+#| "<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a "
+#| "wonderfully compelling account, see Vaidhyanathan, 37–48. "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"
+msgid ""
+"Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use,</quote> "
"<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a "
"wonderfully compelling account, see Vaidhyanathan, 37–48. "
"<placeholder type=\"indexterm\" id=\"0\"/>"
"<placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 then, as law professor Raymond Patterson has put it, \"The "
+#| "publishers … had as much concern for authors as a cattle rancher "
+#| "has for cattle.\"<placeholder type=\"footnote\" id=\"0\"/> The bookseller "
+#| "didn't care squat for the rights of the author. His concern was the "
+#| "monopoly profit that the author's work gave."
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 "
-"then, as law professor Raymond Patterson has put it, \"The publishers "
+"then, as law professor Raymond Patterson has put it, <quote>The publishers "
"… had as much concern for authors as a cattle rancher has for cattle."
-"\"<placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care squat "
-"for the rights of the author. His concern was the monopoly profit that the "
-"author's work gave."
+"</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't care "
+"squat for the rights of the author. His concern was the monopoly profit "
+"that the author's work gave."
msgstr ""
"Dette var et godt argument, og hadde støtte fra flere av den tidens ledende "
"jurister. Det viste også en ekstraordinær chutzpah. Inntail da, som "
msgstr "Erskine, Andrew"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "\"of standard works whose copyright term had expired,\" at least under "
+#| "the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> Donaldson's "
+#| "publishing house prospered and became \"something of a center for "
+#| "literary Scotsmen.\" \"[A]mong them,\" Professor Mark Rose writes, was "
+#| "\"the young James Boswell who, together with his friend Andrew Erskine, "
+#| "published an anthology of contemporary Scottish poems with Donaldson."
+#| "\"<placeholder type=\"footnote\" id=\"1\"/> <placeholder type=\"indexterm"
+#| "\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"
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 \"of "
-"standard works whose copyright term had expired,\" at least under the "
-"Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> Donaldson's "
-"publishing house prospered and became \"something of a center for literary "
-"Scotsmen.\" \"[A]mong them,\" Professor Mark Rose writes, was \"the young "
-"James Boswell who, together with his friend Andrew Erskine, published an "
-"anthology of contemporary Scottish poems with Donaldson.\"<placeholder type="
-"\"footnote\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
-"<placeholder type=\"indexterm\" id=\"3\"/>"
+"Edinburgh in 1750. The focus of his business was inexpensive reprints "
+"<quote>of standard works whose copyright term had expired,</quote> at least "
+"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> "
+"Donaldson's publishing house prospered and became <quote>something of a "
+"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor "
+"Mark Rose writes, was <quote>the young James Boswell who, together with his "
+"friend Andrew Erskine, published an anthology of contemporary Scottish poems "
+"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/> "
+"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
+"id=\"3\"/>"
msgstr ""
"Donaldson var en fremmed for Londons \"the Conger\". Han startet in karriere "
"i Edinburgh i 1750. Hans forretningsidé var billige kopier av standardverk "
"citetitle>, 167 (quoting Borwell)."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 editions \"of the most popular English books, in defiance of "
+#| "the supposed common law right of Literary Property.\"<placeholder type="
+#| "\"footnote\" id=\"0\"/> 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."
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 "
-"editions \"of the most popular English books, in defiance of the supposed "
-"common law right of Literary Property.\"<placeholder type=\"footnote\" id="
-"\"0\"/> 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."
+"editions <quote>of the most popular English books, in defiance of the "
+"supposed common law right of Literary Property.</quote><placeholder type="
+"\"footnote\" id=\"0\"/> 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."
msgstr ""
"Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så "
"flyttet han butikken til London. Her solgte han billige utgaver av \"de mest "
"fri."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The London booksellers quickly brought suit to block \"piracy\" like "
+#| "Donaldson's. A number of actions were successful against the \"pirates,\" "
+#| "the most important early victory being <citetitle>Millar</citetitle> v. "
+#| "<citetitle>Taylor</citetitle>."
msgid ""
-"The London booksellers quickly brought suit to block \"piracy\" like "
-"Donaldson's. A number of actions were successful against the \"pirates,\" "
-"the most important early victory being <citetitle>Millar</citetitle> v. "
-"<citetitle>Taylor</citetitle>."
+"The London booksellers quickly brought suit to block <quote>piracy</quote> "
+"like Donaldson's. A number of actions were successful against the "
+"<quote>pirates,</quote> the most important early victory being "
+"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>."
msgstr ""
"Londons bokselgere begynte straks å slå ned mot \"pirater\" som Donaldson. "
"Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen "
#. f11
#. type: Content of: <book><part><chapter><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
+#| "Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law "
+#| "Review</citetitle> 29 (1983): 1152."
msgid ""
-"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
-"Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</"
-"citetitle> 29 (1983): 1152."
+"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: "
+"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law "
+"Review</citetitle> 29 (1983): 1152."
msgstr ""
"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
"Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</"
"citetitle> 29 (1983): 1152."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Millar was a bookseller who in 1729 had purchased the rights to James "
+#| "Thomson's poem \"The Seasons.\" 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.<placeholder type=\"footnote\" id="
+#| "\"0\"/>"
msgid ""
"Millar was a bookseller who in 1729 had purchased the rights to James "
-"Thomson's poem \"The Seasons.\" 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"Thomson's poem <quote>The Seasons.</quote> 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.<placeholder type=\"footnote"
+"\" id=\"0\"/>"
msgstr ""
"Millar var en bokhandler som i 1729 hadde kjøpt opp rettighetene til James "
"Thomsons dikt \"The Seasons\". Millar hadde da full beskyttelse gjennom "
"\" sa.<placeholder type=\"footnote\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Astonishingly to modern lawyers, one of the greatest judges in English "
+#| "history, Lord Mansfield, agreed with the booksellers. Whatever protection "
+#| "the Statute of Anne gave booksellers, it did not, he held, extinguish any "
+#| "common law right. The question was whether the common law would protect "
+#| "the author against subsequent \"pirates.\" Mansfield's answer was yes: "
+#| "The common law would bar Taylor from 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."
msgid ""
"Astonishingly to modern lawyers, one of the greatest judges in English "
"history, Lord Mansfield, agreed with the booksellers. Whatever protection "
"the Statute of Anne gave booksellers, it did not, he held, extinguish any "
"common law right. The question was whether the common law would protect the "
-"author against subsequent \"pirates.\" Mansfield's answer was yes: The "
-"common law would bar Taylor from 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."
+"author against subsequent <quote>pirates.</quote> Mansfield's answer was "
+"yes: The common law would bar Taylor from 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."
msgstr ""
"Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av "
"de største dommere i engelsk historie, Lord Mansfield, enig med "
"\"Statute of Anne\", falle i det fri så fort beskyttelsesperioden var over."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "The House of Lords was an odd institution. Legal questions were presented "
+#| "to the House and voted upon first by the \"law lords,\" 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."
msgid ""
"The House of Lords was an odd institution. Legal questions were presented to "
-"the House and voted upon first by the \"law lords,\" 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."
+"the House and voted upon first by the <quote>law lords,</quote> 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."
msgstr ""
"Overhuset var en merkelig institusjon. Juridiske spørsmål ble presentert for "
"huset, og ble først stemt over av \"juslorder\", medlemmer av enspesiell "
msgstr "Shakespeare, William"
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"\"The public domain.\" Before the case of <citetitle>Donaldson</citetitle> "
-"v. <citetitle>Beckett</citetitle>, there was no clear idea of a public "
-"domain in England. Before 1774, there was a strong argument that common law "
-"copyrights were perpetual. After 1774, the public domain was born. For the "
-"first time in Anglo-American history, the legal control 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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
-"\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
-"<placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" "
-"id=\"4\"/>"
+#, fuzzy
+#| msgid ""
+#| "\"The public domain.\" Before the case of <citetitle>Donaldson</"
+#| "citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of "
+#| "a public domain in England. Before 1774, there was a strong argument that "
+#| "common law copyrights were perpetual. After 1774, the public domain was "
+#| "born. For the first time in Anglo-American history, the legal control "
+#| "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. <placeholder type=\"indexterm"
+#| "\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder "
+#| "type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> "
+#| "<placeholder type=\"indexterm\" id=\"4\"/>"
+msgid ""
+"<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</"
+"citetitle> v. <citetitle>Beckett</citetitle>, there was no clear idea of a "
+"public domain in England. Before 1774, there was a strong argument that "
+"common law copyrights were perpetual. After 1774, the public domain was "
+"born. For the first time in Anglo-American history, the legal control 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. <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
+"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type="
+"\"indexterm\" id=\"4\"/>"
msgstr ""
"\"Å falle i det fri\". Før rettssaken <citetitle>Donaldson</citetitle> mot "
"<citetitle>Beckett</citetitle> var det ingen klar oppfatning om hva å falle "
msgstr "Rose, 97."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 of the \"pirate publishers\" did their work, people celebrated "
+#| "the decision in the streets. As the <citetitle>Edinburgh Advertiser</"
+#| "citetitle> reported, \"No private cause has so much engrossed the "
+#| "attention of the public, and none has been tried before the House of "
+#| "Lords in the decision of which so many individuals were interested.\" "
+#| "\"Great rejoicing in Edinburgh upon victory over literary property: "
+#| "bonfires and illuminations.\"<placeholder type=\"footnote\" id=\"0\"/>"
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 "
-"of the \"pirate publishers\" did their work, people celebrated the decision "
-"in the streets. As the <citetitle>Edinburgh Advertiser</citetitle> reported, "
-"\"No private cause has so much engrossed the attention of the public, and "
-"none has been tried before the House of Lords in the decision of which so "
-"many individuals were interested.\" \"Great rejoicing in Edinburgh upon "
-"victory over literary property: bonfires and illuminations.\"<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"of the <quote>pirate publishers</quote> did their work, people celebrated "
+"the decision in the streets. As the <citetitle>Edinburgh Advertiser</"
+"citetitle> reported, <quote>No private cause has so much engrossed the "
+"attention of the public, and none has been tried before the House of Lords "
+"in the decision of which so many individuals were interested.</quote> "
+"<quote>Great rejoicing in Edinburgh upon victory over literary property: "
+"bonfires and illuminations.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
"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 "
#. PAGE BREAK 105
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"\"Ruined\" 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 meant that "
-"the booksellers could no longer control how culture in England would grow "
-"and develop. Culture in England was thereafter <emphasis>free</emphasis>. "
-"Not in the sense that copyrights would not be respected, for of course, for "
-"a limited time after a work was published, the bookseller had an exclusive "
-"right to control the publication of that book. And not in the sense that "
-"books could be stolen, for even after a copyright expired, you still had to "
-"buy the book from someone. But <emphasis>free</emphasis> in the sense that "
-"the culture and its growth would no longer be controlled by a small group of "
-"publishers. As every free market does, this free market of free culture "
-"would grow as the consumers and producers chose. English culture would "
-"develop as the many English readers chose to let it develop— chose in "
-"the books they bought and wrote; chose in the memes they repeated and "
-"endorsed. Chose in a <emphasis>competitive context</emphasis>, 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."
+#, fuzzy
+#| msgid ""
+#| "\"Ruined\" 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 "
+#| "meant that the booksellers could no longer control how culture in England "
+#| "would grow and develop. Culture in England was thereafter <emphasis>free</"
+#| "emphasis>. Not in the sense that copyrights would not be respected, for "
+#| "of course, for a limited time after a work was published, the bookseller "
+#| "had an exclusive right to control the publication of that book. And not "
+#| "in the sense that books could be stolen, for even after a copyright "
+#| "expired, you still had to buy the book from someone. But <emphasis>free</"
+#| "emphasis> in the sense that the culture and its growth would no longer be "
+#| "controlled by a small group of publishers. As every free market does, "
+#| "this free market of free culture would grow as the consumers and "
+#| "producers chose. English culture would develop as the many English "
+#| "readers chose to let it develop— chose in the books they bought and "
+#| "wrote; chose in the memes they repeated and endorsed. Chose in a "
+#| "<emphasis>competitive context</emphasis>, 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."
+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 "
+"of Lords meant that the booksellers could no longer control how culture in "
+"England would grow and develop. Culture in England was thereafter "
+"<emphasis>free</emphasis>. Not in the sense that copyrights would not be "
+"respected, for of course, for a limited time after a work was published, the "
+"bookseller had an exclusive right to control the publication of that book. "
+"And not in the sense that books could be stolen, for even after a copyright "
+"expired, you still had to buy the book from someone. But <emphasis>free</"
+"emphasis> in the sense that the culture and its growth would no longer be "
+"controlled by a small group of publishers. As every free market does, this "
+"free market of free culture would grow as the consumers and producers chose. "
+"English culture would develop as the many English readers chose to let it "
+"develop— chose in the books they bought and wrote; chose in the memes "
+"they repeated and endorsed. Chose in a <emphasis>competitive context</"
+"emphasis>, 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."
msgstr ""
"Ruinert er en overdrivelse. Men det er ingen overdrivelse å si at endringen "
"var stor. Vedtaket fra Overhuset betydde at bokhandlerne ikke lenger kunnen "
"med å fange det spesielle med scenen."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 "
+#| "Simpsons</citetitle>. For of course, those few seconds are copyrighted; "
+#| "and of course, to use copyrighted material you need the permission of the "
+#| "copyright owner, unless \"fair use\" or some other privilege applies."
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 "
"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and "
"of course, to use copyrighted material you need the permission of the "
-"copyright owner, unless \"fair use\" or some other privilege applies."
+"copyright owner, unless <quote>fair use</quote> or some other privilege "
+"applies."
msgstr ""
"Så noen år senere, da han endelig hadde fått ordnet den siste "
"finansieringen, ville Else skaffe rettigheter til å bruke disse få sekundene "
"type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "Then, as Else told me, \"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.\" "
+#| "And second, Fox \"wanted ten thousand dollars as a licensing fee for us "
+#| "to use this four-point-five seconds of … entirely unsolicited "
+#| "<citetitle>Simpsons</citetitle> which was in the corner of the shot.\""
msgid ""
-"Then, as Else told me, \"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.\" And second, Fox "
-"\"wanted ten thousand dollars as a licensing fee for us to use this four-"
-"point-five seconds of … entirely unsolicited <citetitle>Simpsons</"
-"citetitle> which was in the corner of the shot.\""
+"Then, as Else told me, <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.</quote> And "
+"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to "
+"use this four-point-five seconds of … entirely unsolicited "
+"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>"
msgstr ""
"Deretter, fortalte Else: \"skjedde to ting. Først oppdaget vi … at "
"Matt Groening ikke eide sitt eget verk — ihvertfall at noen [hos Fox] "
"hjørne i ett opptak.\""
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 to her, \"There must be some mistake here. … We're "
+#| "asking for your educational rate on this.\" That was the educational "
+#| "rate, Herrera told Else. A day or so later, Else called again to confirm "
+#| "what he had been told."
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 "
-"to her, \"There must be some mistake here. … We're asking for your "
-"educational rate on this.\" That was the educational rate, Herrera told "
-"Else. A day or so later, Else called again to confirm what he had been told."
+"to her, <quote>There must be some mistake here. … We're asking for "
+"your educational rate on this.</quote> That was the educational rate, "
+"Herrera told Else. A day or so later, Else called again to confirm what he "
+"had been told."
msgstr ""
"Ellers 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 "
#. PAGE BREAK 108
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you "
-"have your facts straight,\" she said. It would cost $10,000 to use the clip "
-"of <citetitle>The Simpsons</citetitle> in the corner of a shot in a "
-"documentary film about Wagner's Ring Cycle. And then, astonishingly, Herrera "
-"told Else, \"And if you quote me, I'll turn you over to our attorneys.\" As "
-"an assistant to Herrera told Else later on, \"They don't give a shit. They "
-"just want the money.\""
+#, fuzzy
+#| msgid ""
+#| "\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you "
+#| "have your facts straight,\" she said. It would cost $10,000 to use the "
+#| "clip of <citetitle>The Simpsons</citetitle> in the corner of a shot in a "
+#| "documentary film about Wagner's Ring Cycle. And then, astonishingly, "
+#| "Herrera told Else, \"And if you quote me, I'll turn you over to our "
+#| "attorneys.\" As an assistant to Herrera told Else later on, \"They don't "
+#| "give a shit. They just want the money.\""
+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 cost "
+"$10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the corner "
+"of a shot in a documentary film about Wagner's Ring Cycle. And then, "
+"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you "
+"over to our attorneys.</quote> As an assistant to Herrera told Else later "
+"on, <quote>They don't give a shit. They just want the money.</quote>"
msgstr ""
"\"Jeg måtte være sikker på at jeg hadde riktige opplysninger foran meg,\" sa "
"han. \"Ja, du har riktige opplysninger,\" sa hun. Det ville koste $10 000 å "
"hvilken som helst bruk (hvor loven krever tillatelse fra eier)."
#. type: Content of: <book><part><chapter><para>
-msgid ""
-"For example, \"public performance\" is a use of <citetitle>The Simpsons</"
-"citetitle> that the copyright owner gets to control. If you take a selection "
-"of favorite episodes, rent a movie theater, and charge for tickets to come "
-"see \"My Favorite <citetitle>Simpsons</citetitle>,\" then you need to get "
-"permission from the copyright owner. And the copyright owner (rightly, in my "
-"view) can charge whatever she wants—$10 or $1,000,000. That's her "
-"right, as set by the law."
+#, fuzzy
+#| msgid ""
+#| "For example, \"public performance\" is a use of <citetitle>The Simpsons</"
+#| "citetitle> that the copyright owner gets to control. If you take a "
+#| "selection of favorite episodes, rent a movie theater, and charge for "
+#| "tickets to come see \"My Favorite <citetitle>Simpsons</citetitle>,\" then "
+#| "you need to get permission from the copyright owner. And the copyright "
+#| "owner (rightly, in my view) can charge whatever she wants—$10 or "
+#| "$1,000,000. That's her right, as set by the law."
+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 "
+"selection of favorite episodes, rent a movie theater, and charge for tickets "
+"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then "
+"you need to get permission from the copyright owner. And the copyright owner "
+"(rightly, in my view) can charge whatever she wants—$10 or $1,000,000. "
+"That's her right, as set by the law."
msgstr ""
"For eksempel \"offentlig fremvisning\"* av <citetitle>The Simpson</"
"citetitle> er en form for bruk hvor loven gir eieren kontroll. Dersom du "
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"For an excellent argument that such use is \"fair use,\" but that lawyers "
-"don't permit recognition that it is \"fair use,\" see Richard A. Posner with "
-"William F. Patry, \"Fair Use and Statutory Reform in the Wake of "
-"<citetitle>Eldred</citetitle>\" (draft on file with author), University of "
-"Chicago Law School, 5 August 2003."
+#, fuzzy
+#| msgid ""
+#| "For an excellent argument that such use is \"fair use,\" but that lawyers "
+#| "don't permit recognition that it is \"fair use,\" see Richard A. Posner "
+#| "with William F. Patry, \"Fair Use and Statutory Reform in the Wake of "
+#| "<citetitle>Eldred</citetitle>\" (draft on file with author), University "
+#| "of Chicago Law School, 5 August 2003."
+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 "
+"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory "
+"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file "
+"with author), University of Chicago Law School, 5 August 2003."
msgstr ""
"Ønsker du å lese en flott redegjørelse om hvordan dette er \"fair use\", og "
"hvordan advokatene ikke anerkjenner det, så les Richard A. Posner og William "
"School, 5. august 2003."
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "But when lawyers hear this story about Jon Else and Fox, their first "
+#| "thought is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's "
+#| "use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</"
+#| "citetitle> episode is clearly a fair use of <citetitle>The Simpsons</"
+#| "citetitle>—and fair use does not require the permission of anyone."
msgid ""
"But when lawyers hear this story about Jon Else and Fox, their first thought "
-"is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just "
-"4.5 seconds of an indirect shot of a <citetitle>Simpsons</citetitle> episode "
-"is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair "
-"use does not require the permission of anyone."
+"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's "
+"use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</"
+"citetitle> episode is clearly a fair use of <citetitle>The Simpsons</"
+"citetitle>—and fair use does not require the permission of anyone."
msgstr ""
"Men når jurister hører denne historien om Jon Else og Fox, så er deres "
"første tanke \"rimelig bruk\".<placeholder type=\"footnote\" id=\"0\"/> "
#. PAGE BREAK 109
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| msgid ""
+#| "So I asked Else why he didn't just rely upon \"fair use.\" Here's his "
+#| "reply:"
msgid ""
-"So I asked Else why he didn't just rely upon \"fair use.\" Here's his reply:"
+"So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's "
+"his reply:"
msgstr ""
"Så jeg spurte Else om hvorfor han ikke bare stolte på \"fair use\". Og her "
"er hans svar:"
#. type: Content of: <book><part><chapter><blockquote><para>
+#, fuzzy
+#| 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 is crushingly relevant in practice to those of us actually trying to "
+#| "make and broadcast documentaries. I never had any doubt that it was "
+#| "\"clearly fair use\" in an absolute legal sense. But I couldn't rely on "
+#| "the concept in any concrete way. Here's why:"
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 "
"is crushingly relevant in practice to those of us actually trying to make "
-"and broadcast documentaries. I never had any doubt that it was \"clearly "
-"fair use\" in an absolute legal sense. But I couldn't rely on the concept in "
-"any concrete way. Here's why:"
+"and broadcast documentaries. I never had any doubt that it was "
+"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't "
+"rely on the concept in any concrete way. Here's why:"
msgstr ""
"<citetitle>Simpsons</citetitle>-fiaskoen lærte meg om hvor stor avstand det "
"var mellom det jurister finner urelevant på en abstrakt måte, og hva som er "
#. 1.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
+#, fuzzy
+#| msgid ""
+#| "Before our films can be broadcast, the network requires that we buy "
+#| "Errors and Omissions insurance. The carriers require a detailed \"visual "
+#| "cue sheet\" listing the source and licensing status of each shot in the "
+#| "film. They take a dim view of \"fair use,\" and a claim of \"fair use\" "
+#| "can grind the application process to a halt."
msgid ""
"Before our films can be broadcast, the network requires that we buy Errors "
-"and Omissions insurance. The carriers require a detailed \"visual cue sheet"
-"\" listing the source and licensing status of each shot in the film. They "
-"take a dim view of \"fair use,\" and a claim of \"fair use\" can grind the "
-"application process to a halt."
+"and Omissions insurance. The carriers require a detailed <quote>visual cue "
+"sheet</quote> listing the source and licensing status of each shot in the "
+"film. They take a dim view of <quote>fair use,</quote> and a claim of "
+"<quote>fair use</quote> can grind the application process to a halt."
msgstr ""
"Før våre filmer kan kringkastes, krever nettverket at vi kjøper en \"Errors "
"and Omissions\"-forsikring. Den krever en detailjert \"visual cue sheet\" "
#. 3.
#. PAGE BREAK 110
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
+#, fuzzy
+#| 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 "
+#| "would \"depose and litigate you to within an inch of your life,\" "
+#| "regardless of the merits of my claim. He made clear that it would boil "
+#| "down to who had the bigger legal department and the deeper pockets, me or "
+#| "them."
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 "
-"would \"depose and litigate you to within an inch of your life,\" regardless "
-"of the merits of my claim. He made clear that it would boil down to who had "
-"the bigger legal department and the deeper pockets, me or them."
+"would <quote>depose and litigate you to within an inch of your life,</quote> "
+"regardless of the merits of my claim. He made clear that it would boil down "
+"to who had the bigger legal department and the deeper pockets, me or them."
msgstr ""
"Jeg snakket faktisk med en av dine kolleger på Stanford Law School … "
"som bekreftet at dette var rimelig bruk. Han bekreftet også at Fox ville "
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"Then Alben and his team decided to include actual film clips. \"Our goal was "
-"that we were going to have a clip from every one of Eastwood's films,\" "
-"Alben told me. It was here that the problem arose. \"No one had ever really "
-"done this before,\" Alben explained. \"No one had ever tried to do this in "
-"the context of an artistic look at an actor's career.\""
+"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 "
+"films,</quote> Alben told me. It was here that the problem arose. <quote>No "
+"one had ever really done this before,</quote> Alben explained. <quote>No one "
+"had ever tried to do this in the context of an artistic look at an actor's "
+"career.</quote>"
msgstr ""
"deretter alben og hans team besluttet å inkludere faktiske film klipp. "
"\"vårt mål var at vi skulle ha et klipp fra hver og en av Eastwoods film,\" "
#, mtrans, fuzzy
msgid ""
"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, "
-"\"Well, what will it take?\""
+"<quote>Well, what will it take?</quote>"
msgstr ""
"Alben brakt idéen til michael slade, ceo i starwave. Slade som ble spurt, "
"\"Vel, hva vil det ta?\""
msgid ""
"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 \"Rip, Mix, Burn\" creativity, "
-"as this chapter evinces. <placeholder type=\"indexterm\" id=\"0\"/>"
+"of his image. But these rights, too, burden <quote>Rip, Mix, Burn</quote> "
+"creativity, as this chapter evinces. <placeholder type=\"indexterm\" id="
+"\"0\"/>"
msgstr ""
"teknisk, rettighetene som alben hadde å fjerne var hovedsakelig de "
"publisitet—rettigheter kunstner har til å kontrollere kommersiell "
#. type: Content of: <book><part><chapter><para>
msgid ""
-"Alben replied, \"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.\" Slade said, \"Great! Go for it.\"<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"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 "
+"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for "
+"it.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
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 "
-"going to use the \"Make my day\" clip from <citetitle>Dirty Harry</"
-"citetitle>. But you then need to get the guy on the ground who's wiggling "
-"under the gun and you need to get his permission. And then you have to "
-"decide what you are going to pay him."
+"going to use the <quote>Make my day</quote> clip from <citetitle>Dirty "
+"Harry</citetitle>. But you then need to get the guy on the ground who's "
+"wiggling under the gun and you need to get his permission. And then you "
+"have to decide what you are going to pay him."
msgstr ""
"så vi gikk veldig mekanisk about looking up film klipp. Vi har gjort noen "
"kunstneriske beslutninger om hva film klipp for å inkludere—"
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 "
-"dumbfounded at their good fortune. Alben would ask, \"Hey, can I pay you "
-"$600 or maybe if you were in two films, you know, $1,200?\" And they would "
-"say, \"Are you for real? Hey, I'd love to get $1,200.\" And some of course "
-"were a bit difficult (estranged ex-wives, in particular). But eventually, "
-"Alben and his team had cleared the rights to this retrospective CD-ROM on "
-"Clint Eastwood's career."
+"dumbfounded at their good fortune. Alben would ask, <quote>Hey, can I pay "
+"you $600 or maybe if you were in two films, you know, $1,200?</quote> And "
+"they would say, <quote>Are you for real? Hey, I'd love to get $1,200.</"
+"quote> And some of course were a bit difficult (estranged ex-wives, in "
+"particular). But eventually, Alben and his team had cleared the rights to "
+"this retrospective CD-ROM on Clint Eastwood's career."
msgstr ""
"enkelte aktører var glad for å hjelpe—donald sutherland, for eksempel "
"fulgt opp seg å være sikker på at rettigheter hadde blitt fjernet. andre var "
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"It was one <emphasis>year</emphasis> later—\"and even then we weren't "
-"sure whether we were totally in the clear.\""
+"It was one <emphasis>year</emphasis> later—<quote>and even then we "
+"weren't sure whether we were totally in the clear.</quote>"
msgstr ""
"Det var ett år senere, \"og selv da vi var ikke sikker på om vi var helt i "
"klartekst.\""
#, mtrans, fuzzy
msgid ""
"Everyone thought it would be too hard. Everyone just threw up their hands "
-"and said, \"Oh, my gosh, a film, it's so many copyrights, there's the music, "
-"there's the screenplay, there's the director, there's the actors.\" But we "
-"just broke it down. We just put it into its constituent parts and said, "
-"\"Okay, there's this many actors, this many directors, … this many "
-"musicians,\" and we just went at it very systematically and cleared the "
-"rights."
+"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the "
+"music, there's the screenplay, there's the director, there's the actors.</"
+"quote> But we just broke it down. We just put it into its constituent parts "
+"and said, <quote>Okay, there's this many actors, this many directors, "
+"… this many musicians,</quote> and we just went at it very "
+"systematically and cleared the rights."
msgstr ""
"alle trodde det ville være for hardt. alle bare kastet opp sine hender og "
"sa, \"oh, mine gosh, en film, det er så mange opphavsrettigheter, er det "
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 "
-"efficiently, but as Peter Drucker has famously quipped, \"There is nothing "
-"so useless as doing efficiently that which should not be done at all."
-"
\"<placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked "
+"efficiently, but as Peter Drucker has famously quipped, <quote>There is "
+"nothing so useless as doing efficiently that which should not be done at all."
+"
</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked "
"Alben, that this is the way a new work has to be made?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"For, as he acknowledged, \"very few … have the time and resources, "
-"and the will to do this,\" and thus, very few such works would ever be made. "
-"Does it make sense, I asked him, from the standpoint of what anybody really "
-"thought they were ever giving rights for originally, that you would have to "
-"go clear rights for these kinds of clips?"
+"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 "
+"would ever be made. Does it make sense, I asked him, from the standpoint of "
+"what anybody really thought they were ever giving rights for originally, "
+"that you would have to go clear rights for these kinds of clips?"
msgstr ""
"for, som han erkjente, \"svært få... har tid og ressurser og viljen til å "
"gjøre dette,\" og dermed svært få slike arbeider noensinne vil bli gjort. "
"product hard to get off the ground. If you knew I have a hundred minutes of "
"film in this product and it's going to cost me X, then you build your budget "
"around it, and you can get investments and everything else that you need to "
-"produce it. But if you say, \"Oh, I want a hundred minutes of something and "
-"I have no idea what it's going to cost me, and a certain number of people "
-"are going to hold me up for money,\" then it becomes difficult to put one of "
-"these things together."
+"produce it. But if you say, <quote>Oh, I want a hundred minutes of something "
+"and I have no idea what it's going to cost me, and a certain number of "
+"people are going to hold me up for money,</quote> then it becomes difficult "
+"to put one of these things together."
msgstr ""
"absolutt. Jeg tror at hvis det var noen fair-lisensiering mekanisme—"
"der du ikke var underlagt hold-ups, og du ikke var underlagt fraseparerte "
"Francisco.) These rights might well have once made sense; but as "
"circumstances change, they make no sense at all. Or at least, a well-"
"trained, regulationminimizing Republican should look at the rights and ask, "
-"\"Does this still make sense?\""
+"<quote>Does this still make sense?</quote>"
msgstr ""
"Alben jobbet for et stort selskap. hans selskap var støttet av noen av de "
"rikeste investorene i verden. derfor hadde han myndighet og pålogging som "
msgstr "Nimmer, David"
#. type: Content of: <book><part><chapter><para>
+#, fuzzy
+#| 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 an astonished look on his face, as he peered across the room of over "
+#| "250 well-entertained judges. Taking an ominous tone, he began his talk "
+#| "with a question: \"Do you know how many federal laws were just violated "
+#| "in this room?\""
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 "
"an astonished look on his face, as he peered across the room of over 250 "
"well-entertained judges. Taking an ominous tone, he began his talk with a "
-"question: \"Do you know how many federal laws were just violated in this "
-"room?\""
+"question: <quote>Do you know how many federal laws were just violated in "
+"this room?</quote>"
msgstr ""
"Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer, "
"kanskje den ledende opphavsrettakademiker og utøver i nasjonen. Han hadde en "
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"We live in a \"cut and paste\" culture enabled by technology. Anyone "
-"building a presentation knows the extraordinary freedom that the cut 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."
+"We live in a <quote>cut and paste</quote> culture enabled by technology. "
+"Anyone building a presentation knows the extraordinary freedom that the cut "
+"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."
msgstr ""
"Vi lever i en \"klippe og lime\" kultur aktiveres av teknologi. alle bygge "
"en presentasjon vet ekstraordinære friheten som klippe- og limefunksjon "
#, mtrans, fuzzy
msgid ""
"All of these creations are technically illegal. Even if the creators wanted "
-"to be \"legal,\" the cost of complying with the law is impossibly high. "
-"Therefore, for the law-abiding sorts, a wealth of creativity is never made. "
-"And for that part that is made, if it doesn't follow the clearance rules, it "
-"doesn't get released."
+"to be <quote>legal,</quote> the cost of complying with the law is impossibly "
+"high. Therefore, for the law-abiding sorts, a wealth of creativity is never "
+"made. And for that part that is made, if it doesn't follow the clearance "
+"rules, it doesn't get released."
msgstr ""
"alle disse kreasjoner er teknisk ulovlig. Selv om skaperne ønsket å være "
"\"lovlig\", er kostnadene for å overholde loven impossibly høy. Derfor "
"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 "
"see fit. We could even make this change without necessarily requiring that "
-"the \"free\" use be free as in \"free beer.\" Instead, the system could "
-"simply make it easy for follow-on creators to compensate artists without "
-"requiring an army of lawyers to come along: a rule, for example, that says "
-"\"the royalty owed the copyright owner of an unregistered work for the "
-"derivative reuse of his work will be a flat 1 percent of net revenues, to be "
-"held in escrow for the copyright owner.\" Under this rule, the copyright "
-"owner could benefit from some royalty, but he would not have the benefit of "
-"a full property right (meaning the right to name his own price) unless he "
-"registers the work."
+"the <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, "
+"the system could simply make it easy for follow-on creators to compensate "
+"artists without requiring an army of lawyers to come along: a rule, for "
+"example, that says <quote>the royalty owed the copyright owner of an "
+"unregistered work for the derivative reuse of his work will be a flat 1 "
+"percent of net revenues, to be held in escrow for the copyright owner.</"
+"quote> Under this rule, the copyright owner could benefit from some royalty, "
+"but he would not have the benefit of a full property right (meaning the "
+"right to name his own price) unless he registers the work."
msgstr ""
"til noen, disse historiene foreslå en løsning: La oss endre blanding av "
"rettigheter, slik at folk er gratis å bygge på vår kultur. gratis å legge "
"In February 2003, DreamWorks studios announced an agreement with Mike Myers, "
"the comic genius of <citetitle>Saturday Night Live</citetitle> and Austin "
"Powers. According to the announcement, Myers and Dream-Works would work "
-"together to form a \"unique filmmaking pact.\" Under the agreement, "
-"DreamWorks \"will acquire the rights to existing motion picture hits and "
-"classics, write new storylines and—with the use of stateof-the-art "
-"digital technology—insert Myers and other actors into the film, "
-"thereby creating an entirely new piece of entertainment.\""
+"together to form a <quote>unique filmmaking pact.</quote> Under the "
+"agreement, DreamWorks <quote>will acquire the rights to existing motion "
+"picture hits and classics, write new storylines and—with the use of "
+"stateof-the-art digital technology—insert Myers and other actors into "
+"the film, thereby creating an entirely new piece of entertainment.</quote>"
msgstr ""
"i februar 2003 annonsert dreamworks studios en avtale med mike myers, comic "
"geni av lørdag natt live og austin powers. Ifølge utlysningen, myers og drøm-"
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"The announcement called this \"film sampling.\" As Myers explained, \"Film "
-"Sampling is an exciting way to put an original spin on existing films and "
-"allow audiences to see old movies in a new light. Rap artists have been "
-"doing this for years with music and now we are able to take that same "
-"concept and apply it to film.\" Steven Spielberg is quoted as saying, \"If "
-"anyone can create a way to bring old films to new audiences, it is Mike.\""
+"The announcement called this <quote>film sampling.</quote> As Myers "
+"explained, <quote>Film Sampling is an exciting way to put an original spin "
+"on existing films and allow audiences to see old movies in a new light. Rap "
+"artists have been doing this for years with music and now we are able to "
+"take that same concept and apply it to film.</quote> Steven Spielberg is "
+"quoted as saying, <quote>If anyone can create a way to bring old films to "
+"new audiences, it is Mike.</quote>"
msgstr ""
"utlysningen kalles denne \"film prøvetaking.\" som myers forklart, \"film "
"prøvetaking er en spennende måte å sette en opprinnelige spinn på "
#, mtrans, fuzzy
msgid ""
"This privilege becomes reserved for two sorts of reasons. The first "
-"continues the story of the last chapter: the vagueness of \"fair use.\" Much "
-"of \"sampling\" should be considered \"fair use.\" But few would rely upon "
-"so weak a doctrine to create. That leads to the second reason that the "
-"privilege is reserved for the few: The costs of negotiating the legal rights "
-"for the creative reuse of content are astronomically high. These costs "
-"mirror the costs with fair use: You either pay a lawyer to defend your fair "
-"use rights or pay a lawyer to track down permissions 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."
+"continues the story of the last chapter: the vagueness of <quote>fair use.</"
+"quote> Much of <quote>sampling</quote> should be considered <quote>fair use."
+"</quote> But few would rely upon so weak a doctrine to create. That leads to "
+"the second reason that the privilege is reserved for the few: The costs of "
+"negotiating the legal rights for the creative reuse of content are "
+"astronomically high. These costs mirror the costs with fair use: You either "
+"pay a lawyer to defend your fair use rights or pay a lawyer to track down "
+"permissions 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."
msgstr ""
"dette privilegiet blir reservert for to slags grunner. først fortsetter "
"historien om det siste kapitlet: vagueness av \"rettferdig bruk.\" mye av "
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"In April 1996, millions of \"bots\"—computer codes designed to "
-"\"spider,\" or automatically search the Internet and copy content—"
-"began running across the Net. Page by page, these bots copied Internet-based "
-"information onto a small set of computers located in a basement in San "
-"Francisco's Presidio. Once the bots 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."
+"In April 1996, millions of <quote>bots</quote>—computer codes designed "
+"to <quote>spider,</quote> or automatically search the Internet and copy "
+"content—began running across the Net. Page by page, these bots copied "
+"Internet-based information onto a small set of computers located in a "
+"basement in San Francisco's Presidio. Once the bots 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."
msgstr ""
"I april 1996 begynte millioner av \"bots\"—datakode utformet til "
"\"edderkopp\", eller automatisk søke Internett og kopiere innholdet—"
"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 world. Using a "
-"technology called \"the Way Back Machine,\" you could enter a Web page, and "
-"see all of its copies going back to 1996, as well as when those pages "
-"changed."
+"technology called <quote>the Way Back Machine,</quote> you could enter a Web "
+"page, and see all of its copies going back to 1996, as well as when those "
+"pages changed."
msgstr ""
"av oktober 2001, roboter hadde samlet inn mer enn fem år av Kopier. og på en "
"liten pressemelding i berkeley, california, arkivet som disse kopiene "
msgid ""
"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, \"Combat Operations in Iraq Have Ended.\" That was later changed, "
-"without notice, to \"Major Combat Operations in Iraq Have Ended.\" E-mail "
-"from Brewster Kahle, 1 December 2003."
+"stated, <quote>Combat Operations in Iraq Have Ended.</quote> That was later "
+"changed, without notice, to <quote>Major Combat Operations in Iraq Have "
+"Ended.</quote> E-mail from Brewster Kahle, 1 December 2003."
msgstr ""
"fristelsene fortsatt, men. Brewster kahle rapporterer at det hvite hus "
"endrer sin egen pressemeldinger uten varsel. en mai 13, 2003, pressemelding "
#, mtrans, fuzzy
msgid ""
"The Way Back Machine is the largest archive of human knowledge in human "
-"history. At the end of 2002, it held \"two hundred and thirty terabytes of "
-"material\"—and was \"ten times larger than the Library of Congress.\" "
-"And this was just the first of the archives that Kahle set out to build. In "
-"addition to the Internet Archive, Kahle has been constructing the Television "
-"Archive. Television, it turns out, is even more ephemeral than the Internet. "
-"While much of twentieth-century culture was constructed through television, "
-"only a tiny proportion of that culture is available for anyone to see today. "
-"Three hours of news are recorded each evening by Vanderbilt University—"
-"thanks to a specific exemption in the copyright law. That content is "
-"indexed, and is available to scholars for a very low fee. \"But other than "
-"that, [television] is almost unavailable,\" Kahle told me. \"If you were "
-"Barbara Walters you could get access to [the archives], but if you are just "
-"a graduate student?\" As Kahle put it,"
+"history. At the end of 2002, it held <quote>two hundred and thirty terabytes "
+"of material</quote>—and was <quote>ten times larger than the Library "
+"of Congress.</quote> And this was just the first of the archives that Kahle "
+"set out to build. In addition to the Internet Archive, Kahle has been "
+"constructing the Television Archive. Television, it turns out, is even more "
+"ephemeral than the Internet. While much of twentieth-century culture was "
+"constructed through television, only a tiny proportion of that culture is "
+"available for anyone to see today. Three hours of news are recorded each "
+"evening by Vanderbilt University—thanks to a specific exemption in the "
+"copyright law. That content is indexed, and is available to scholars for a "
+"very low fee. <quote>But other than that, [television] is almost unavailable,"
+"</quote> Kahle told me. <quote>If you were Barbara Walters you could get "
+"access to [the archives], but if you are just a graduate student?</quote> As "
+"Kahle put it,"
msgstr ""
"vei tilbake er maskinen bortimot komplett arkiv over menneskelig kunnskap i "
"menneskehetens historie. på slutten av 2002, det holdt \"to hundre og tredve "
#. type: Content of: <book><part><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the "
-"Library of Congress,\" <citetitle>Film Library Quarterly</citetitle> 13 nos. "
-"2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History "
-"of Film Preservation in the United States</citetitle> ( Jefferson, N.C.: "
-"McFarland & Co., 1992), 36."
+"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at "
+"the Library of Congress,</quote> <citetitle>Film Library Quarterly</"
+"citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate "
+"Won't Wait: A History of Film Preservation in the United States</citetitle> "
+"( Jefferson, N.C.: McFarland & Co., 1992), 36."
msgstr ""
"Doug herrick, \"mot en nasjonal Filmsamling: filmindustrien på library of "
"congress,\" film biblioteket kvartalsvise 13 nr 23 (1980): 5; Anthony "
"made an exception for film. Film could be copyrighted so long as such "
"deposits were made. But the filmmaker was then allowed to borrow back the "
"deposits—for an unlimited time at no cost. In 1915 alone, there were "
-"more than 5,475 films deposited and \"borrowed back.\" 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"more than 5,475 films deposited and <quote>borrowed back.</quote> 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.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
msgid ""
"The same is generally true about television. Television broadcasts were "
"originally not copyrighted—there was no way to capture the broadcasts, "
-"so there was no fear of \"theft.\" But as technology enabled capturing, "
-"broadcasters relied increasingly upon the law. The law required they make a "
-"copy of each broadcast for the work to be \"copyrighted.\" But those copies "
-"were simply kept by 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."
+"so there was no fear of <quote>theft.</quote> But as technology enabled "
+"capturing, broadcasters relied increasingly upon the law. The law required "
+"they make a copy of each broadcast for the work to be <quote>copyrighted.</"
+"quote> But those copies were simply kept by 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."
msgstr ""
"det samme gjelder generelt om TV. fjernsynssendinger var opprinnelig ikke "
"opphavsrettsbeskyttet—det var ikke mulig å fange sendinger, så det var "
#, mtrans, fuzzy
msgid ""
"Kahle had the same idea with film. Working with Rick Prelinger, whose "
-"archive of film includes close to 45,000 \"ephemeral films\" (meaning films "
-"other than Hollywood movies, films that were never copyrighted), Kahle "
-"established the Movie Archive. Prelinger let Kahle digitize 1,300 films in "
-"this archive and post those films on the Internet to be downloaded for free. "
-"Prelinger's is a for-profit company. It sells copies of these films as stock "
-"footage. What he has discovered is that after he made a significant chunk "
-"available for free, his stock footage sales went up dramatically. People "
-"could easily find the material they wanted to use. Some downloaded that "
-"material and made films on their own. Others purchased copies to enable "
-"other films to be made. Either way, the archive enabled access to this "
-"important part of our culture. Want to see a copy of the \"Duck and Cover\" "
-"film that instructed children how to save themselves in the middle of "
-"nuclear attack? Go to archive.org, and you can download the film in a few "
-"minutes—for free. <placeholder type=\"indexterm\" id=\"0\"/>"
+"archive of film includes close to 45,000 <quote>ephemeral films</quote> "
+"(meaning films other than Hollywood movies, films that were never "
+"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle "
+"digitize 1,300 films in this archive and post those films on the Internet to "
+"be downloaded for free. Prelinger's is a for-profit company. It sells copies "
+"of these films as stock footage. What he has discovered is that after he "
+"made a significant chunk available for free, his stock footage sales went up "
+"dramatically. People could easily find the material they wanted to use. Some "
+"downloaded that material and made films on their own. Others purchased "
+"copies to enable other films to be made. Either way, the archive enabled "
+"access to this important part of our culture. Want to see a copy of the "
+"<quote>Duck and Cover</quote> film that instructed children how to save "
+"themselves in the middle of nuclear attack? Go to archive.org, and you can "
+"download the film in a few minutes—for free. <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"Kahle hatt samme idé med film. arbeide med rick prelinger, som har arkiv av "
"filmen inkluderer nær 45.000 \"flyktige filmer\" (det vil si filmer enn "
#, mtrans, fuzzy
msgid ""
"For here is an idea that we should more clearly recognize. Every bit of "
-"creative property goes through different \"lives.\" In its first life, if "
-"the creator is lucky, the content is sold. In such cases the commercial "
-"market is successful for the creator. The vast majority of creative property "
-"doesn't enjoy such success, but some clearly does. For that content, "
-"commercial life is extremely important. Without this commercial market, "
-"there would be, many argue, much less creativity."
+"creative property goes through different <quote>lives.</quote> In its first "
+"life, if the creator is lucky, the content is sold. In such cases the "
+"commercial market is successful for the creator. The vast majority of "
+"creative property doesn't enjoy such success, but some clearly does. For "
+"that content, commercial life is extremely important. Without this "
+"commercial market, there would be, many argue, much less creativity."
msgstr ""
"Her er en idé som vi skal klarere gjenkjenne. hver bit av kreative "
"egenskapen går gjennom ulike \"liv.\" i sin første liv, hvis skaperen er "
#. type: Content of: <book><part><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar "
-"Owner Starts a New Chapter by Adopting Business,\" <citetitle>Chicago "
-"Tribune</citetitle>, 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, \"The First Sale Doctrine in the Era of Digital Networks,\" "
-"<citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51."
+"Dave Barns, <quote>Fledgling Career in Antique Books: Woodstock Landlord, "
+"Bar Owner Starts a New Chapter by Adopting Business,</quote> "
+"<citetitle>Chicago Tribune</citetitle>, 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, <quote>The First Sale Doctrine in the Era of Digital "
+"Networks,</quote> <citetitle>Boston College Law Review</citetitle> 44 "
+"(2003): 593 n. 51."
msgstr ""
"Dave barns, \"fledgling karriere i antikke bøker: woodstock utleier, bar "
"eier starter et nytt kapittel ved å innta virksomhet,\" chicago tribune, 5 "
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 "
-"these \"archives,\" as warm as the idea of a \"library\" might seem, the "
-"\"content\" that is collected in these digital spaces is also someone's "
-"\"property.\" And the law of property restricts the freedoms that Kahle and "
-"others would exercise."
+"these <quote>archives,</quote> as warm as the idea of a <quote>library</"
+"quote> might seem, the <quote>content</quote> that is collected in these "
+"digital spaces is also someone's <quote>property.</quote> And the law of "
+"property restricts the freedoms that Kahle and others would exercise."
msgstr ""
"Teknologorganisasjon har dermed fjernet de økonomiske kostnadene med å bygge "
"et slikt arkiv. men fortsatt advokater kostnader. for så mye som vi kanskje "
"og andre vil utøve."
#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER TEN: \"Property\""
+#, fuzzy
+#| msgid "CHAPTER TEN: \"Property\""
+msgid "CHAPTER TEN: <quote>Property</quote>"
msgstr "Kapittel ti: <quote>Eiendom</quote>"
#. type: Content of: <book><part><chapter><para><indexterm><primary>
"system, it has probably avoided a great deal of speech-regulating harm. But "
"there is an aspect to the organization's mission that is both the most "
"radical and the most important. This is the organization's effort, "
-"epitomized in Valenti's every act, to redefine the meaning of \"creative "
-"property.\""
+"epitomized in Valenti's every act, to redefine the meaning of "
+"<quote>creative property.</quote>"
msgstr ""
"til å forsvare kunstneriske frihet og ytringsfriheten som avhenger av vår "
"kultur, har mpaa gjort viktig gode. i laging Toppliste mpaa, har det "
msgid ""
"The strategy of this rhetoric, like the strategy of most of Valenti's "
"rhetoric, is brilliant and simple and brilliant because simple. The "
-"\"central theme\" to which \"reasonable men and women\" will return is this: "
-"\"Creative property owners must be accorded the same rights and protections "
-"resident in all other property owners in the nation.\" There are no second-"
-"class citizens, Valenti might have continued. There should be no second-"
-"class property owners."
+"<quote>central theme</quote> to which <quote>reasonable men and women</"
+"quote> will return is this: <quote>Creative property owners must be accorded "
+"the same rights and protections resident in all other property owners in the "
+"nation.</quote> There are no second-class citizens, Valenti might have "
+"continued. There should be no second-class property owners."
msgstr ""
"strategien for denne retorikk, som strategi for de fleste av valenti's "
"retorikk, er strålende og enkel og strålende fordi enkel. \"sentrale temaet"
"made by <emphasis>anyone</emphasis> who is serious in this debate than this "
"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is "
"perhaps the nation's foremost extremist when it comes to the nature and "
-"scope of \"creative property.\" His views have <emphasis>no</emphasis> "
-"reasonable connection to our actual legal tradition, even if the subtle pull "
-"of his Texan charm has slowly redefined that tradition, at least in "
-"Washington."
+"scope of <quote>creative property.</quote> His views have <emphasis>no</"
+"emphasis> reasonable connection to our actual legal tradition, even if the "
+"subtle pull of his Texan charm has slowly redefined that tradition, at least "
+"in Washington."
msgstr ""
"denne påstanden har en tydelig og kraftig intuitivt trekk. Det er oppgitt "
"med slike klarhet som å gjøre idéen tydelig som oppfatningen at vi bruker "
#. type: Content of: <book><part><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Lawyers speak of \"property\" not as an absolute thing, but as a bundle of "
-"rights that are sometimes associated with a particular object. Thus, my "
-"\"property right\" to my car gives me the right to exclusive use, but not "
-"the right to drive at 150 miles an hour. For the best effort to connect the "
-"ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, "
-"<citetitle>Private Property and the Constitution</citetitle> (New Haven: "
-"Yale University Press, 1977), 26–27."
+"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a "
+"bundle of rights that are sometimes associated with a particular object. "
+"Thus, my <quote>property right</quote> to my car gives me the right to "
+"exclusive use, but not the right to drive at 150 miles an hour. For the best "
+"effort to connect the ordinary meaning of <quote>property</quote> to "
+"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property "
+"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), "
+"26–27."
msgstr ""
"advokater snakker om \"property\" ikke som en absolute ting, men som en bunt "
"av rettigheter som er noen ganger knyttet til bestemte objekter. Dermed gir "
#. type: Content of: <book><part><chapter><para>
msgid ""
-"While \"creative property\" is certainly \"property\" in a nerdy and precise "
-"sense that lawyers are trained to understand,<placeholder type=\"footnote\" "
-"id=\"0\"/> it has never been the case, nor should it be, that \"creative "
-"property owners\" have been \"accorded the same rights and protection "
-"resident in all other property owners.\" Indeed, if creative property owners "
-"were given the same rights as all other property owners, that would effect a "
-"radical, and radically undesirable, change in our tradition."
+"While <quote>creative property</quote> is certainly <quote>property</quote> "
+"in a nerdy and precise sense that lawyers are trained to understand,"
+"<placeholder type=\"footnote\" id=\"0\"/> it has never been the case, nor "
+"should it be, that <quote>creative property owners</quote> have been "
+"<quote>accorded the same rights and protection resident in all other "
+"property owners.</quote> Indeed, if creative property owners were given the "
+"same rights as all other property owners, that would effect a radical, and "
+"radically undesirable, change in our tradition."
msgstr ""
#. type: Content of: <book><part><chapter><para>
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"The framers of our Constitution loved \"property.\" Indeed, so strongly did "
-"they love property that they built into the Constitution an important "
-"requirement. If the government takes your property—if it condemns your "
-"house, or acquires a slice of land from your farm—it is required, "
-"under the Fifth Amendment's \"Takings Clause,\" to pay you \"just "
-"compensation\" for that taking. The Constitution thus guarantees that "
-"property is, in a certain sense, sacred. It cannot <emphasis>ever</emphasis> "
-"be taken from the property owner unless the government pays for the "
-"privilege."
+"The framers of our Constitution loved <quote>property.</quote> Indeed, so "
+"strongly did they love property that they built into the Constitution an "
+"important requirement. If the government takes your property—if it "
+"condemns your house, or acquires a slice of land from your farm—it is "
+"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay "
+"you <quote>just compensation</quote> for that taking. The Constitution thus "
+"guarantees that property is, in a certain sense, sacred. It cannot "
+"<emphasis>ever</emphasis> be taken from the property owner unless the "
+"government pays for the privilege."
msgstr ""
"forfatterne av vår grunnlov elsket \"egenskapen.\" faktisk så sterkt gjorde "
"de elsker egenskapen at de innebygd i Grunnloven et viktig krav. Hvis "
#, mtrans, fuzzy
msgid ""
"Yet the very same Constitution speaks very differently about what Valenti "
-"calls \"creative property.\" In the clause granting Congress the power to "
-"create \"creative property,\" the Constitution <emphasis>requires</emphasis> "
-"that after a \"limited time,\" Congress take back the rights that it has "
-"granted and set the \"creative property\" free to the public domain. Yet "
-"when Congress does this, when the expiration of a copyright term \"takes\" "
-"your copyright and turns it over to the public domain, Congress does not "
-"have any obligation to pay \"just compensation\" for this \"taking.\" "
-"Instead, the same Constitution that requires compensation for your land "
-"requires that you lose your \"creative property\" right without any "
-"compensation at all."
+"calls <quote>creative property.</quote> In the clause granting Congress the "
+"power to create <quote>creative property,</quote> the Constitution "
+"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> "
+"Congress take back the rights that it has granted and set the "
+"<quote>creative property</quote> free to the public domain. Yet when "
+"Congress does this, when the expiration of a copyright term <quote>takes</"
+"quote> your copyright and turns it over to the public domain, Congress does "
+"not have any obligation to pay <quote>just compensation</quote> for this "
+"<quote>taking.</quote> Instead, the same Constitution that requires "
+"compensation for your land requires that you lose your <quote>creative "
+"property</quote> right without any compensation at all."
msgstr ""
"men svært samme grunnlov snakker veldig annerledes om hva valenti samtaler "
"\"kreative egenskapen.\" i setningsdelen gir Kongressen makt til å opprette "
#, mtrans, fuzzy
msgid ""
"To answer this question, we need to get some perspective on the history of "
-"these \"creative property\" rights, and the control that they enabled. Once "
-"we see clearly how differently these rights have been defined, we will be in "
-"a better position to ask the question that should be at the core of this "
-"war: Not <emphasis>whether</emphasis> creative property should be protected, "
-"but how. Not <emphasis>whether</emphasis> we will enforce the rights the law "
-"gives to creative-property owners, but what the particular mix of rights "
-"ought to be. Not <emphasis>whether</emphasis> artists should be paid, but "
-"whether institutions designed to assure that artists get paid need also "
-"control how culture develops."
+"these <quote>creative property</quote> rights, and the control that they "
+"enabled. Once we see clearly how differently these rights have been "
+"defined, we will be in a better position to ask the question that should be "
+"at the core of this war: Not <emphasis>whether</emphasis> creative property "
+"should be protected, but how. Not <emphasis>whether</emphasis> we will "
+"enforce the rights the law gives to creative-property owners, but what the "
+"particular mix of rights ought to be. Not <emphasis>whether</emphasis> "
+"artists should be paid, but whether institutions designed to assure that "
+"artists get paid need also control how culture develops."
msgstr ""
"for å besvare dette spørsmålet, trenger vi å få noen perspektiv om disse "
"\"kreative eiendom\", og kontrollen som de aktivert historie. Når vi ser "
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"Finally, and for the moment, perhaps, most mysteriously, \"architecture"
-"\"—the physical world as one finds it—is a constraint on "
-"behavior. A fallen bridge might constrain your ability to get across a "
-"river. Railroad tracks might constrain the ability of a community to "
-"integrate its social life. As with the market, architecture does not effect "
-"its constraint through ex post punishments. Instead, also as with the "
-"market, architecture effects its constraint through simultaneous conditions. "
-"These conditions are imposed not by courts enforcing contracts, or by police "
-"punishing theft, but by nature, by \"architecture.\" If a 500-pound boulder "
-"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."
+"Finally, and for the moment, perhaps, most mysteriously, "
+"<quote>architecture</quote>—the physical world as one finds it—"
+"is a constraint on behavior. A fallen bridge might constrain your ability "
+"to get across a river. Railroad tracks might constrain the ability of a "
+"community to integrate its social life. As with the market, architecture "
+"does not effect its constraint through ex post punishments. Instead, also as "
+"with the market, architecture effects its constraint through simultaneous "
+"conditions. These conditions are imposed not by courts enforcing contracts, "
+"or by police punishing theft, but by nature, by <quote>architecture.</quote> "
+"If a 500-pound boulder 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."
msgstr ""
"til slutt, og for øyeblikket, kanskje mest mysteriously \"arkitektur\"—"
"den fysiske verden som en finner den—er en begrensning på atferd. en "
#. type: Content of: <book><part><chapter><para>
#, mtrans, fuzzy
msgid ""
-"So, for example, consider the \"freedom\" 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 times. It is in part "
-"restricted by architecture: speed bumps, for example, slow most rational "
-"drivers; governors in buses, as another example, set the maximum rate at "
-"which the driver can drive. The freedom is in part restricted by the market: "
-"Fuel efficiency drops as speed increases, thus the price of gasoline "
+"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 "
+"say how fast you can drive in particular places at particular times. It is "
+"in part restricted by architecture: speed bumps, for example, slow most "
+"rational drivers; governors in buses, as another example, set the maximum "
+"rate at which the driver can drive. The freedom is in part restricted by the "
+"market: Fuel efficiency drops as speed increases, thus the price of gasoline "
"indirectly constrains speed. And finally, the norms of a community may or "
"may not constrain the freedom to speed. Drive at 50 mph by a school in your "
"own neighborhood and you're likely to be punished by the neighbors. The same "
"consciously to change the other three. The right of the other three is more "
"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of "
"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence "
-"Lessig, \"The New Chicago School,\" <citetitle>Journal of Legal Studies</"
-"citetitle>, June 1998."
+"Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal "
+"Studies</citetitle>, June 1998."
msgstr ""
"ved å beskrive hvordan trenger ikke loven påvirker andre tre metoder, jeg "
"bety å foreslå at tre andre ikke påvirker lov. Selvfølgelig, de gjør. law's "
#. type: Content of: <book><part><chapter><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Some people object to this way of talking about \"liberty.\" They object "
-"because their focus when considering the constraints that exist at any "
-"particular moment are constraints imposed exclusively by the government. For "
-"instance, if a storm destroys a bridge, these people think it is meaningless "
-"to say that one's liberty has been restrained. A bridge has washed out, and "
-"it's harder to get from one place to another. To talk about this as a loss "
-"of freedom, they say, is to confuse the stuff of politics with the vagaries "
-"of ordinary life. I don't mean to deny the value in this narrower view, "
-"which depends upon the context of the inquiry. I do, however, mean to argue "
-"against any insistence that this narrower view is the only proper view of "
-"liberty. As I argued in <citetitle>Code</citetitle>, we come from a long "
-"tradition of political thought with a broader focus than the narrow question "
-"of what the government did when. John Stuart Mill defended freedom of "
-"speech, for example, from the tyranny of narrow minds, not from the fear of "
-"government prosecution; John Stuart Mill, <citetitle>On Liberty</citetitle> "
-"(Indiana: Hackett Publishing Co., 1978), 19. John R. Commons famously "
-"defended the economic freedom of labor from constraints imposed by the "
-"market; John R. Commons, \"The Right to Work,\" in Malcom Rutherford and "
-"Warren J. Samuels, eds., <citetitle>John R. Commons: Selected Essays</"
-"citetitle> (London: Routledge: 1997), 62. The Americans with Disabilities "
-"Act increases the liberty of people with physical disabilities by changing "
-"the architecture of certain public places, thereby making access to those "
-"places easier; 42 <citetitle>United States Code</citetitle>, section 12101 "
-"(2000). Each of these interventions to change existing 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. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
+"Some people object to this way of talking about <quote>liberty.</quote> They "
+"object because their focus when considering the constraints that exist at "
+"any particular moment are constraints imposed exclusively by the government. "
+"For instance, if a storm destroys a bridge, these people think it is "
+"meaningless to say that one's liberty has been restrained. A bridge has "
+"washed out, and it's harder to get from one place to another. To talk about "
+"this as a loss of freedom, they say, is to confuse the stuff of politics "
+"with the vagaries of ordinary life. I don't mean to deny the value in this "
+"narrower view, which depends upon the context of the inquiry. I do, however, "
+"mean to argue against any insistence that this narrower view is the only "
+"proper view of liberty. As I argued in <citetitle>Code</citetitle>, we come "
+"from a long tradition of political thought with a broader focus than the "
+"narrow question of what the government did when. John Stuart Mill defended "
+"freedom of speech, for example, from the tyranny of narrow minds, not from "
+"the fear of government prosecution; John Stuart Mill, <citetitle>On Liberty</"
+"citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John R. Commons "
+"famously defended the economic freedom of labor from constraints imposed by "
+"the market; John R. Commons, <quote>The Right to Work,</quote> in Malcom "
+"Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: Selected "
+"Essays</citetitle> (London: Routledge: 1997), 62. The Americans with "
+"Disabilities Act increases the liberty of people with physical disabilities "
+"by changing the architecture of certain public places, thereby making access "
+"to those places easier; 42 <citetitle>United States Code</citetitle>, "
+"section 12101 (2000). Each of these interventions to change existing "
+"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. <placeholder type=\"indexterm"
+"
\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
"noen mennesker objektet til denne måten av snakker om \"frihet.\" de "
"objektet fordi deres fokus når de vurderer begrensninger som finnes på et "
#, mtrans, fuzzy
msgid ""
"Neither this analysis nor the conclusions that follow are new to the "
-"warriors. Indeed, in a \"White Paper\" prepared by the Commerce Department "
-"(one heavily influenced by the copyright warriors) in 1995, this mix of "
-"regulatory modalities had already been identified and the strategy to "
+"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce "
+"Department (one heavily influenced by the copyright warriors) in 1995, this "
+"mix of regulatory modalities had already been identified and the strategy to "
"respond already mapped. In response to the changes the Internet had "
"effected, the White Paper argued (1) Congress should strengthen intellectual "
"property law, (2) businesses should adopt innovative marketing techniques, "
"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 "
-"\"architecture of revenue.\""
+"<quote>architecture of revenue.</quote>"
msgstr ""
"Således, det er ingenting galt eller overraskende i innhold bransjens "
"kampanje til å beskytte seg fra skadelige konsekvensene av en teknologisk "
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
-"See Geoffrey Smith, \"Film vs. Digital: Can Kodak Build a Bridge?\" "
-"BusinessWeek online, 2 August 1999, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #23</ulink>. For a more recent analysis of Kodak's "
-"place in the market, see Chana R. Schoenberger, \"Can Kodak Make Up for Lost "
-"Moments?\" Forbes.com, 6 October 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #24</ulink>."
+"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</"
+"quote> BusinessWeek online, 2 August 1999, available at <ulink url=\"http://"
+"free-culture.cc/notes/\">link #23</ulink>. For a more recent analysis of "
+"Kodak's place in the market, see Chana R. Schoenberger, <quote>Can Kodak "
+"Make Up for Lost Moments?</quote> Forbes.com, 6 October 2003, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
"freight business for railroads. Does anyone think we should ban trucks from "
"roads <emphasis>for the purpose of</emphasis> protecting the railroads? "
"Closer to the subject of this book, remote channel changers have weakened "
-"the \"stickiness\" of television advertising (if a boring commercial comes "
-"on the TV, the remote makes it easy to surf ), and it may well be that this "
-"change has weakened the television advertising market. But does anyone "
-"believe we should regulate remotes to reinforce commercial television? "
-"(Maybe by limiting them to function only once a second, or to switch to only "
-"ten channels within an hour?)"
+"the <quote>stickiness</quote> of television advertising (if a boring "
+"commercial comes on the TV, the remote makes it easy to surf ), and it may "
+"well be that this change has weakened the television advertising market. But "
+"does anyone believe we should regulate remotes to reinforce commercial "
+"television? (Maybe by limiting them to function only once a second, or to "
+"switch to only ten channels within an hour?)"
msgstr ""
#. f6
"others. Its role is not to pick winners and protect 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, \"established companies have an interest in excluding future "
-"competitors.\"<placeholder type=\"footnote\" id=\"0\"/> And relative to a "
-"startup, established companies also have the means. (Think RCA and FM "
+"patents, <quote>established companies have an interest in excluding future "
+"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> 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 not only the "
"market but also the government is a world in which competitors with new "
"ideas will not succeed. It is a world of stasis and increasingly "
"wary of the request. It is always a bad deal for the government to get into "
"the business of regulating speech markets. The risks and dangers of that "
"game are precisely why our framers created the First Amendment to our "
-"Constitution: \"Congress shall make no law … abridging the freedom of "
-"speech.\" So when Congress is being asked to pass laws that would \"abridge"
-"\" the freedom of speech, it should ask— carefully—whether such "
-"regulation is justified."
+"Constitution: <quote>Congress shall make no law … abridging the "
+"freedom of speech.</quote> So when Congress is being asked to pass laws that "
+"would <quote>abridge</quote> the freedom of speech, it should ask— "
+"carefully—whether such regulation is justified."
msgstr ""
"i sammenheng med lover som regulerer tale—, og som omfatter, "
"tydeligvis, copyright lov—at plikt er enda sterkere. Når industrien "
#, mtrans, fuzzy
msgid ""
"My argument just now, however, has nothing to do with whether the changes "
-"that are being pushed by the copyright warriors are \"justified.\" My "
-"argument is about their effect. For before we get to the question of "
-"justification, a hard question that depends a great deal upon your values, "
-"we should first ask whether we understand the effect of the changes the "
-"content industry wants."
+"that are being pushed by the copyright warriors are <quote>justified.</"
+"quote> My argument is about their effect. For before we get to the question "
+"of justification, a hard question that depends a great deal upon your "
+"values, we should first ask whether we understand the effect of the changes "
+"the content industry wants."
msgstr ""
"mitt argument akkurat nå, men har ingenting å gjøre med om endringene som "
"skyves av opphavsrett krigerne er \"blokkjustert.\" mitt argument er om "
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See, for example, James Boyle, \"A Politics of Intellectual Property: "
+#| "Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> "
+#| "47 (1997): 87."
msgid ""
-"See, for example, James Boyle, \"A Politics of Intellectual Property: "
-"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 "
-"(1997): 87."
+"See, for example, James Boyle, <quote>A Politics of Intellectual Property: "
+"Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</"
+"citetitle> 47 (1997): 87."
msgstr ""
"Se for eksempel James Boyle, \"A Politics of Intellectual Property: "
"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 "
#. type: Content of: <book><part><chapter><section><para>
msgid ""
"It is to this image precisely that Duke University law professor James Boyle "
-"appeals when he argues that we need an \"environmentalism\" for culture."
-"<placeholder type=\"footnote\" id=\"0\"/> 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 \"for free.\" The point is that some of the ways in "
-"which we might protect authors will have unintended consequences for the "
-"cultural environment, much like DDT had for the natural environment. And "
-"just as criticism of DDT is not an endorsement of malaria or an attack on "
-"farmers, so, too, is criticism of one particular set of regulations "
-"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."
+"appeals when he argues that we need an <quote>environmentalism</quote> for "
+"culture.<placeholder type=\"footnote\" id=\"0\"/> 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 <quote>for free.</quote> The point is that "
+"some of the ways in which we might protect authors will have unintended "
+"consequences for the cultural environment, much like DDT had for the natural "
+"environment. And just as criticism of DDT is not an endorsement of malaria "
+"or an attack on farmers, so, too, is criticism of one particular set of "
+"regulations 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
"America copied English copyright law. Actually, we copied and improved "
-"English copyright law. Our Constitution makes the purpose of \"creative "
-"property\" rights clear; its express limitations reinforce the English aim "
-"to avoid overly powerful publishers."
+"English copyright law. Our Constitution makes the purpose of <quote>creative "
+"property</quote> rights clear; its express limitations reinforce the English "
+"aim to avoid overly powerful publishers."
msgstr ""
"Amerika kopiert engelsk lov om opphavsrett. egentlig vi kopiert og forbedret "
"engelsk lov om opphavsrett. vår grunnlov gjør formålet med \"creative "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"The power to establish \"creative property\" rights is granted to Congress "
-"in a way that, for our Constitution, at least, is very odd. Article I, "
-"section 8, clause 8 of our Constitution states that:"
+"The power to establish <quote>creative property</quote> rights is granted to "
+"Congress in a way that, for our Constitution, at least, is very odd. Article "
+"I, section 8, clause 8 of our Constitution states that:"
msgstr ""
"makt til å etablere \"kreative\" eiendomsrettigheter gis til Kongressen på "
"en måte som for vår grunnlov, minst, er veldig rart. artikkel, del 8, 8-"
"Congress has the power to promote the Progress of Science and useful Arts, "
"by securing for limited Times to Authors and Inventors the exclusive Right "
"to their respective Writings and Discoveries. We can call this the "
-"\"Progress Clause,\" for notice what this clause does not say. It does not "
-"say Congress has the power to grant \"creative property rights.\" It says "
-"that Congress has the power <emphasis>to promote progress</emphasis>. The "
-"grant of power is its purpose, and its purpose is a public one, not the "
-"purpose of enriching publishers, nor even primarily the purpose of rewarding "
-"authors."
+"<quote>Progress Clause,</quote> for notice what this clause does not say. It "
+"does not say Congress has the power to grant <quote>creative property rights."
+"</quote> It says that Congress has the power <emphasis>to promote progress</"
+"emphasis>. The grant of power is its purpose, and its purpose is a public "
+"one, not the purpose of enriching publishers, nor even primarily the purpose "
+"of rewarding authors."
msgstr ""
"Kongressen har makt til å fremme utviklingen av vitenskap og nyttig kunst, "
"ved å sikre begrenset ganger til forfattere og oppfinnere den eksklusive "
"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 \"to Authors"
-"\" only."
+"reinforced that objective, by requiring that copyrights extend <quote>to "
+"Authors</quote> only."
msgstr ""
"fremdrift-setningsdelen begrenser uttrykkelig begrepet av opphavsretten. som "
"vi så i kapittel 6, ville engelsk begrenset av copyright å forsikre om at "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"I doubt the framers would recognize the regulation we call \"copyright\" "
-"today. The scope of that regulation is far beyond anything they ever "
+"I doubt the framers would recognize the regulation we call <quote>copyright</"
+"quote> 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 "
-"\"copyright\" in context: We need to see how it has changed in the 210 years "
-"since they first struck its design."
+"<quote>copyright</quote> in context: We need to see how it has changed in "
+"the 210 years since they first struck its design."
msgstr ""
"Jeg tviler underskrev ville anerkjenne regulering vi kaller \"copyright\" i "
"dag. omfanget av denne forskriften er langt overgår alt de noensinne "
msgstr "Vi kommer til å ende opp her:"
#. type: Content of: <book><part><chapter><section><figure><title>
-msgid ""Copyright" today."
+#, fuzzy
+#| msgid ""Copyright" today."
+msgid "<quote>Copyright</quote> today."
msgstr ""Opphavsrett" i dag."
#. type: Content of: <book><part><chapter><section><figure>
msgid ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
-"vol. 1, 485–86: \"extinguish[ing], by plain implication of `the "
+"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the "
"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, "
-"or were supposed by some to have, under the Common Law</emphasis>"
-"
\" (emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>"
+"or were supposed by some to have, under the Common Law</emphasis></quote> "
+"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"William W. Crosskey, politikk og Grunnloven i historien av USA (London: "
"Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved "
"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 "
"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, "
-"\"Study No. 31: Renewal of Copyright,\" <citetitle>Studies on Copyright</"
-"citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), 618. For a "
-"more recent and comprehensive analysis, see William M. Landes and Richard "
-"A. Posner, \"Indefinitely Renewable Copyright,\" <citetitle>University of "
-"Chicago Law Review</citetitle> 70 (2003): 471, 498–501, and "
-"accompanying figures."
+"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on "
+"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), "
+"618. For a more recent and comprehensive analysis, see William M. Landes and "
+"Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> "
+"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, "
+"498–501, and accompanying figures."
msgstr ""
"noen rettighetshavere valgte noensinne å fornye sine opphavsrettigheter. for "
"eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i "
msgid ""
"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 \"natural\" authors, that term was life plus fifty years. For "
-"corporations, the term was seventy-five years. Then, in 1992, Congress "
-"abandoned the renewal requirement for all works created before 1978. All "
-"works still under copyright would be accorded the maximum term then "
-"available. After the Sonny Bono Act, that term was ninety-five years."
+"term. For <quote>natural</quote> authors, that term was life plus fifty "
+"years. For corporations, the term was seventy-five years. Then, in 1992, "
+"Congress abandoned the renewal requirement for all works created before "
+"1978. All works still under copyright would be accorded the maximum term "
+"then available. After the Sonny Bono Act, that term was ninety-five years."
msgstr ""
"USA forlatt dette fornuftig systemet i 1976. for alle arbeider opprettet "
"etter 1978, var det bare en opphavsrett term—den maksimale "
"that works that were no longer exploited passed into the public domain. And "
"indeed, after these changes, it is unclear whether it is even possible to "
"put works into the public domain. The public domain is orphaned by these "
-"changes in copyright law. Despite the requirement that terms be \"limited,\" "
-"we have no evidence that anything will limit them."
+"changes in copyright law. Despite the requirement that terms be "
+"<quote>limited,</quote> we have no evidence that anything will limit them."
msgstr ""
"Denne endringen betydde at amerikansk lov ikke lenger en automatisk måte å "
"forsikre som fungerer som utnyttes ikke lenger sendes til public domain. og "
"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, "
-"\"Indefinitely Renewable Copyright,\" loc. cit."
+"<quote>Indefinitely Renewable Copyright,</quote> loc. cit."
msgstr ""
"disse statistikkene er undervurdert. i årene 1910 og 1962 (det første året "
"fornyelse sikt ble forlenget), gjennomsnittlig begrepet var aldri mer enn "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"The \"scope\" 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."
+"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 "
+"changes are not necessarily bad. But we should understand the extent of the "
+"changes if we're to keep this debate in context."
msgstr ""
"\"område\" av en opphavsrett er området av rettigheter gitt av loven. "
"omfanget av amerikanske copyright har endret seg dramatisk. disse endringene "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"In 1790, that scope was very narrow. Copyright covered only \"maps, charts, "
-"and books.\" That means it didn't cover, for example, music or architecture. "
-"More significantly, the right granted by a copyright gave the author the "
-"exclusive right to \"publish\" copyrighted works. That means someone else "
-"violated the copyright only if he republished the work without the copyright "
-"owner's permission. Finally, the right granted by a copyright was an "
-"exclusive right to that particular book. The right did not extend to what "
-"lawyers call \"derivative works.\" It would not, therefore, interfere with "
-"the right of someone other than the author to translate a copyrighted book, "
-"or to adapt the story to a different form (such as a drama based on a "
-"published book)."
+"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 "
+"architecture. More significantly, the right granted by a copyright gave the "
+"author the exclusive right to <quote>publish</quote> copyrighted works. That "
+"means someone else violated the copyright only if he republished the work "
+"without the copyright owner's permission. Finally, the right granted by a "
+"copyright was an exclusive right to that particular book. The right did not "
+"extend to what lawyers call <quote>derivative works.</quote> It would not, "
+"therefore, interfere with the right of someone other than the author to "
+"translate a copyrighted book, or to adapt the story to a different form "
+"(such as a drama based on a published book)."
msgstr ""
"i 1790 var at omfanget svært smale. Copyright dekket bare \"kart, diagrammer "
"og bøker.\", som betyr at det ikke dekker, for eksempel, musikk eller "
"practically any creative work that is reduced to a tangible form. It covers "
"music as well as architecture, drama as well as computer programs. It gives "
"the copyright owner of that creative work not only the exclusive right to "
-"\"publish\" the work, but also the exclusive right of control over any "
-"\"copies\" of that work. And most significant for our purposes here, the "
-"right gives the copyright owner control over not only his or her particular "
-"work, but also any \"derivative work\" that might grow out of the original "
-"work. In this way, the right covers more creative work, protects the "
-"creative work more broadly, and protects works that are based in a "
-"significant way on the initial creative work."
+"<quote>publish</quote> the work, but also the exclusive right of control "
+"over any <quote>copies</quote> of that work. And most significant for our "
+"purposes here, the right gives the copyright owner control over not only his "
+"or her particular work, but also any <quote>derivative work</quote> that "
+"might grow out of the original work. In this way, the right covers more "
+"creative work, protects the creative work more broadly, and protects works "
+"that are based in a significant way on the initial creative work."
msgstr ""
"Dette, også, har endret seg dramatisk. mens konturene av copyright i dag er "
"ekstremt vanskelig å beskrive bare, i generelle termer, dekker høyre nesten "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"All of these \"formalities\" 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."
+"All of these <quote>formalities</quote> 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."
msgstr ""
"alle disse \"formaliteter\" ble avskaffet i det amerikanske systemet når vi "
"besluttet å følge europeiske lov om opphavsrett. Det er ingen krav at du "
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of "
-"American Literature,\" 29 <citetitle>New York University Journal of "
-"International Law and Politics</citetitle> 255 (1997), and James Gilraeth, "
-"ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987)."
+"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the "
+"Creation of American Literature,</quote> 29 <citetitle>New York University "
+"Journal of International Law and Politics</citetitle> 255 (1997), and James "
+"Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., "
+"1987)."
msgstr ""
"se thomas bender og david sampliner, \"poeter, pirater og etableringen av "
"amerikansk litteratur,\" 29 new york university journal of internasjonal lov "
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 "
-"that is not at all obvious. This is the protection of \"derivative rights.\" "
-"If you write a book, no one can make a movie out of your book without "
-"permission. No one can translate it without permission. CliffsNotes can't "
-"make an abridgment unless permission is granted. All of these derivative "
-"uses of your original work are controlled by the copyright holder. The "
-"copyright, in other words, is now not just an exclusive right to your "
-"writings, but an exclusive right to your writings and a large proportion of "
-"the writings inspired by them."
+"that is not at all obvious. This is the protection of <quote>derivative "
+"rights.</quote> If you write a book, no one can make a movie out of your "
+"book without permission. No one can translate it without permission. "
+"CliffsNotes can't make an abridgment unless permission is granted. All of "
+"these derivative uses of your original work are controlled by the copyright "
+"holder. The copyright, in other words, is now not just an exclusive right to "
+"your writings, but an exclusive right to your writings and a large "
+"proportion of the writings inspired by them."
msgstr ""
"Det er mye den åpenbare delen. et system av copyright ville styre "
"konkurrerende publisering. men det er en andre del til opphavsretten i dag "
"endringer, så vel som ordrett opprinnelige arbeidet."
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</"
-"citetitle>, July/August 2003, available at <ulink url=\"http://free-culture."
-"cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
+#, fuzzy
+#| msgid ""
+#| "Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</"
+#| "citetitle>, July/August 2003, available at <ulink url=\"http://free-"
+#| "culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id="
+#| "\"0\"/>"
+msgid ""
+"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal "
+"Affairs</citetitle>, July/August 2003, available at <ulink url=\"http://free-"
+"culture.cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id="
+"\"0\"/>"
msgstr ""
"Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</"
"citetitle>, julu/august 2003,tilgjengelig fra <ulink url=\"http://free-"
msgid ""
"Professor Rubenfeld has presented a powerful constitutional argument about "
"the difference that copyright law should draw (from the perspective of the "
-"First Amendment) between mere \"copies\" and derivative works. See Jed "
-"Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" "
-"<citetitle>Yale Law Journal</citetitle> 112 (2002): 1–60 (see "
-"especially pp. 53–59). <placeholder type=\"indexterm\" id=\"0\"/>"
+"First Amendment) between mere <quote>copies</quote> and derivative works. "
+"See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's "
+"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 "
+"(2002): 1–60 (see especially pp. 53–59). <placeholder type="
+"\"indexterm\" id=\"0\"/>"
msgstr ""
"professor rubenfeld har presentert en kraftig konstitusjonelle argument om "
"forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den "
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 "
-"paying me or crediting me? Or if Disney creates a creature called \"Mickey "
-"Mouse,\" why should you be able to make Mickey Mouse toys and be the one to "
-"trade on the value that Disney originally created?"
+"paying me or crediting me? Or if Disney creates a creature called "
+"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse "
+"toys and be the one to trade on the value that Disney originally created?"
msgstr ""
"Dette kan igjen virke riktig for deg. Hvis jeg skrev en bok, så hvorfor skal "
"du kunne skrive en film som tar min historie og gjør penger fra det uten å "
#, mtrans, fuzzy
msgid ""
"This is a simplification of the law, but not much of one. The law certainly "
-"regulates more than \"copies\"—a public performance of a copyrighted "
-"song, for example, is regulated even though performance per se doesn't make "
-"a copy; 17 <citetitle>United States Code</citetitle>, section 106(4). And it "
-"certainly sometimes doesn't regulate a \"copy\"; 17 <citetitle>United States "
-"Code</citetitle>, section 112(a). But the presumption under the existing law "
-"(which regulates \"copies;\" 17 <citetitle>United States Code</citetitle>, "
-"section 102) is that if there is a copy, there is a right."
+"regulates more than <quote>copies</quote>—a public performance of a "
+"copyrighted song, for example, is regulated even though performance per se "
+"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section "
+"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; "
+"17 <citetitle>United States Code</citetitle>, section 112(a). But the "
+"presumption under the existing law (which regulates <quote>copies;</quote> "
+"17 <citetitle>United States Code</citetitle>, section 102) is that if there "
+"is a copy, there is a right."
msgstr ""
"Dette er en forenkling av loven, men ikke mye av en. loven absolutt "
"regulerer mer enn \"Kopier\"—en offentlig fremføring av en "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"\"Copies.\" That certainly sounds like the obvious thing for <emphasis>copy</"
-"emphasis>right law to regulate. But as with Jack Valenti's argument at the "
-"start of this chapter, that \"creative property\" deserves the \"same rights"
-"\" as all other property, it is the <emphasis>obvious</emphasis> that we "
-"need to be most careful about. For while it may be obvious that in the world "
-"before the Internet, copies were the obvious trigger for copyright law, upon "
-"reflection, it should be obvious that in the world with the Internet, copies "
-"should <emphasis>not</emphasis> be the trigger for copyright law. More "
-"precisely, they should not <emphasis>always</emphasis> be the trigger for "
-"copyright law."
+"<quote>Copies.</quote> That certainly sounds like the obvious thing for "
+"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's "
+"argument at the start of this chapter, that <quote>creative property</quote> "
+"deserves the <quote>same rights</quote> as all other property, it is the "
+"<emphasis>obvious</emphasis> that we need to be most careful about. For "
+"while it may be obvious that in the world before the Internet, copies were "
+"the obvious trigger for copyright law, upon reflection, it should be obvious "
+"that in the world with the Internet, copies should <emphasis>not</emphasis> "
+"be the trigger for copyright law. More precisely, they should not "
+"<emphasis>always</emphasis> be the trigger for copyright law."
msgstr ""
"\"Kopier.\" som absolutt høres ut som det åpenbare tingen for opphavsrett å "
"regulere. men som med jack valenti argumentet i begynnelsen av dette "
"diagrammet på neste side)."
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "Finally, there is a tiny sliver of otherwise regulated copying uses that "
+#| "remain unregulated because the law considers these \"fair uses.\""
msgid ""
"Finally, there is a tiny sliver of otherwise regulated copying uses that "
-"remain unregulated because the law considers these \"fair uses.\""
+"remain unregulated because the law considers these <quote>fair uses.</quote>"
msgstr ""
"Til slutt er det en tynn skive av ellers regulert kopierings-bruk som "
"forblir uregluert på grunn av at loven anser dette som \"rimelig bruk\"."
"without my permission, even though that quoting makes a copy. That copy "
"would ordinarily give the copyright owner the exclusive right to say whether "
"the copy is allowed or not, but the law denies the owner any exclusive right "
-"over such \"fair uses\" for public policy (and possibly First Amendment) "
-"reasons."
+"over such <quote>fair uses</quote> for public policy (and possibly First "
+"Amendment) reasons."
msgstr ""
"disse er bruker at selv innebære kopiering, men som det lov behandler som "
"unregulated fordi public policy krever at de forblir unregulated. du er fri "
"grunner."
#. type: Content of: <book><part><chapter><section><figure><title>
-msgid "Unregulated copying considered "fair uses.""
+#, fuzzy
+#| msgid "Unregulated copying considered "fair uses.""
+msgid "Unregulated copying considered <quote>fair uses.</quote>"
msgstr "Uregulert kopiering anses som "rimelig bruk"."
#. type: Content of: <book><part><chapter><section><figure>
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 "
-"are nonetheless deemed \"fair\" regardless of the copyright owner's views."
+"are nonetheless deemed <quote>fair</quote> regardless of the copyright "
+"owner's views."
msgstr ""
"i virkelige rommet, deretter mulige bruksområder for en bok er delt inn i "
"tre sorterer: (1) unregulated bruker, (2) regulert bruker og (3) regulert "
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"I don't mean \"nature\" 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."
+"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 "
+"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."
msgstr ""
"Jeg trenger ikke bety \"natur\" i den forstand at det kunne ikke være "
"annerledes, men heller at sin nåværende objektforekomst innebærer en kopi. "
"Second, this shift is especially troubling in the context of transformative "
"uses of creative content. Again, we can all understand the wrong in "
"commercial piracy. But the law now purports to regulate <emphasis>any</"
-"emphasis> transformation you make of creative work using a machine. \"Copy "
-"and paste\" and \"cut and paste\" become crimes. Tinkering with a story and "
-"releasing it to others exposes the tinkerer to at least a requirement of "
-"justification. However troubling the expansion with respect to copying a "
-"particular work, it is extraordinarily troubling with respect to "
-"transformative uses of creative work."
+"emphasis> transformation you make of creative work using a machine. "
+"<quote>Copy and paste</quote> and <quote>cut and paste</quote> become "
+"crimes. Tinkering with a story and releasing it to others exposes the "
+"tinkerer to at least a requirement of justification. However troubling the "
+"expansion with respect to copying a particular work, it is extraordinarily "
+"troubling with respect to transformative uses of creative work."
msgstr ""
"andre, dette skiftet er spesielt troubling i sammenheng med transformative "
"bruk av kreative innholdet. igjen, kan vi alle forstå feil i kommersielle "
#, mtrans, fuzzy
msgid ""
"Third, this shift from category 1 to category 2 puts an extraordinary burden "
-"on category 3 (\"fair use\") that fair use never before had to bear. If a "
-"copyright owner now tried to control how many times I could read a book on-"
-"line, the natural response would be to argue that this is a violation of my "
-"fair use rights. But there has never been any litigation about whether I "
-"have a fair use right to read, because before the Internet, reading did not "
-"trigger the application of copyright law and hence the need for a fair use "
-"defense. The right to read was effectively protected before because reading "
-"was not regulated."
+"on category 3 (<quote>fair use</quote>) that fair use never before had to "
+"bear. If a copyright owner now tried to control how many times I could read "
+"a book on-line, the natural response would be to argue that this is a "
+"violation of my fair use rights. But there has never been any litigation "
+"about whether I have a fair use right to read, because before the Internet, "
+"reading did not trigger the application of copyright law and hence the need "
+"for a fair use defense. The right to read was effectively protected before "
+"because reading was not regulated."
msgstr ""
"tredje, dette skiftet fra Kategori 1 til kategori 2 setter en ekstraordinære "
"belastning på kategori 3 (\"fair use\"), som rettferdig bruk aldri før hadde "
#, mtrans, fuzzy
msgid ""
"The case of Video Pipeline is a good example. Video Pipeline was in the "
-"business of making \"trailer\" 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."
+"business of making <quote>trailer</quote> 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."
msgstr ""
"tilfelle av video rørledning er et godt eksempel. video rørledningen var i "
"bransjen for å gjøre \"trailer\" reklame for filmer tilgjengelig til video "
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 "
-"idea was to expand their \"selling by sampling\" technique by giving on-line "
-"stores the same ability to enable \"browsing.\" 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."
+"idea was to expand their <quote>selling by sampling</quote> technique by "
+"giving on-line stores the same ability to enable <quote>browsing.</quote> "
+"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."
msgstr ""
"selskapet gjorde dette i omtrent femten år. deretter, i 1997, det begynte å "
"tenke på Internett som en måte å distribuere disse forhåndsvisninger. idéen "
"content as a way to help sell Disney films; he had customers who depended "
"upon his delivering this content. Disney would agree to talk only if Video "
"Pipeline stopped the distribution immediately. Video Pipeline thought it "
-"was within their \"fair use\" 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."
+"was within their <quote>fair use</quote> 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."
msgstr ""
"i 1998 informert video rørledningen disney og andre trevare at det ment å "
"distribuere tilhengere gjennom Internett (i stedet for å sende båndene) til "
#, mtrans, fuzzy
msgid ""
"Disney countersued—for $100 million in damages. Those damages were "
-"predicated upon a claim that Video Pipeline had \"willfully infringed\" on "
-"Disney's copyright. When a court makes a finding of willful infringement, it "
-"can award damages not on the basis of the actual harm to the copyright "
-"owner, but on the basis of an amount set in the statute. Because Video "
-"Pipeline had distributed seven hundred clips of Disney movies to enable "
-"video stores to sell copies of those movies, Disney was now suing Video "
-"Pipeline for $100 million."
+"predicated upon a claim that Video Pipeline had <quote>willfully infringed</"
+"quote> on Disney's copyright. When a court makes a finding of willful "
+"infringement, it can award damages not on the basis of the actual harm to "
+"the copyright owner, but on the basis of an amount set in the statute. "
+"Because Video Pipeline had distributed seven hundred clips of Disney movies "
+"to enable video stores to sell copies of those movies, Disney was now suing "
+"Video Pipeline for $100 million."
msgstr ""
"Disney countersued—for $100 millioner i skader. disse skader ble "
"predicated upon et krav at video rørledningen hadde \"willfully krenket\" på "
"consider it a close case. My point here is to map the change that gives "
"Disney this power. Before the Internet, Disney couldn't really control how "
"people got access to their content. Once a video was in the marketplace, the "
-"\"first-sale doctrine\" would free the seller to use the video as he wished, "
-"including showing portions of it in order to engender sales of the entire "
-"movie video. But with the Internet, it becomes possible for Disney to "
-"centralize control over access to this content. Because each use of the "
-"Internet produces a copy, use on the Internet becomes subject to the "
+"<quote>first-sale doctrine</quote> would free the seller to use the video as "
+"he wished, including showing portions of it in order to engender sales of "
+"the entire movie video. But with the Internet, it becomes possible for "
+"Disney to centralize control over access to this content. Because each use "
+"of the Internet produces a 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."
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
+#, fuzzy
+#| msgid ""
+#| "See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and "
+#| "Contemporary Problems</citetitle> 44 (1981): 172–73."
msgid ""
-"See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and "
-"Contemporary Problems</citetitle> 44 (1981): 172–73."
+"See David Lange, <quote>Recognizing the Public Domain,</quote> "
+"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): 172–73."
msgstr ""
"Se David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and "
"Contemporary Problems</citetitle> 44 (1981): 172–73."
"citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>"
#. type: Content of: <book><part><chapter><section><para>
+#, fuzzy
+#| msgid ""
+#| "This led the Marx Brothers to respond in kind. They warned Warner "
+#| "Brothers that the Marx Brothers \"were brothers long before you were."
+#| "\"<placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore "
+#| "owned the word <citetitle>brothers</citetitle>, and if Warner Brothers "
+#| "insisted on trying to control <citetitle>Casablanca</citetitle>, then the "
+#| "Marx Brothers would insist on control over <citetitle>brothers</"
+#| "citetitle>."
msgid ""
"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
-"that the Marx Brothers \"were brothers long before you were.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word "
-"<citetitle>brothers</citetitle>, and if Warner Brothers insisted on trying "
-"to control <citetitle>Casablanca</citetitle>, then the Marx Brothers would "
-"insist on control over <citetitle>brothers</citetitle>."
+"that the Marx Brothers <quote>were brothers long before you were.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers therefore "
+"owned the word <citetitle>brothers</citetitle>, and if Warner Brothers "
+"insisted on trying to control <citetitle>Casablanca</citetitle>, then the "
+"Marx Brothers would insist on control over <citetitle>brothers</citetitle>."
msgstr ""
"Dette fikk Marx-brødrene til å svare tilbake med samme mynt. De advarte "
"Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"."
"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
#. type: Content of: <book><part><chapter><section><figure><title>
-msgid "E-book of Aristotle;s "Politics""
+#, fuzzy
+#| msgid "E-book of Aristotle;s "Politics""
+msgid "E-book of Aristotle;s <quote>Politics</quote>"
msgstr "E-bok av Aristoteles <quote>Politikk</quote>"
#. type: Content of: <book><part><chapter><section><figure>
"hele tatt. men heldigvis kan du bruke lese høyt knappen for å høre boken."
#. type: Content of: <book><part><chapter><section><figure><title>
-msgid "List of the permissions for Aristotle;s "Politics"."
+#, fuzzy
+#| msgid "List of the permissions for Aristotle;s "Politics"."
+msgid "List of the permissions for Aristotle;s <quote>Politics</quote>."
msgstr "Liste med tillatelser for Aristotles "Politikk"."
#. type: Content of: <book><part><chapter><section><figure>
"opprinnelige e-bok-versjonen av boken min siste, fremtiden for idéer:"
#. type: Content of: <book><part><chapter><section><figure><title>
-msgid "List of the permissions for "The Future of Ideas"."
-msgstr ""
+#, fuzzy
+#| msgid "List of the permissions for Aristotle;s "Politics"."
+msgid "List of the permissions for <quote>The Future of Ideas</quote>."
+msgstr "Liste med tillatelser for Aristotles "Politikk"."
#. type: Content of: <book><part><chapter><section><figure>
msgid "<graphic fileref=\"images/1631.png\"></graphic>"
#. type: Content of: <book><part><chapter><section><para>
msgid ""
-"Now, the Adobe eBook Reader calls these controls \"permissions\"— as "
-"if the publisher has the power to control how 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.<placeholder type=\"footnote\" "
-"id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> 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 "
-"publisher to control how I use the book on my computer, far beyond the "
+"Now, the Adobe eBook Reader calls these controls <quote>permissions</"
+"quote>— as if the publisher has the power to control how 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.<placeholder type="
+"\"footnote\" id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> "
+"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 publisher to control how I use the book on my computer, far beyond the "
"control that the law would enable."
msgstr ""
#, mtrans, fuzzy
msgid ""
"The control comes instead from the code—from the technology within "
-"which the e-book \"lives.\" Though the e-book says that these are "
-"permissions, they are not the sort of \"permissions\" that most of us deal "
-"with. When a teenager gets \"permission\" to stay out till midnight, she "
-"knows (unless she's Cinderella) that she can stay out till 2 A.M., but will "
-"suffer a punishment if she's caught. But when the Adobe eBook Reader says I "
-"have the permission to make ten copies of the text into the computer's "
-"memory, that means that after I've made ten copies, the computer will not "
-"make any more. The same with the printing restrictions: After ten pages, the "
-"eBook Reader will not print any more pages. It's the same with the silly "
-"restriction that says that you can't use the Read Aloud button to read my "
-"book 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."
+"which the e-book <quote>lives.</quote> Though the e-book says that these are "
+"permissions, they are not the sort of <quote>permissions</quote> that most "
+"of us deal with. When a teenager gets <quote>permission</quote> to stay out "
+"till midnight, she knows (unless she's Cinderella) that she can stay out "
+"till 2 A.M., but will suffer a punishment if she's caught. But when the "
+"Adobe eBook Reader says I have the permission to make ten copies of the text "
+"into the computer's memory, that means that after I've made ten copies, the "
+"computer will not make any more. The same with the printing restrictions: "
+"After ten pages, the eBook Reader will not print any more pages. It's the "
+"same with the silly restriction that says that you can't use the Read Aloud "
+"button to read my book 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."
msgstr ""
"kontrollen kommer i stedet fra koden—fra teknologi som e-bok \"liv.\" "
"om e-boken sier at disse er tillatelsene, de er ikke typen \"tillatelser\" "
msgid ""
"These are <emphasis>controls</emphasis>, not permissions. Imagine a world "
"where the Marx Brothers sold word processing software that, when you tried "
-"to type \"Warner Brothers,\" erased \"Brothers\" from the sentence. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from "
+"
the sentence. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx "
"brødrene solgte tekstbehandling programvare som, da du prøvde å skrive inn "
"du klikket på tillatelser for boken, fikk du det fulgte rapporten:"
#. type: Content of: <book><part><chapter><section><figure><title>
+#, fuzzy
+#| msgid "List of the permissions for Aristotle;s "Politics"."
msgid ""
-"List of the permissions for "Alice's Adventures in Wonderland"."
-msgstr ""
+"List of the permissions for <quote>Alice's Adventures in Wonderland</quote>."
+msgstr "Liste med tillatelser for Aristotles "Politikk"."
#. type: Content of: <book><part><chapter><section><figure>
msgid "<graphic fileref=\"images/1641.png\"></graphic>"
#, mtrans, fuzzy
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 \"permissions\" "
-"indicated, not allowed to \"read aloud\"!"
+"not allowed to lend, not allowed to give, and, as the <quote>permissions</"
+"quote> indicated, not allowed to <quote>read aloud</quote>!"
msgstr ""
"Her var et frivare barnebok som du ikke var tillatt for å kopiere, ikke lov "
"til å låne, ikke lov til å gi og, som \"tillatelser\" angitt, ikke lov til å "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"Consider the robotic dog made by Sony named \"Aibo.\" The Aibo learns "
-"tricks, cuddles, and follows you around. It eats only electricity and that "
-"doesn't leave that much of a mess (at least in your house)."
+"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 "
+"that doesn't leave that much of a mess (at least in your house)."
msgstr ""
"vurdere robotic hunden gjort av sony kalt \"aibo.\" i aibo lærer triks, "
"cuddles, og følger deg. det spiser bare elektrisitet og som ikke la så mye "
#. type: Content of: <book><part><chapter><section><para>
#, mtrans, fuzzy
msgid ""
-"\"Teach\" here has a special meaning. Aibos are just cute computers. You "
-"teach a computer how to do something by programming it differently. So to "
-"say that aibopet.com was giving information about 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 \"dog\" to make it do new "
-"tricks (thus, aibohack.com)."
+"<quote>Teach</quote> here has a special meaning. Aibos are just cute "
+"computers. You teach a computer how to do something by programming it "
+"differently. So to say that aibopet.com was giving information about 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 "
+"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)."
msgstr ""
"\"lære\" har her en spesiell betydning. aibos er bare søt datamaskiner. du "
"lære en datamaskin hvor å gjøre noe ved programmering det annerledes. så å "
"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just "
"means code that enables the program to do something it wasn't originally "
"intended or enabled to do. If you buy a new printer for an old computer, you "
-"might find the old computer doesn't run, or \"drive,\" the printer. If you "
-"discovered that, you'd later be happy to discover a hack on the Net by "
-"someone who has written a driver to enable the computer to drive the printer "
-"you just bought."
+"might find the old computer doesn't run, or <quote>drive,</quote> the "
+"printer. If you discovered that, you'd later be happy to discover a hack on "
+"the Net by someone who has written a driver to enable the computer to drive "
+"the printer you just bought."
msgstr ""
"Hvis du ikke er en programmerer, eller vet ikke mange programmerere, har det "
"ord banalisere en spesielt unfriendly connotation. nonprogrammers banalisere "
#. type: Content of: <book><part><chapter><section><para><footnote><para>
msgid ""
-"See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" "
-"<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, \"Play "
-"Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks,\" "
-"<citetitle>American Prospect</citetitle>, January 2002; \"Court Dismisses "
-"Computer Scientists' Challenge to DMCA,\" <citetitle>Intellectual Property "
-"Litigation Reporter</citetitle>, 11 December 2001; Bill Holland, \"Copyright "
-"Act Raising Free-Speech Concerns,\" <citetitle>Billboard</citetitle>, May "
-"2001; Janelle Brown, \"Is the RIAA Running Scared?\" Salon.com, April 2001; "
-"Electronic Frontier Foundation, \"Frequently Asked Questions about "
+"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</"
+"quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, "
+"<quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks,"
+"</quote> <citetitle>American Prospect</citetitle>, January 2002; "
+"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> "
+"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 "
+"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech "
+"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, "
+"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic "
+"Frontier Foundation, <quote>Frequently Asked Questions about "
"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> "
-"Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Legal Case,</quote> available at <ulink url=\"http://free-culture.cc/notes/"
+"
\">link #27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
"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 "
"originally stood, granted them. Using encryption, SDMI hoped to develop a "
-"standard that would allow the content owner to say \"this music cannot be "
-"copied,\" and have a computer respect that command. The technology was to "
-"be part of a \"trusted system\" of control that would get content owners to "
-"trust the system of the Internet much more."
+"standard that would allow the content owner to say <quote>this music cannot "
+"be copied,</quote> and have a computer respect that command. The technology "
+"was to be part of a <quote>trusted system</quote> of control that would get "
+"content owners to trust the system of the Internet much more."
msgstr ""
"sdmi-koalisjonen hadde som mål en teknologi for å aktivere innholdseiere å "
"utøve mye bedre kontroll over deres innhold enn Internett, som den "
"Any disclosure of information gained from participating in the Public "
"Challenge would be outside the scope of activities permitted by the "
"Agreement and could subject you and your research team to actions under the "
-"Digital Millennium Copyright Act (\"DMCA\")."
+"Digital Millennium Copyright Act (<quote>DMCA</quote>)."
msgstr ""
"enhver formidling av informasjon fra å delta i offentlig challenge ville "
"være utenfor omfanget av aktiviteter som er tillatt i henhold til avtalen og "
"be banned because it was a copyright-infringing technology: It enabled "
"consumers to copy films without the permission of the copyright owner. No "
"doubt there were uses of the technology that were legal: Fred Rogers, aka "
-"\"<citetitle>Mr. Rogers</citetitle>,\" for example, had testified in that "
-"case that he wanted people to feel free to tape Mr. Rogers' Neighborhood. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified "
+"in that case that he wanted people to feel free to tape Mr. Rogers' "
+"
Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av "
"paul conrad. på den tiden, en domstol i california hadde holdt at "
#. type: Content of: <book><part><chapter><section><blockquote><para>
msgid ""
"Some public stations, as well as commercial stations, program the "
-"\"Neighborhood\" at hours when some children cannot use it. I think that "
-"it's a real service to families to be able to record such programs and show "
-"them at appropriate times. I have always felt that with the advent of all of "
-"this new technology that allows people to tape the \"Neighborhood\" off-the-"
-"air, and I'm speaking for the \"Neighborhood\" because that's what I "
-"produce, that they then become much more active in the programming of their "
-"family's television life. Very frankly, I am opposed to people being "
-"programmed by others. My whole approach in broadcasting has always been "
-"\"You are an important person just the way you are. You can make healthy "
-"decisions.\" 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"<quote>Neighborhood</quote> at hours when some children cannot use it. I "
+"think that it's a real service to families to be able to record such "
+"programs and show them at appropriate times. I have always felt that with "
+"the advent of all of this new technology that allows people to tape the "
+"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the "
+"<quote>Neighborhood</quote> because that's what I produce, that they then "
+"become much more active in the programming of their family's television "
+"life. Very frankly, I am opposed to people being programmed by others. My "
+"whole approach in broadcasting has always been <quote>You are an important "
+"person just the way you are. You can make healthy decisions.</quote> 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.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 170
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, "
-"Copyright, Fan Fiction, and a New Common Law,\" <citetitle>Loyola of Los "
-"Angeles Entertainment Law Journal</citetitle> 17 (1997): 651."
+"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal "
+"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> "
+"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 "
+"(1997): 651."
msgstr ""
"for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-"
"fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles "
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" "
-"<citetitle>New York Times</citetitle>, 23 December 2002."
+"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to "
+"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002."
msgstr ""
"lynette holloway, \"til tross for en markedsføring blitz cd salg fortsette å "
"skyve,\" new york times, 23 desember 2002."
#. type: Content of: <book><part><chapter><section><para><footnote><para>
#, mtrans, fuzzy
msgid ""
-"Molly Ivins, \"Media Consolidation Must Be Stopped,\" <citetitle>Charleston "
-"Gazette</citetitle>, 31 May 2003."
+"Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> "
+"<citetitle>Charleston Gazette</citetitle>, 31 May 2003."
msgstr ""
"Molly ivins, \"media konsolidering må stoppes,\" charleston gazette, 31 kan "
"2003."
msgid "McCain, John"
msgstr "McCain, John"
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "Universal Music Group"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "Warner Music Group"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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, \"five "
-"companies control 85 percent of our media sources.\"<placeholder type="
-"\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/> "
-"The \"five largest cable companies pipe programming to 74 percent of the "
-"cable subscribers nationwide.\"<placeholder type=\"footnote\" id=\"2\"/> "
-"<placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" "
-"id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/> <placeholder type="
-"\"indexterm\" id=\"6\"/> <placeholder type=\"indexterm\" id=\"7\"/>"
-msgstr ""
-
-#. PAGE BREAK 174
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The story with radio is even more dramatic. Before deregulation, the "
-"nation's largest radio broadcasting conglomerate owned fewer than seventy-"
-"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 "
-"stations. During that period of consolidation, the total number of radio "
-"owners dropped by 34 percent. Today, in most 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."
-msgstr ""
-"historien med radio er enda mer dramatisk. før dereguleringen, landets "
-"største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag "
-"eier en selskapet mer enn 1 200 stasjoner. i denne perioden av "
-"konsolidering, det totale antallet radio eiere droppet av 34 prosent. i dag, "
-"i de fleste markeder styre de to største broadcasters 74 prosent av dette "
-"markedet inntekter. Total, bare fire selskaper styre 90 prosent av landets "
-"radio annonsering inntekter."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 nation's "
-"circulation. There are twenty major newspaper publishers in the United "
-"States. The top ten film studios receive 99 percent of all film revenue. The "
-"ten largest cable companies account for 85 percent 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."
-msgstr ""
-"avisen eierskap er i ferd med å bli mer konsentrert også. i dag, er det seks "
-"hundre færre daglige aviser i USA enn det var åtti år siden og ti selskaper "
-"kontroll halvparten av landets sirkulasjon. Det er tjue stor avis utgivere i "
-"USA. topp ti film studioer motta 99 prosent av alle inntekter for filmen. ti "
-"største kabelselskaper konto for 85 prosent av alle inntekter for kabel. "
-"Dette er et marked langt fra fri presse underskrev søkt å beskytte. Det er "
-"faktisk et marked som er svært godt beskyttet—av markedet."
-
-#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-msgid "Fallows, James"
-msgstr "Fallows, James"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"article about Rupert Murdoch, <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"konsentrasjon i størrelse alene er én ting. mer invidious endringen er i "
-"natur at konsentrasjon. som forfatter james fallows sette den i en fersk "
-"artikkel om rupert murdoch,"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-msgid ""
-"James Fallows, \"The Age of Murdoch,\" <citetitle>Atlantic Monthly</"
-"citetitle> (September 2003): 89. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"James Fallows, \"The Age of Murdoch,\" <citetitle>Atlantic Monthly</"
-"citetitle> (September 2003): 89. <placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-msgid ""
-"Murdoch's companies now constitute a production system unmatched in its "
-"integration. They supply content—Fox movies … Fox TV shows "
-"… Fox-controlled sports broadcasts, plus newspapers and books. They "
-"sell the content to the public and to advertisers—in newspapers, on "
-"the broadcast network, on the cable channels. And they operate the physical "
-"distribution system 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.<placeholder type=\"footnote\" "
-"id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"outlets of media as possible. A picture describes this pattern better than a "
-"thousand words could do:"
-msgstr ""
-"mønsteret med murdoch er mønsteret av moderne medier. ikke bare store "
-"selskaper å eie mange radiostasjoner, men noen selskaper å eie så mange "
-"uttak av media som mulig. et bilde beskriver bedre enn tusen ord kunne gjøre "
-"dette mønsteret:"
-
-#. type: Content of: <book><part><chapter><section><figure><title>
-msgid "Pattern of modern media ownership."
-msgstr "Mønster for moderne mediaeierskap."
-
-#. type: Content of: <book><part><chapter><section><figure>
-msgid "<graphic fileref=\"images/1761.png\"></graphic>"
-msgstr "<graphic fileref=\"images/1761.png\"></graphic>"
-
-#. PAGE BREAK 175
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"content?"
-msgstr ""
-"Betyr denne konsentrasjonen noe? Påvirker det hva som blir laget, eller hva "
-"som blir distribuert? Eller er det bare en mer effektiv måte å produsere og "
-"distribuere innhold?"
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"listening to a barrage of creators try to convince me to the contrary, I am "
-"beginning to change my mind."
-msgstr ""
-"Mitt syn var at konsentrasjonen ikke betød noe. Jeg tenkte det ikke var noe "
-"mer enn en mer effektiv finansiell struktur. Men nå, etter å ha lest og "
-"hørt på en haug av skapere prøve å overbevise meg om det motsatte, har jeg "
-"begynt å endre mening."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"Here's a representative story that begins to suggest how this integration "
-"may matter."
-msgstr ""
-"Her er en representativ historie som kan foreslå hvorfor denne integreringen "
-"er viktig."
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Lear, Norman"
-msgstr "Lear, Norman"
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "All in the Family"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 was too "
-"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy "
-"than the first. ABC was exasperated. You're missing the point, they told "
-"Lear. We wanted less edgy, not more."
-msgstr ""
-"I 1969 laget Norman Lear en polit for <citetitle>All in the Family</"
-"citetitle>. Han tok piloten til ABC, og nettverket likte det ikke. Da sa "
-"til Lear at det var for på kanten. Gjør det om igjen. Lear lagde piloten på "
-"nytt, mer på kanten enn den første. ABC ble fra seg. Du får ikke med deg "
-"poenget, fortalte de Lear. Vi vil ha det mindre på kanten, ikke mer."
-
-#. f29
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"Leonard Hill, \"The Axis of Access,\" remarks before Weidenbaum Center "
-"Forum, \"Entertainment Economics: The Movie Industry,\" St. Louis, Missouri, "
-"3 April 2003 (transcript of prepared remarks available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #28</ulink>; for the Lear story, not "
-"included in the prepared remarks, see <ulink url=\"http://free-culture.cc/"
-"notes/\">link #29</ulink>)."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"Lear held assured an independence from network control.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-msgstr ""
-"I stedet for å føye seg, to Lear ganske enkelt serien sin til noen andre. "
-"CBS var glad for å ha seriene, og ABC kunne ikke stoppe Lear fra å gå til "
-"andre. Opphavsretten som Lear hadde sikret uavhengighet fra nettverk-"
-"kontroll.<placeholder type=\"footnote\" id=\"0\"/>"
-
-#. PAGE BREAK 176
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The network did not control those copyrights because the law forbade the "
-"networks from controlling the content they syndicated. The law required a "
-"separation between the networks and the content producers; that separation "
-"would guarantee Lear freedom. And as late as 1992, because of these rules, "
-"the vast majority of prime time television—75 percent of it—was "
-"\"independent\" of the networks."
-msgstr ""
-"nettverket ikke kontrollere m├Ñte av opphavsrettighetene fordi lov forbød "
-"nettverk fra controlling the content de skal grupperes. loven kreves et "
-"skille mellom nettverkene og innhold produsenter; at separasjon ville "
-"garantere lear frihet. og så sent som i 1992, på grunn av disse reglene, det "
-"store flertallet av prime-time TV—75 prosent av det—var "
-"\"uavhengige\" av nettverk."
-
-#. f30
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media "
-"Ownership Before the Senate Commerce Committee, 108th Cong., 1st sess. "
-"(2003) (testimony of Gene Kimmelman on behalf of Consumers Union and the "
-"Consumer Federation of America), available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #30</ulink>. Kimmelman quotes Victoria Riskin, "
-"president of Writers Guild of America, West, in her Remarks at FCC En Banc "
-"Hearing, Richmond, Virginia, 27 February 2003."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"twenty-five independent television production studios; in 2002, only five "
-"independent television studios remained. \"In 1992, only 15 percent of new "
-"series were produced for a network by a company it controlled. Last year, "
-"the percentage of shows produced by controlled companies more than "
-"quintupled to 77 percent.\" \"In 1992, 16 new series were produced "
-"independently of conglomerate control, last year there was one."
-"\"<placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime "
-"time television was owned by the networks that ran it. \"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%.\"<placeholder type=\"footnote\" id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 less "
-"edgy or to be fired: The content of any show developed for a network is "
-"increasingly owned by the network."
-msgstr ""
-"i dag, en annen norman lear med en annen alle i familien ville finne at han "
-"måtte velge å gjøre showet mindre irritabel eller sparken: innholdet i et "
-"hvilket som helst Vis utviklet for et nettverk er i økende grad eid av "
-"nettverket."
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "Diller, Barry"
-msgstr "Diller, Barry"
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "Moyers, Bill"
-msgstr "Moyers, Bill"
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"Diller said to Bill Moyers, <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"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, "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/>"
-
-#. f32
-#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-msgid ""
-"\"Barry Diller Takes on Media Deregulation,\" <citetitle>Now with Bill "
-"Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>."
-msgstr ""
-"\"Barry Diller Takes on Media Deregulation,\" <citetitle>Now with Bill "
-"Moyers</citetitle>, Bill Moyers, 25 April 2003, redigert avskrift "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #31</"
-"ulink>."
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-msgid ""
-"Well, if you have companies that produce, that finance, that air on their "
-"channel and then distribute worldwide everything that goes through their "
-"controlled distribution system, then what you get is fewer and fewer actual "
-"voices participating in the process. [We u]sed to have dozens and dozens of "
-"thriving independent production companies producing television programs. Now "
-"you have less than a handful.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This narrowing has an effect on what is produced. The product of such large "
-"and concentrated networks is increasingly homogenous. Increasingly safe. "
-"Increasingly sterile. The product of news shows from networks like this is "
-"increasingly tailored to the message the network wants to convey. This is "
-"not the communist party, though from the inside, it must feel a bit like the "
-"communist party. No one can question without risk of consequence—not "
-"necessarily banishment to Siberia, but punishment nonetheless. Independent, "
-"critical, different views are quashed. This is not the environment for a "
-"democracy."
-msgstr ""
-"dette begrense har en effekt på det som produseres. produktet av slike store "
-"og konsentrert nettverk er stadig mer homogene. stadig mer trygg. stadig "
-"sterilt. produktet av nyhetsprogrammer fra nettverk som dette er stadig "
-"skreddersydd til meldingen nettverket ønsker å formidle. Dette er ikke det "
-"kommunistiske parten, selv om fra innsiden, må det føles litt som det "
-"kommunistiske parten. Ingen kan spørsmålet uten risiko for konsekvens—"
-"ikke nødvendigvis banishment til Sibir, men straff likevel. uavhengige, "
-"kritiske, forskjellige visninger er ødela. Dette er ikke miljø for et "
-"demokrati."
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Clark, Kim B."
-msgstr "Clark, Kim B."
-
-#. f33
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The "
-"Revolutionary National Bestseller that Changed the Way We Do Business</"
-"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen "
-"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. "
-"Clark, \"The Interaction of Design Hierarchies and Market Concepts in "
-"Technological Evolution,\" <citetitle>Research Policy</citetitle> 14 (1985): "
-"235–51. For a more recent study, see Richard Foster and Sarah Kaplan, "
-"<citetitle>Creative Destruction: Why Companies That Are Built to Last "
-"Underperform the Market—and How to Successfully Transform Them</"
-"citetitle> (New York: Currency/Doubleday, 2001)."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"Economics itself offers a parallel that explains why this integration "
-"affects creativity. Clay Christensen has written about the \"Innovator's "
-"Dilemma\": 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.<placeholder type="
-"\"footnote\" id=\"0\"/> 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. <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"are important, and the effect on culture is hard to measure."
-msgstr ""
-"Jeg tror ikke vi vet nok om økonomien i media markedet å si med sikkerhet "
-"hva konsentrasjon og integrering vil gjøre. effektiviteten er viktig, og "
-"effekten på kultur er vanskelig å måle."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"But there is a quintessentially obvious example that does strongly suggest "
-"the concern."
-msgstr "men det er en typiske åpenbare eksempel som sterkt at bekymringen."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"In addition to the copyright wars, we're in the middle of the drug wars. "
-"Government policy is strongly directed against the drug cartels; criminal "
-"and civil courts are filled with the consequences of this battle."
-msgstr ""
-"i tillegg til opphavsrett krigene er vi midt i narkotika-krigene. "
-"regjeringens politikk er sterkt rettet mot narkotika cartels; straffesaker "
-"og sivile domstolene er fylt med konsekvensene av denne kampen."
-
-#. PAGE BREAK 178
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"am not pro drugs. Indeed, I come from a family once wrecked by drugs—"
-"though the drugs that wrecked my family were all quite legal. I believe this "
-"war is a profound mistake because the collateral damage from it is so great "
-"as to make waging the war insane. When you add together the burdens on the "
-"criminal justice system, the desperation of generations of kids whose only "
-"real economic opportunities are as drug warriors, the queering of "
-"constitutional protections because of the constant surveillance this war "
-"requires, and, most profoundly, the total destruction of the legal systems "
-"of many South American nations because of the power of the local drug "
-"cartels, I find it impossible to believe that the marginal benefit in "
-"reduced drug consumption by Americans could possibly outweigh these costs."
-msgstr ""
-"La meg herved diskvalifisere meg selv fra en hvilken som helst mulig avtale "
-"til enhver posisjon i regjeringen ved å si jeg tror denne krigen er en dyp "
-"feil. Jeg er ikke pro narkotika. faktisk, jeg kommer fra en familie en gang "
-"havarerte av narkotika—om narkotika som havarerte familien min var "
-"alle helt lovlig. Jeg tror at denne krigen er en dyp feil fordi "
-"sikkerhetsstillelse skade fra det som er så stor at gjøre føre krig galskap. "
-"Når du legger til sammen byrdene på det strafferettslige systemet, "
-"desperasjon generasjoner av barna som har bare ekte økonomiske muligheter er "
-"som narkotika krigere, queering av konstitusjonelle vern på grunn av "
-"konstant overvåking krever at denne krigen, og, mest dypt total ødeleggelse "
-"av juridiske systemer av mange søramerikanske land på grunn av kraften i "
-"lokale stoffet cartelsJeg finner det umulig å tro at marginal nytte i "
-"redusert narkotikabruk av amerikanerne kunne muligens oppveier disse "
-"kostnadene."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"fundamentally upon the press to help inform Americans about these issues."
-msgstr ""
-"Det kan hende du ikke overbevist. Det er fint. Vi lever i et demokrati, og "
-"det er gjennom stemmer at vi skal velge policyen. men for å gjøre det, vi "
-"avhengig fundamentalt pressen for å informere amerikanerne om disse "
-"problemene."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Beginning in 1998, the Office of National Drug Control Policy launched a "
-"media campaign as part of the \"war on drugs.\" The campaign produced scores "
-"of short film clips about issues related to illegal drugs. In one series "
-"(the Nick and Norm series) two men are in a bar, discussing the idea of "
-"legalizing drugs as a way to avoid some of the collateral damage from the "
-"war. One advances an argument in favor of drug legalization. The other "
-"responds in a powerful and effective way against the argument of the first. "
-"In the end, the first guy changes his mind (hey, it's television). The plug "
-"at the end is a damning attack on the pro-legalization campaign."
-msgstr ""
-"starten i 1998, office of nasjonale narkotikapolitikken kontroll lansert en "
-"kampanje for media som en del av \"krigen mot narkotika.\" kampanjen "
-"produsert score til kort film klipp om problemer i forbindelse med illegale "
-"rusmidler. i én serie (nick og normen-serie) to menn er i en bar, diskuterer "
-"ideen om legalizing narkotika som en måte å unngå noen av "
-"sikkerhetsstillelse skade fra krigen. en avanserer et argument for narkotika "
-"legalization. de andre svarer på en kraftig og effektiv måte mot argumentet "
-"av første. til slutt, den første mann forandrer mening (Hei, det er TV). "
-"pluggen på slutten er en damning angrep på pro-legalization kampanjen."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Fair enough. It's a good ad. Not terribly misleading. It delivers its "
-"message well. It's a fair and reasonable message."
-msgstr ""
-"Fair nok. Det er en god annonse. ikke veldig misvisende. Det gir sin melding "
-"godt. Det er en rettferdig og rimelig melding."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"demonstrate the extraordinary collateral harm that comes from the drug war. "
-"Can you do it?"
-msgstr ""
-"men la oss si at du tror det er en feil melding, og du ønsker å kjøre en "
-"countercommercial. si du vil kjøre en rekke annonser som prøver å "
-"demonstrere den ekstraordinære sikkerhetsstillelse skaden som kommer fra "
-"stoffet krigen. kan du gjøre det?"
-
-#. PAGE BREAK 179
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 world to "
-"help you get your message out. Can you be sure your message will be heard "
-"then?"
-msgstr ""
-"Vel, tydeligvis, koste disse annonsene massevis av penger. Anta du heve "
-"penger. Anta at en gruppe av berørte borgere donerer alle pengene i verden "
-"for å hjelpe deg å få budskapet. kan du være sikker på at meldingen vil "
-"deretter bli hørt?"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "Comcast"
-msgstr "Comcast"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "Marijuana Policy Project"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "NBC"
-msgstr "NBC"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "WJOA"
-msgstr "WJOA"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "WRC"
-msgstr "WRC"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"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 \"against [their] policy."
-"\" The local NBC affiliate, WRC, rejected the ads without reviewing them. "
-"The local ABC affiliate, WJOA, originally agreed to run the ads and accepted "
-"payment to do so, but later decided not to run the ads and returned the "
-"collected fees. Interview with Neal Levine, 15 October 2003. These "
-"restrictions are, of course, not limited to drug policy. See, for example, "
-"Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection "
-"from TV Networks,\" <citetitle>New York Times</citetitle>, 13 March 2003, "
-"C4. Outside of election-related air time there is very little that the FCC "
-"or the courts are willing to do to even the playing field. For a general "
-"overview, see Rhonda Brown, \"Ad Hoc Access: The Regulation of Editorial "
-"Advertising on Television and Radio,\" <citetitle>Yale Law and Policy "
-"Review</citetitle> 6 (1988): 449–79, and for a more recent summary of "
-"the stance of the FCC and the courts, see <citetitle>Radio-Television News "
-"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d "
-"872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as "
-"the networks. In a recent example from San Francisco, the San Francisco "
-"transit authority rejected an ad that criticized its Muni diesel buses. "
-"Phillip Matier and Andrew Ross, \"Antidiesel Group Fuming After Muni Rejects "
-"Ad,\" SFGate.com, 16 June 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #32</ulink>. The ground was that the criticism was "
-"\"too controversial.\" <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
-"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type="
-"\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"No. You cannot. Television stations have a general policy of avoiding "
-"\"controversial\" ads. Ads sponsored by the government are deemed "
-"uncontroversial; ads disagreeing with the government are controversial. "
-"This selectivity might be thought inconsistent with the First Amendment, but "
-"the Supreme Court has held that stations have 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.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"that condition into doubt. If a handful of companies control access to the "
-"media, and that handful of companies gets to decide which political "
-"positions it will allow to be promoted on its channels, then in an obvious "
-"and important way, concentration 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."
-msgstr ""
-"Jeg ville være glad for å forsvare nettverk rettigheter, samt—hvis vi "
-"bodde i en medier markedet som var virkelig mangfoldig. men konsentrasjon i "
-"media kaster den betingelsen i tvil. Hvis en håndfull selskaper kontrollere "
-"tilgangen til media, og at håndfull selskaper kommer til å bestemme hvilke "
-"politiske holdninger som den gjør det mulig å bli forfremmet på sine "
-"kanaler, så i en åpenbare og viktig måte, konsentrasjon teller. du kanskje "
-"liker posisjoner håndfull selskaper velger. men du bør ikke liker en verden "
-"der bare en noen kommer til å bestemme hvilke problemer med resten av oss få "
-"vite om."
-
-#. type: Content of: <book><part><chapter><section><title>
-msgid "Together"
-msgstr "Sammen"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"There is something innocent and obvious about the claim of the copyright "
-"warriors that the government should \"protect my property.\" In the "
-"abstract, it is obviously true and, ordinarily, totally harmless. No sane "
-"sort who is not an anarchist could disagree."
-msgstr ""
-"Det er noe uskyldig og åpenbar om kravet om opphavsrett warriors at "
-"regjeringen bør \"beskytte min egenskapen.\" i abstrakt, det er åpenbart "
-"sann og, vanligvis helt ufarlig. Ingen forstandig sortering som ikke er en "
-"Anarkisten kan uenige."
-
-#. PAGE BREAK 180
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"But when we see how dramatically this \"property\" has changed— when "
-"we recognize how it might now interact with both technology and markets to "
-"mean that the effective constraint on the liberty to cultivate our culture "
-"is dramatically different—the claim begins to seem less innocent and "
-"obvious. Given (1) the power of technology to supplement the law's control, "
-"and (2) the power of concentrated markets to weaken the opportunity for "
-"dissent, if strictly enforcing the massively expanded \"property\" rights "
-"granted by copyright fundamentally changes the freedom within this culture "
-"to cultivate and build upon our past, then we have to ask whether this "
-"property should be redefined."
-msgstr ""
-"men når vi ser hvor dramatisk denne \"property\" er endret—når vi "
-"innser hvor den kan nå kommunisere med både teknologi og markeder å bety at "
-"effektiv begrensningen på den frihet å dyrke vår kultur er dramatisk "
-"annerledes—kravet begynner å synes mindre uskyldig og åpenbar. gitt "
-"(1) den kraftige teknologi til å supplere lovens kontroll, og (2) makt "
-"konsentrert markeder for å svekke muligheten for dissens, hvis strengt "
-"håndheve massivt utvidet \"property\"-rettigheter som er gitt av copyright "
-"fundamentalt endres frihet i denne kulturen til å dyrke og bygge på vår "
-"fortid, så må vi spørre om denne egenskapen skal defineres."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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, "
-"disastrous for the most important creative enterprises within our culture "
-"today."
-msgstr ""
-"ikke starkly. eller absolutt. Mitt poeng er ikke at vi bør avskaffe "
-"copyright eller gå tilbake til 1700-tallet. det ville være en totalt feil, "
-"katastrofalt for de viktigste kreative bedriftene i vår kultur i dag."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"But there is a space between zero and one, Internet culture "
-"notwithstanding. And these massive shifts in the effective power of "
-"copyright regulation, tied to increased concentration of the content "
-"industry and resting in the hands of technology that will increasingly "
-"enable control over the use of culture, should drive us to consider whether "
-"another adjustment is called for. Not an adjustment that increases "
-"copyright's power. Not an adjustment that increases its term. Rather, an "
-"adjustment to restore the balance that has traditionally defined copyright's "
-"regulation—a weakening of that regulation, to strengthen creativity."
-msgstr ""
-"men det er et mellomrom mellom null og én, Internett-kultur til tross for. "
-"og disse massiv Skift i effektiv kraft av opphavsrett regulering, knyttet "
-"til økt konsentrasjon av innhold industrien og hvile i hendene på teknologi "
-"som i økende grad vil aktivere kontroll over bruken av kultur, bør kjøre oss "
-"til å vurdere om en annen justering kalles for. ikke en justering som øker "
-"copyright's strøm. ikke en justering som øker sin sikt. snarere en justering "
-"for å gjenopprette balansen som tradisjonelt har definert copyright's "
-"regulering—en svekkelse av den reguleringen, å styrke kreativitet."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 flout. "
-"Instead, copyright power has grown dramatically in a short period of time, "
-"as the technologies of distribution and creation have changed and as "
-"lobbyists have pushed for more control by copyright holders. Changes in the "
-"past in response to changes in technology suggest that we may well need "
-"similar changes in the future. And these changes have to be "
-"<emphasis>reductions</emphasis> in the scope of copyright, in response to "
-"the extraordinary increase in control that technology and the market enable."
-msgstr ""
-"lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett "
-"med konstant forpliktelser gir at for noen mystisk grunn, tenåringer og "
-"geeks nå blaffen. i stedet, opphavsrett makt har vokst dramatisk i en kort "
-"periode, som teknologien av distribusjons- og etableringen er endret og som "
-"lobbyister har presset for mer kontroll av innehaver av opphavsrett. "
-"endringer i siste endringene i teknologi tyder på at vi kan godt trenger "
-"lignende endringer i fremtiden. og disse endringene må være reduksjoner i "
-"omfanget av opphavsrett, svar på det ekstraordinære økning i kontrollen som "
-"teknologi og markedet aktivere."
-
-#. PAGE BREAK 181
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"the effect of changing law, concentrated markets, and changing technology, "
-"together they produce an astonishing conclusion: <emphasis>Never in our "
-"history have fewer had a legal right to control more of the development of "
-"our culture than now</emphasis>."
-msgstr ""
-"for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi "
-"ser bare etter kartlegging på rekke disse endringene. Når du legger sammen "
-"til effekten av å endre loven, konsentrert markeder, og endre teknologien, "
-"sammen de produserer en forbløffende konklusjon: aldri i vår historie har "
-"færre hadde en lovfestet rett til å styre flere av utviklingen av vår kultur "
-"enn nå."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"Siva Vaidhyanathan captures a similar point in his \"four surrenders\" of "
-"copyright law in the digital age. See Vaidhyanathan, 159–60. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Siva Vaidhyanathan fanger et lignende poeng i hans \"fire kapitulasjoner\" "
-"for opphavsrettsloven i den digitale tidsalder. Se Vaidhyanathan, "
-"159–60. <placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"Not when copyrights were perpetual, for when copyrights were perpetual, they "
-"affected only that precise creative work. Not when only publishers had the "
-"tools to publish, for the market then was much more diverse. Not when there "
-"were only three television networks, for even then, newspapers, film "
-"studios, radio stations, and publishers were independent of the networks. "
-"<emphasis>Never</emphasis> has copyright protected such a wide range of "
-"rights, against as broad a range of actors, for a term that was remotely as "
-"long. This form of regulation—a tiny regulation of a tiny part of the "
-"creative energy of a nation at the founding—is now a massive "
-"regulation 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."
-"<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid "This has been a long chapter. Its point can now be briefly stated."
-msgstr "Dette har vært en lang kapittel. sitt punkt kan nå kort oppgis."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"At the start of this book, I distinguished between commercial and "
-"noncommercial culture. In the course of this chapter, I have distinguished "
-"between copying a work and transforming it. We can now combine these two "
-"distinctions and draw a clear map of the changes that copyright law has "
-"undergone. In 1790, the law looked like this:"
-msgstr ""
-"i starten av denne boken skilte jeg mellom kommersielle og ikke-kommersiell "
-"kultur. i løpet av dette kapitlet, har jeg skilte mellom kopiere et arbeid "
-"og transformerer det. Vi kan nå kombinere disse to utmerkelser og tegne en "
-"Fjern tilordning av endringene som har gjennomgått en lov om opphavsrett. i "
-"1790, loven så ut som dette:"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-msgid "PUBLISH"
-msgstr "Publisere"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-msgid "TRANSFORM"
-msgstr "Omforme"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-msgid "Commercial"
-msgstr "Kommersiell"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-msgid "©"
-msgstr "©"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-msgid "Free"
-msgstr "Fri"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-msgid "Noncommercial"
-msgstr "Ikke-kommersiell"
-
-#. PAGE BREAK 182
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 only "
-"with registration, and only those who intended to benefit commercially would "
-"register, copying through publishing of noncommercial work was also free."
-msgstr ""
-"loven av publisering på et kart, diagram og boken var regulert av lov om "
-"opphavsrett. ingenting annet var. transformasjoner var gratis. og som "
-"copyright tilknyttet bare med registrering, og bare de som ment å gagne "
-"kommersielt ville registrere, kopiere gjennom publisering av ikke-"
-"kommersielt arbeid var også gratis."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid "By the end of the nineteenth century, the law had changed to this:"
-msgstr ""
-"På slutten av det nittende århundre hadde loven blitt endret til dette:"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Derivative works were now regulated by copyright law—if published, "
-"which again, given the economics of publishing at the time, means if offered "
-"commercially. But noncommercial publishing and transformation were still "
-"essentially free."
-msgstr ""
-"avledede var nå regulert av lov om opphavsrett—Hvis publisert, som "
-"igjen, gitt økonomien i publisering på tiden, betyr hvis tilbudt "
-"kommersielt. men ikke-kommersiell publisering og transformasjon var fortsatt "
-"hovedsakelig gratis."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"copying became more prevalent, the reach of the law expanded. Thus by 1975, "
-"as photocopying machines became more common, we could say the law began to "
-"look like this:"
-msgstr ""
-"i 1909 loven endres til regulere Kopier, ikke publisere, og etter denne "
-"endringen omfanget av loven var knyttet til teknologi. som teknologi med å "
-"kopiere ble mer utbredt, utvidet rekkevidden av loven. dermed ved 1975, "
-"kunne som fotokopiering maskiner ble mer vanlig, vi si loven begynte å se "
-"slik ut:"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-msgid "COPY"
-msgstr "Kopiere"
-
-#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-msgid "©/Free"
-msgstr "©/Fri"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The law was interpreted to reach noncommercial copying through, say, copy "
-"machines, but still much of copying outside of the commercial market "
-"remained free. But the consequence of the emergence of digital technologies, "
-"especially in the context of a digital network, means that the law now looks "
-"like this:"
-msgstr ""
-"loven ble tolket for å nå reklamefrie kopiering gjennom, si, kopimaskiner, "
-"men fortsatt mye med å kopiere utenfor det kommersielle markedet vært "
-"gratis. men konsekvensen av fremveksten av digitale teknologier, spesielt i "
-"sammenheng med en digital network, betyr at loven nå ser slik ut:"
-
-#. PAGE BREAK 183
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"not, transformative or not—with the same rules designed to regulate "
-"commercial publishers."
-msgstr ""
-"hver riket er underlagt lov om opphavsrett, mens før de fleste kreativitet "
-"ikke var. loven regulerer nå hele omfanget av kreativitet—kommersielle "
-"eller ikke, transformative eller ikke – med de samme reglene som er utformet "
-"for å regulere kommersielle utgivere."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"extending the regulations of copyright law into each of these domains "
-"actually does any good."
-msgstr ""
-"tydeligvis er lov om opphavsrett ikke fienden. fienden er regulering som "
-"virker ikke godt. Så spørsmålet som vi bør spørre akkurat nå er enten utvide "
-"forskrifter om opphavsrett i hver av disse domenene faktisk gjør noe bra."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"regulates just now) noncommercial copying and, especially, noncommercial "
-"transformation. And increasingly, for the reasons sketched especially in "
-"chapters <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/> and "
-"<xref xrefstyle=\"select: labelnumber\" linkend=\"transformers\"/>, 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."
-msgstr ""
-"Jeg har ingen tvil om at den gjør bra i regulerer kommersielle kopiering. "
-"men jeg har ingen tvil om at det gjør mer skade enn bra når regulerer (som "
-"den regulerer akkurat nå) ikke-kommersiell kopiering og, spesielt, ikke-"
-"kommersiell transformasjon også. og i økende grad av årsaker som skisserte "
-"spesielt i kapitlene 7 og 8, en kan vel rart om det gjør mer skade enn godt "
-"for kommersielle transformasjon. mer kommersielt transformative arbeid vil "
-"bli opprettet hvis avledede rettigheter ble mer kraftig begrenset."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "legal realist movement"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"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, \"The Disintegration of Property,"
-"\" in <citetitle>Nomos XXII: Property</citetitle>, J. Roland Pennock and "
-"John W. Chapman, eds. (New York: New York University Press, 1980). "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Det var enkelt viktigste bidrag av juridiske realist-bevegelse for å "
-"demonstrere at alle eiendomsrettigheter alltid er laget for å balansere "
-"offentlige og private interesser. se thomas c. grey, \"oppløsningen av "
-"eiendom,\" i nomos xxii: eiendom, j. roland pennock og john w. Chapman, Red. "
-"(new york: new york university press, 1980)."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"The issue is therefore not simply whether copyright is property. Of course "
-"copyright is a kind of \"property,\" 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<placeholder "
-"type=\"footnote\" id=\"0\"/>) 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 technologies. And for almost half of our tradition, the "
-"\"copyright\" did not control <emphasis>at all</emphasis> the freedom of "
-"others to 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."
-msgstr ""
-
-#. PAGE BREAK 184
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"We achieved that free culture because our law respected important limits on "
-"the scope of the interests protected by \"property.\" The very birth of "
-"\"copyright\" as a statutory right recognized those limits, by granting "
-"copyright owners protection for a limited time only (the story of chapter "
-"6). The tradition of \"fair use\" is animated by a similar concern that is "
-"increasingly under strain as the costs of exercising any fair use right "
-"become unavoidably high (the story of chapter 7). Adding statutory rights "
-"where markets might stifle innovation is another familiar limit on the "
-"property right that copyright is (chapter 8). And granting archives and "
-"libraries a broad freedom to collect, claims of property notwithstanding, is "
-"a crucial part of guaranteeing the soul of a culture (chapter 9). Free "
-"cultures, like free markets, are built with property. But the nature of the "
-"property that builds a free culture is very different from the extremist "
-"vision that dominates the debate today."
-msgstr ""
-"Vi oppnådde at fri kultur fordi vår lov respektert viktig begrensninger på "
-"omfanget av interessene beskyttet av \"egenskapen.\" svært fødselen av "
-"\"copyright\" som en lovfestet rett gjenkjennes disse grensene, ved å gi "
-"eiere av opphavsretter beskyttelse for en begrenset tid bare (historien om "
-"kapittel 6). tradisjonen med \"fair use\" animert av et lignende problem som "
-"er stadig under press som kostnadene for å utøve noen rettferdig bruk høyre "
-"bli uunngåelig høy (historien om kapittel 7). legge lovbestemte rettigheter "
-"der markeder kan kveler innovasjon er en annen kjent grensen på eiendommen "
-"høyre at opphavsretten er (kapittel 8). og gi arkiver og biblioteker en bred "
-"frihet til å samle inn, påstander om egenskapen tross, er en avgjørende del "
-"av garanterer sjelen til en kultur (kapittel 9). gratis kulturer, som gratis "
-"markeder, er bygget med egenskapen. men innholdet i egenskapen som bygger en "
-"fri kultur er svært forskjellig fra ekstremistgrupper visjonen som dominerer "
-"debatten i dag."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"Internet present to twentieth-century business models for producing and "
-"distributing culture, the law and technology are being transformed in a way "
-"that will undermine our tradition of free culture. The property right that "
-"is copyright is no longer the balanced right that it was, or was intended to "
-"be. The property right that is copyright has become unbalanced, tilted "
-"toward an extreme. The opportunity to create and transform becomes weakened "
-"in a world in which creation requires permission and creativity must check "
-"with a lawyer."
-msgstr ""
-"fri kultur er stadig havariet i denne krigen mot piratkopiering. som svar på "
-"en ekte, hvis ikke kvantifisert, trusselen som teknologien av Internett "
-"presentere til 1900-tallet forretningsmodeller for produksjon og "
-"distribusjon av kultur, blir lov og teknologi forvandlet på en måte som vil "
-"undergrave vår tradisjon for fri kultur. eiendommen er copyright ikke lenger "
-"rettigheten balansert som det var, eller var ment å være. egenskapen akkurat "
-"det vil si opphavsrett har blitt ubalansert, skråstilt mot en ekstrem. "
-"muligheten til å opprette og transformere blir svekket i en verden der "
-"oppretting krever tillatelse og kreativitet må kontrollere med en advokat."
-
-#. type: Content of: <book><part><title>
-msgid "PUZZLES"
-msgstr "Nøtter"
-
-#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER ELEVEN: Chimera"
-msgstr "Kapittel elleve: Chimera"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "chimeras"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Wells, H. G."
-msgstr "Wells, H. G."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid ""Country of the Blind, The" (Wells)"
-msgstr ""
-
-#. f1.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, "
-"<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael "
-"Sherborne, ed. (New York: Oxford University Press, 1996)."
-msgstr ""
-"H. G. Wells, \"The Country of the Blind\" (1904, 1911). Se H. G. Wells, "
-"<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael "
-"Sherborne, ed. (New York: Oxford University Press, 1996)."
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"In a well-known 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.<placeholder type=\"footnote\" id=\"0\"/> The valley is "
-"extraordinarily beautiful, with \"sweet water, pasture, an even climate, "
-"slopes of rich brown soil with tangles of a shrub that bore an excellent "
-"fruit.\" But the villagers are all blind. Nunez takes this as an "
-"opportunity. \"In the Country of the Blind,\" he tells himself, \"the One-"
-"Eyed Man is King.\" So he resolves to live with the villagers to explore "
-"life as a king."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 \"blind.\" "
-"They don't have the word <citetitle>blind</citetitle>. They think he's just "
-"thick. Indeed, as they increasingly notice the things he can't do (hear the "
-"sound of grass being stepped on, for example), they increasingly try to "
-"control him. He, in turn, becomes increasingly frustrated. \"`You don't "
-"understand,' he cried, in a voice that was meant to be great and resolute, "
-"and which broke. `You are blind and I can see. Leave me alone!'\""
-msgstr ""
-"ting går ikke helt som han har planlagt. han prøver å forklare idéen om "
-"synet til landsbyboere. de forstår ikke. Han forteller dem at de er \"blind."
-"\" de ikke har word-blind. de tror han er bare tykk. faktisk, som de stadig "
-"mer merke tingene han ikke kan gjøre (høre lyden av gress å bli trappet på, "
-"for eksempel), de stadig prøver å kontrollere ham. han, i sin tur blir "
-"stadig mer frustrert. \"du ikke forstår, han gråt, i en stemme som var ment "
-"å være stor og resolutt, og som brøt. ' du er blind, og jeg kan se. La meg "
-"være! \"\""
-
-#. PAGE BREAK 187
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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, "
-"a young woman who to him seems \"the most beautiful thing in the whole of "
-"creation,\" understands the beauty of sight. Nunez's description of what he "
-"sees \"seemed to her the most poetical of fancies, and she listened to his "
-"description of the stars and the mountains and her own sweet white-lit "
-"beauty as though it was a guilty indulgence.\" \"She did not believe,\" "
-"Wells tells us, and \"she could only half understand, but she was "
-"mysteriously delighted.\""
-msgstr ""
-"landsbyboere la ikke ham være. heller ikke har de ser (så å si) kraft av sin "
-"spesielle kraft. ikke engang ultimate målet for hans hengivenhet, en ung "
-"kvinne som til ham synes \"det vakreste tingen i hele skapelse,\" forstår "
-"skjønnheten av syne. nunez's beskrivelse av det han ser \"syntes å henne de "
-"mest poetiske liker, og hun lyttet til hans beskrivelse av stjerner og "
-"fjellene og hennes egen søte hvite tent skjønnhet som om det var en skyldig "
-"overbærenhet.\" \"hun ikke tro,\" brønner forteller oss, og \"hun kunne bare "
-"halvparten forstår, men hun var mysteriously glad.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"When Nunez announces his desire to marry his \"mysteriously delighted\" "
-"love, the father and the village object. \"You see, my dear,\" her father "
-"instructs, \"he's an idiot. He has delusions. He can't do anything right.\" "
-"They take Nunez to the village doctor."
-msgstr ""
-"Når nunez kunngjør hans ønske om å gifte seg med hans \"mysteriously glad\" "
-"kjærlighet, Faderen og landsbyen-objekt. \"du se, min kjære,\" hennes far "
-"instruerer, \"han er en idiot. Han har delusions. han kan ikke gjøre noe "
-"høyre. \"de tar nunez til landsbyen legen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"After a careful examination, the doctor gives his opinion. \"His brain is "
-"affected,\" he reports."
-msgstr ""
-"etter en forsiktig eksamen gir legen sin mening. \"hans hjernen er berørt,\" "
-"rapporterer han."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"What affects it?\" the father asks. \"Those queer things that are called "
-"the eyes … are diseased … in such a way as to affect his brain."
-"\""
-msgstr ""
-"\"hva påvirker det?\" spør Faderen. \"de skeiv ting som kalles øynene... er "
-"sykelig... på en måte som påvirker hans hjernen.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The doctor continues: \"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 easy "
-"surgical operation—namely, to remove these irritant bodies [the eyes]."
-"\""
-msgstr ""
-"legen fortsetter: \"Jeg tror jeg kan si med rimelig sikkerhet at for å "
-"helbrede ham helt, alt vi trenger å gjøre er en enkel og lett kirurgisk "
-"operasjon – nemlig å fjerne disse irriterende organer [øynene].\""
-
-#. PAGE BREAK 188
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"Thank Heaven for science!\" says the father to the doctor. They inform "
-"Nunez of this condition necessary for him to be allowed his bride. (You'll "
-"have to read the original to learn what happens in the end. I believe in "
-"free culture, but never in giving away the end of a story.) It sometimes "
-"happens that the eggs of twins fuse in the mother's womb. That fusion "
-"produces a \"chimera.\" A chimera is a single creature with two sets of DNA. "
-"The DNA in the blood, for example, might be different from the DNA of the "
-"skin. This possibility is an underused plot for murder mysteries. \"But the "
-"DNA shows with 100 percent certainty that she was not the person whose blood "
-"was at the scene. …\""
-msgstr ""
-"\"thank heaven for science!\", sier faren til legen. de informere nunez av "
-"denne tilstanden som er nødvendig for ham å være tillatt hans brud. (du må "
-"lese den opprinnelige Hvis du vil vite hva som skjer i slutten. jeg tror i "
-"fri kultur, men aldri i slutten av en historie for utdeling.) det skjer noen "
-"ganger at egg med tvillinger sikring i en mors mage. at fusion produserer en "
-"\"chimera.\" en chimera er en enkelt skapning med to sett med dna. dna i "
-"blodet, for eksempel, kan være forskjellig fra dna av huden. Denne "
-"muligheten er en underused tomten for mordet mysteriene. \"men dna viser med "
-"100 prosent sikkerhet at hun ikke var personen med blod ble på scenen....\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the code of an individual. Yet in fact, not only can two individuals have "
-"the same set of DNA (identical twins), but one person can have two different "
-"sets of DNA (a chimera). Our understanding of a \"person\" should reflect "
-"this reality."
-msgstr ""
-"før jeg hadde lest om regenererende, ville jeg sagt de var umulig. en enkelt "
-"person kan ikke ha to sett med dna. selve idéen om dna er at det er koden "
-"for en person. men faktisk, ikke bare kan to personer har samme sett med dna "
-"(identisk tvillinger), men en person kan ha to forskjellige sett med dna (en "
-"chimera). vår forståelse av en \"person\" skal gjenspeile denne "
-"virkeligheten."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The more I work to understand the current struggle over copyright and "
-"culture, which I've sometimes called unfairly, and sometimes not unfairly "
-"enough, \"the copyright wars,\" the more I think we're dealing with a "
-"chimera. For example, in the battle over the question \"What is p2p file "
-"sharing?\" both sides have it right, and both sides have it wrong. One side "
-"says, \"File sharing is just like two kids taping each others' records—"
-"the sort of thing we've been doing for the last thirty years without any "
-"question at all.\" That's true, at least in part. When I tell my best friend "
-"to try out a new CD that I've bought, but rather than just send the CD, I "
-"point him to my p2p server, that is, in all relevant respects, just like "
-"what every executive in every recording company no doubt did as a kid: "
-"sharing music."
-msgstr ""
-"Jo mer jeg arbeider for å forstå gjeldende kampen over copyright og kultur, "
-"som jeg har noen ganger kalt urettferdig, og noen ganger ikke urettferdig "
-"nok, \"copyright krigene,\" jo mer jeg tror vi arbeider med en chimera. for "
-"eksempel i strid om spørsmålet \"Hva er p2p fildeling?\" begge sider har det "
-"rett, og begge sider har det galt. ene siden sier, \"fildeling er akkurat "
-"som to barn taping hverandres poster—slags ting vi har gjort de siste "
-"tretti årene uten spørsmål ved alt.\" som er sann, i det minste delvis. Når "
-"jeg forteller min beste venn å prøve ut en ny cd som jeg har kjøpt, men i "
-"stedet for å bare sende cd, jeg peke ham til p2p-serveren, det vil si i alle "
-"relevante henseender, akkurat som hva hver executive i hver innspilling "
-"selskapet uten tvil gjorde som en unge: deling av musikk."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"friends can get access, but it stretches the meaning of \"friends\" beyond "
-"recognition to say \"my ten thousand best friends\" can get access. Whether "
-"or not sharing my music with my best friend is what \"we have always been "
-"allowed to do,\" we have not always been allowed to share music with \"our "
-"ten thousand best friends.\""
-msgstr ""
-"men beskrivelsen er også falske delvis. for når min p2p-serveren er på en "
-"p2p kan nettverk som alle kan få tilgang til min musikk, deretter sikker, "
-"mine venner kan få tilgang, men det strekker seg betydningen av \"venner\" "
-"det ugjenkjennelige å si \"mine ti tusen beste venner\" få tilgang. om dele "
-"min musikk med min beste venn er hva \"vi har alltid vært tillatt å gjøre,\" "
-"vi har ikke alltid vært tillatt å dele musikk med \"våre ti tusen beste "
-"venner.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Likewise, when the other side says, \"File sharing is just like walking into "
-"a Tower Records and taking a CD off the shelf and walking out with it,\" "
-"that's true, at least in part. If, after Lyle Lovett (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. <placeholder type="
-"\"indexterm\" id=\"0\"/>"
-msgstr ""
-"på samme måte når den andre siden, sier, \"fildeling er akkurat som å vandre "
-"inn i en tower records og tar en cd av sokkelen og vandre ut med det,\" som "
-"er sann, i det minste delvis. Hvis, etter at lyle lovett (endelig) slipper "
-"et nytt album, heller enn å kjøpe det, jeg går til kazaa og finne en gratis "
-"kopi til å ta, det er veldig mye som å stjele en kopi fra tårnet."
-
-#. PAGE BREAK 189
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"Tower Records, I get a bit of plastic and a cover, and something to show on "
-"my shelves. (And, while we're at it, we could also note that when I take a "
-"CD from Tower Records, the maximum fine that might be imposed on me, under "
-"California law, at least, is $1,000. According to the RIAA, by contrast, if "
-"I download a ten-song CD, I'm liable for $1,500,000 in damages.)"
-msgstr ""
-"men det er ikke helt stjele fra tårnet. tross alt, når jeg tar en cd fra "
-"tower records, har tårnet en mindre cd å selge. og når jeg tar en cd fra "
-"tower records, får jeg en bit av plast og et dekke, og noe å vise på min "
-"hyller. (og mens vi er i gang, vi kan også oppmerksom på at når jeg tar en "
-"cd fra tower records, maksimum fine som kan bli pålagt på meg, under "
-"california lov, i det minste er $1000. Ifølge riaa, derimot, er hvis jeg "
-"dataoverføre en ti-sang-cd, jeg ansvarlig for $1,500,000 i skader.)"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"a chimera. And rather than simply denying what the other side asserts, we "
-"need to begin to think about how we should respond to this chimera. What "
-"rules should govern it?"
-msgstr ""
-"Poenget er ikke at det er som verken side beskriver. Poenget er at det er "
-"både—både som riaa beskriver det og som kazaa beskriver den. Det er en "
-"chimera. og i stedet for bare nekte på den andre siden hevder, vi trenger "
-"for å begynne å tenke på hvordan vi skal reagere på denne chimera. hvilke "
-"regler bør styre det?"
-
-#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-msgid "Conyers, John, Jr."
-msgstr "Conyers, John, Jr."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "Berman, Howard L."
-msgstr "Berman, Howard L."
-
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"For an excellent summary, see the report prepared by GartnerG2 and the "
-"Berkman Center for Internet and Society at Harvard Law School, \"Copyright "
-"and Digital Media in a Post-Napster World,\" 27 June 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #33</ulink>. Reps. John "
-"Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill "
-"that would treat unauthorized on-line copying as a felony offense with "
-"punishments ranging as high as five years imprisonment; see Jon Healey, "
-"\"House Bill Aims to Up Stakes on Piracy,\" <citetitle>Los Angeles Times</"
-"citetitle>, 17 July 2003, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #34</ulink>. Civil penalties are currently set at $150,000 per "
-"copied song. For a recent (and unsuccessful) legal challenge to the RIAA's "
-"demand that an ISP reveal the identity of a user accused of sharing more "
-"than 600 songs through a family computer, see <citetitle>RIAA</citetitle> v. "
-"<citetitle>Verizon Internet Services (In re. Verizon Internet Services)</"
-"citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could face "
-"liability ranging as high as $90 million. Such astronomical figures furnish "
-"the RIAA with a powerful arsenal in its prosecution of file sharers. "
-"Settlements ranging from $12,000 to $17,500 for four students accused of "
-"heavy file sharing on university networks must have seemed a mere pittance "
-"next to the $98 billion the RIAA could seek should the matter proceed to "
-"court. See Elizabeth Young, \"Downloading Could Lead to Fines,\" redandblack."
-"com, August 2003, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #35</ulink>. For an example of the RIAA's targeting of student file "
-"sharing, and of the subpoenas issued to universities to reveal student file-"
-"sharer identities, see James Collins, \"RIAA Steps Up Bid to Force BC, MIT "
-"to Name Students,\" <citetitle>Boston Globe</citetitle>, 8 August 2003, D3, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #36</ulink>. "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"could prosecute families for millions of dollars in damages just because "
-"file sharing occurred on a family computer. And 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.<placeholder type=\"footnote\" id="
-"\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"copyright liability, either civil or criminal, for making copyrighted "
-"content available on the Net. Make file sharing like gossip: regulated, if "
-"at all, by social norms but not by law."
-msgstr ""
-"Alternativt kan vi svare på fildeling måten mange barn handle som om vi har "
-"svart. Vi kunne helt legalisere det. La det være ingen opphavsrett ansvar, "
-"sivil- eller strafferettslige, for å gjøre opphavsrettsbeskyttet innhold "
-"tilgjengelig på nettet. gjøre fildeling som sladder: regulert, hvis i det "
-"hele tatt, av sosiale normer, men ikke av loven."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"recognizes the truth in both. And while I end this book with a sketch of a "
-"system that does just that, my aim in the next chapter is to show just how "
-"awful it would be for us to adopt the zero-tolerance extreme. I believe "
-"<emphasis>either</emphasis> extreme would be worse than a reasonable "
-"alternative. But I believe the zero-tolerance solution would be the worse "
-"of the two extremes."
-msgstr ""
-"enten svar er mulig. Jeg tror enten ville være feil. i stedet for å omfavne "
-"en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i "
-"begge. og mens jeg ender denne boken med en skisse av et system som gjør "
-"bare at målet mitt i neste kapittel er å vise hvor forferdelig det ville "
-"være for oss å vedta nulltoleranse ekstreme. Jeg tror begge ekstrem ville "
-"være verre enn et rimelig alternativ. men jeg tror den nulltoleranse "
-"løsningen ville være verre av to ytterpunktene."
-
-#. PAGE BREAK 190
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"occurring. The law and technology are being shifted to give content holders "
-"a kind of control over our culture that they have never had before. And in "
-"this extremism, many an opportunity for new innovation and new creativity "
-"will be lost."
-msgstr ""
-"Nulltoleranse er ennå stadig våre regjeringens politikk. midt i kaoset som "
-"Internett har opprettet, skjer en ekstraordinære land grip. lov og teknologi "
-"er flyttet for å gi innhold holdere en type kontroll over vår kultur at de "
-"aldri har hatt før. og i denne ekstremisme, mange en mulighet for ny "
-"innovasjon og nye kreativitet går tapt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"I'm not talking about the opportunities for kids to \"steal\" music. My "
-"focus instead is the commercial and cultural innovation that this war will "
-"also kill. We have never seen the power to innovate spread so broadly among "
-"our citizens, and we have just begun to see the innovation that this power "
-"will unleash. Yet the Internet has already seen the passing of one cycle of "
-"innovation around technologies to distribute content. The law is responsible "
-"for this passing. As the vice president for global public policy at one of "
-"these new innovators, eMusic.com, put it when criticizing the DMCA's added "
-"protection for copyrighted material,"
-msgstr ""
-"Jeg snakker ikke om mulighetene for barn å \"stjele\" musikk. mitt fokus i "
-"stedet er kommersielle og kulturelle innovasjon som denne krigen vil også "
-"drepe. Vi har aldri sett makt til å skape noe nytt spredning så bredt blant "
-"våre borgere, og vi har bare begynt å se innovasjon som denne myndighet vil "
-"utløse. ennå har Internett allerede sett bestått av en syklus av innovasjon "
-"rundt teknologier for å distribuere innhold. loven er ansvarlig for denne "
-"bestått. som vice president for global public policy på en av disse nye "
-"innovators sette emusic.com, det når kritiserer dmca ekstra beskyttelse for "
-"opphavsrettsbeskyttet materiale,"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-msgid ""
-"eMusic opposes music piracy. We are a distributor of copyrighted material, "
-"and we want to protect those rights."
-msgstr ""
-"eMusic motsetter musikk piratkopiering. Vi er distributør av "
-"opphavsrettsbeskyttet materiale, og vi ønsker å beskytte disse rettighetene."
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"necessarily the best. It is simply too early to answer that question. Market "
-"forces operating naturally may very well produce a totally different "
-"industry model."
-msgstr ""
-"men bygge en teknologi festning som låser i innflytelse av de store "
-"etikettene er ikke den eneste måten å beskytte opphavsretten interesser, og "
-"heller ikke er det nødvendigvis best. Det er rett og Slett for tidlig å "
-"besvare det spørsmålet. markedskrefter operere naturlig kan godt gi en helt "
-"annen industri-modell."
-
-#. f3.
-#. type: Content of: <book><part><chapter><blockquote><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital "
-"Entertainment on the Internet and Other Media: Hearing Before the "
-"Subcommittee on Telecommunications, Trade, and Consumer Protection, House "
-"Committee on Commerce, 106th Cong. 29 (1999) (statement of Peter Harter, "
-"vice president, Global Public Policy and Standards, EMusic.com), available "
-"in LEXIS, Federal Document Clearing House Congressional Testimony File."
-msgstr ""
-"WIPO og dmca ett år senere: vurdering av forbruker tilgang til digital "
-"underholdning på Internett og andre medier: høre før subcommittee on "
-"telekommunikasjon, handel og consumer protection, huset committee on "
-"commerce, 106th cong. 29 (1999) (setning av peter harter, vice president, "
-"global offentlig politikk og standarder, emusic.com), tilgjengelig i lexis, "
-"føderale dokumentet å fjerne huset Kongressens vitnesbyrd fil."
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-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 "
-"digital media and the manner in which digital media are distributed. This in "
-"turn will directly influence the options that are available to consumers, "
-"both in terms of the ease with 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.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Vivendi Universal"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the "
-"major labels.\" Its position on these matters has now changed. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"i april 2001, ble emusic.com kjøpt av vivendi universal, en av \"den store "
-"etiketter.\" posisjonen på disse sakene er nå endret."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"opportunities that could be extraordinarily valuable."
-msgstr ""
-"snu vår tradisjon toleranse nå vil ikke bare quash piratkopiering. det vil "
-"ofre verdier som er viktig for denne kulturen og vil drepe muligheter som "
-"kan være svært verdifull."
-
-#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER TWELVE: Harms"
-msgstr "Kapittel tolv: Skader"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"To fight \"piracy,\" to protect \"property,\" the content industry has "
-"launched a war. Lobbying and lots of campaign contributions have now brought "
-"the government into this war. As with any war, this one will have both "
-"direct and collateral damage. As with any war of prohibition, these damages "
-"will be suffered most by our own people."
-msgstr ""
-"for å bekjempe \"piratkopiering\", for å beskytte \"eiendom\" har innhold "
-"industrien lansert en krig. Lobbying og massevis av kampanjen bidrag har nå "
-"ført regjeringen i denne krigen. som med noen krig, vil dette ha både "
-"direkte og sikkerhetsstillelse skade. som med noen krig av forbudet, vil "
-"disse skader bli rammet mest av våre egne folk."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"My aim so far has been to describe the consequences of this war, in "
-"particular, the consequences for \"free culture.\" But my aim now is to "
-"extend this description of consequences into an argument. Is this war "
-"justified?"
-msgstr ""
-"Målet mitt hittil har vært å beskrive konsekvensene av denne krigen, "
-"spesielt konsekvenser for \"gratis kultur.\" men min målet nå er å utvide "
-"denne beskrivelsen av konsekvenser til et argument. er denne krigen "
-"rettferdiggjøres?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the property called \"intellectual property\" is at its greatest in our "
-"history."
-msgstr ""
-"i min mening er det ikke. Det er ingen god grunn hvorfor denne gangen, for "
-"første gang, loven skal forsvare gamle mot den nye, bare når strømmen av "
-"egenskap kalt \"intellectual property\" er på sitt største i vår historie."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Yet \"common sense\" 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 \"piracy"
-"\" still has play."
-msgstr ""
-"ennå se \"sunn fornuft\" ikke det på denne måten. sunn fornuft er fortsatt "
-"på siden av causbys og innhold industrien. ekstreme krav til kontroll i "
-"navnet på egenskapen fortsatt appellerer; ukritisk avvisningen av "
-"\"piratkopiering\" har fortsatt spille."
-
-#. PAGE BREAK 193
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the third is unintended. I'm less sure about the first two. The first two "
-"protect modern RCAs, but there is no Howard Armstrong in the wings to fight "
-"today's monopolists of culture."
-msgstr ""
-"det vil være mange konsekvensene av fortsetter denne krigen. Jeg vil "
-"beskrive bare tre. alle tre kan sies å være utilsiktede. Jeg er ganske "
-"sikker på tredjepart er utilsiktet. Jeg er mindre sikker på om to første. to "
-"første beskytte moderne rcas, men det er ingen howard armstrong i vingene å "
-"bekjempe dagens monopolists kultur."
-
-#. type: Content of: <book><part><chapter><section><title>
-#, mtrans, fuzzy
-msgid "Constraining Creators"
-msgstr "Begrensende skaperne"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"In the next ten years we will see an explosion of digital technologies. "
-"These technologies will enable almost anyone to capture and share content. "
-"Capturing and sharing content, of course, is what humans have done since the "
-"dawn of man. It is how we learn and communicate. But capturing and sharing "
-"through digital technology is different. The fidelity and power are "
-"different. You could send an e-mail telling someone about a joke you saw on "
-"Comedy Central, or you could send the clip. You could write an essay about "
-"the inconsistencies in the arguments of the politician you most love to "
-"hate, or you could make a short film that puts statement against statement. "
-"You could write a poem to express your love, or you could weave together a "
-"string—a mash-up— of songs from your favorite artists in a "
-"collage and make it available on the Net."
-msgstr ""
-"i de neste ti årene vil vi se en eksplosjon av digitale teknologier. disse "
-"teknologiene kan nesten hvem som helst å fange opp og dele innhold. å fange "
-"og dele innhold, selvfølgelig, er det mennesker har gjort siden begynnelsen "
-"av mannen. Det er hvordan vi lære og kommunisere. men å fange og dele "
-"gjennom digital teknologi er forskjellig. gjengivelse og makt er "
-"forskjellige. Du kan sende en e-postmelding fortelle noen om en spøk-du så "
-"på comedy central, eller du kan sende klippet. Du kan skrive et essay om "
-"inkonsekvenser i argumentene politiker du mest elsker å hate, eller du kan "
-"lage en kortfilm som setter setning mot setningen. Du kan skrive et dikt for "
-"å uttrykke din kjærlighet, eller du kan veve sammen en streng—en "
-"Mashup—av sanger fra dine favoritt artister i en collage og gjøre den "
-"tilgjengelig på nettet."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This digital \"capturing and sharing\" is in part an extension of the "
-"capturing and sharing that has always been integral to our culture, and in "
-"part it is something new. It is continuous with the Kodak, but it explodes "
-"the boundaries of Kodak-like technologies. The technology of digital "
-"\"capturing and sharing\" promises a world of extraordinarily diverse "
-"creativity that can be easily and broadly shared. And as that creativity is "
-"applied to democracy, it will enable a broad range of citizens to use "
-"technology to express and criticize and contribute to the culture all around."
-msgstr ""
-"Denne digitale \"fange inn og dele\" er delvis en utvidelse for å registrere "
-"og dele det har alltid vært del av vår kultur, og delvis det er noe nytt. "
-"den er kontinuerlig med kodak, men den eksploderer grensene for kodak-"
-"lignende teknologier. teknologi for digital \"fange og deling av\" løfter en "
-"verden av svært mangfoldig kreativitet som kan enkelt og forstand deles. og "
-"så at kreativiteten brukes til demokrati, det vil muliggjøre et bredt "
-"spekter av borgere å bruke teknologi for å uttrykke og kritisere og bidra "
-"til kultur rundt."
-
-#. PAGE BREAK 194
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"from others. Think about an old man telling a story to a collection of "
-"neighbors in a small town. Now imagine that same storytelling extended "
-"across the globe."
-msgstr ""
-"Teknologien har dermed gitt oss en mulighet til å gjøre noe med kultur som "
-"bare har vært mulig for enkeltpersoner i små grupper, isolert fra andre "
-"grupper. Forestill deg en gammel mann som forteller en historie til en "
-"samling med naboer i en liten landsby. Forestill deg så den samme "
-"historiefortellingen utvidet til å nå over hele verden."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"moment. Think about your favorite amazing sites on the Net. Web sites that "
-"offer plot summaries from forgotten television shows; sites that catalog "
-"cartoons from the 1960s; sites that mix images and sound to criticize "
-"politicians or businesses; sites that gather newspaper articles 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."
-msgstr ""
-"ennå er alt dette mulig bare hvis aktiviteten er presumptively lovlig. i "
-"dagens regime av juridiske regulering er det ikke. glem fildeling for et "
-"øyeblikk. Tenk på din favoritt fantastiske nettsteder på nettet. webområder "
-"som tilbyr tomten sammendrag fra glemt TV viser; områder katalogen "
-"tegneserier fra 1960-tallet; områder som blande bilder og lyd å kritisere "
-"politikere eller foretak. områder som samler avisartikler på ekstern emner "
-"av vitenskap eller kultur. Det er en enorm mengde skapende arbeid spredt "
-"over Internett. men som loven er nå laget, dette arbeidet er presumptively "
-"ugyldig."
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "Worldcom"
-msgstr "Worldcom"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at "
-"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; "
-"for details of the settlement, see MCI press release, \"MCI Wins U.S. "
-"District Court Approval for SEC Settlement\" (7 July 2003), available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Se Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</"
-"citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for "
-"detaljer om dette forliket, se pressemelding fra MCI, \"MCI Wins U.S. "
-"District Court Approval for SEC Settlement\" (7. juli 2003), tilgjengelig "
-"fra <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "Bush, George W."
-msgstr "Bush, George W."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"The bill, modeled after California's tort reform model, was passed in the "
-"House of Representatives but defeated in a Senate vote in July 2003. For an "
-"overview, see Tanya Albert, \"Measure Stalls in Senate: `We'll Be Back,' Say "
-"Tort Reformers,\" amednews.com, 28 July 2003, available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #38</ulink>, and \"Senate Turns Back "
-"Malpractice Caps,\" CBSNews.com, 9 July 2003, available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #39</ulink>. President Bush has "
-"continued to urge tort reform in recent months. <placeholder type="
-"\"indexterm\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"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 3 "
-"was just one) were threatened with a $98 billion lawsuit for building search "
-"engines that permitted songs to be copied. Yet World-Com—which "
-"defrauded investors of $11 billion, resulting in a loss to investors in "
-"market capitalization of over $200 billion—received a fine of a mere "
-"$750 million.<placeholder type=\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/> 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? <placeholder type=\"indexterm\" id=\"2\"/>"
-msgstr ""
-
-#. f3.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"See Danit Lidor, \"Artists Just Wanna Be Free,\" <citetitle>Wired</"
-"citetitle>, 7 July 2003, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #40</ulink>. For an overview of the exhibition, see <ulink url="
-"\"http://free-culture.cc/notes/\">link #41</ulink>."
-msgstr ""
-"Se Danit Lidor, \"Artists Just Wanna Be Free,\" <citetitle>Wired</"
-"citetitle>, 7. juli 2003, tilgjengelig fra <ulink url=\"http://free-culture."
-"cc/notes/\">link #40</ulink>. For en oversikt over utstillingen, se <ulink "
-"url=\"http://free-culture.cc/notes/\">link #41</ulink>."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"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 this creative "
-"process underground by branding the modern-day Walt Disneys \"pirates.\" We "
-"make it impossible for businesses to rely upon a public domain, because the "
-"boundaries of the public domain are designed to be unclear. It never pays to "
-"do anything except pay for the right to create, and hence only those who can "
-"pay are allowed to create. As was the case in the Soviet Union, though for "
-"very different reasons, we will begin to see a world of underground "
-"art—not because the 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 \"illegal art\" tour the United States."
-"<placeholder type=\"footnote\" id=\"0\"/> In what does their \"illegality\" "
-"consist? In the act of mixing the culture around us with an expression that "
-"is critical or reflective."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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: "
-"labelnumber\" linkend=\"property-i\"/>. 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 courts to order Internet service providers to reveal "
-"who has what 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."
-msgstr ""
-"en del av årsaken til denne frykten for illegality har å gjøre med endring "
-"loven. jeg beskrevet den endringen i detalj i kapittel 10. men en enda "
-"større del har å gjøre med den økende enkelt som brudd kan spores. som "
-"brukere av fildelings-systemer som er oppdaget i 2002, det er en triviell "
-"sak for opphavsrett eiere å få domstoler å bestille Internett-leverandører å "
-"avsløre hvem som har hvilket innhold. Det er som hvis tape kassettspilleren "
-"sendt en liste over sanger som du har spilt i personvernet til din egen "
-"hjemmeside som noen kunne tune inn uansett grunn de valgte."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"tools of Photoshop, sharing content on the Web, must worry all the time. "
-"Images are all around, but the only safe images to use in the act of "
-"creation are those purchased from Corbis or another image farm. And in "
-"purchasing, censoring happens. There is a free market in pencils; we needn't "
-"worry about its effect on creativity. But there is a highly regulated, "
-"monopolized market in cultural icons; the right to cultivate and transform "
-"them is not similarly free."
-msgstr ""
-"aldri i vår historie har en maler hadde å bekymre deg om hans maleri krenket "
-"på noen andre 's arbeid; men dagens maleren, ved hjelp av verktøyene i "
-"photoshop, deling av innhold på nettet, må bekymre deg hele tiden. bilder er "
-"rundt, men de eneste sikre bildene som skal brukes i loven av etableringen "
-"er de kjøpt fra corbis eller en annen bilde farm. og i å kjøpe, sensurere "
-"skjer. Det er et fritt marked i blyanter; Vi trenger ikke bekymre deg om sin "
-"effekt på kreativitet. men det er en svært regulert, monopolized markedet i "
-"kulturelle: ikoner; retten til å dyrke og forvandle dem er ikke på samme "
-"måte gratis."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Lawyers rarely see this because lawyers are rarely empirical. As I described "
-"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"recorders\"/>, "
-"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 use."
-msgstr ""
-"advokater se sjelden dette fordi advokater er sjelden empirisk. som jeg "
-"beskrevet i kapittel 7, som svar på historien om dokumentar filmskaper jon "
-"annet, jeg har vært forelest igjen og igjen av advokater som insisterer "
-"ellers har bruk var rettferdig bruk, og derfor er jeg feil å si at loven "
-"regulerer slik bruk."
-
-#. PAGE BREAK 196
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"defending rights such as fair use is astonishingly bad—in practically "
-"every context, but especially here. It costs too much, it delivers too "
-"slowly, and what it delivers often has little connection to the justice "
-"underlying the claim. The legal system may be tolerable for the very rich. "
-"For everyone else, it is an embarrassment to a tradition that prides itself "
-"on the rule of law."
-msgstr ""
-"men rimelig bruk i Amerika betyr ganske enkelt rett til å leie en advokat "
-"for å forsvare din rett til å opprette. og som advokater elsker å glemme, "
-"systemet vårt for å forsvare rettigheter for eksempel rimelig bruk er "
-"astonishingly dårlig—i praktisk talt alle sammenheng, men spesielt "
-"her. Det koster for mye, det leverer for tregt, og hva leverer ofte har "
-"liten forbindelse til rettferdighet underliggende kravet. Det kan hende at "
-"juridisk system utholdelig for de svært rike. for alle andre er det en "
-"forlegenhet til en tradisjon som prides seg på rettssikkerhet."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Judges and lawyers can tell themselves that fair use provides adequate "
-"\"breathing room\" between regulation by the law and the access the law "
-"should allow. But it is a measure of how out of touch our legal system has "
-"become that anyone actually believes this. The rules that publishers impose "
-"upon writers, the rules that film distributors impose upon filmmakers, the "
-"rules that newspapers impose upon journalists— these are the real laws "
-"governing creativity. And these rules have little relationship to the \"law"
-"\" with which judges comfort themselves."
-msgstr ""
-"dommere og advokater kan fortelle seg selv at fair use gir tilstrekkelig "
-"\"puste rommet\" mellom regulering av loven, og access loven skal tillate. "
-"men det er et mål på hvor ute av touch vår juridiske systemet har blitt noen "
-"faktisk mener dette. reglene som utgivere legger på forfattere, reglene som "
-"trevare legger på filmskapere, reglene at aviser legger på "
-"journalister—disse er de virkelige lovene som regulerer kreativitet. "
-"og disse reglene har lite i forhold til \"loven\" med hvilken dommere trøste "
-"seg."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"against a copyright infringement claim, and which would never return to the "
-"wrongfully accused defendant anything of the costs she suffered to defend "
-"her right to speak—in that world, the astonishingly broad regulations "
-"that pass under the name \"copyright\" silence speech and creativity. And in "
-"that world, it takes a studied blindness for people to continue to believe "
-"they live in a culture that is free."
-msgstr ""
-"for i en verden som truer $150.000 for en enkelt willful brudd på "
-"opphavsretten, og som krever titusenvis av dollar til selv forsvar mot "
-"opphavsrettsstridig krav, og som ville aldri tilbake til wrongfully anklaget "
-"saksøkte noe av kostnadene lidd hun for å forsvare sin rett til å "
-"snakke—i denne verden, astonishingly bred regelverket at pass under "
-"navnet \"copyright\" stillhet tale og kreativitet. og i denne verden, det "
-"tar en studert blindhet for folk å fortsette å tro de bor i en kultur som er "
-"gratis."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid "As Jed Horovitz, the businessman behind Video Pipeline, said to me,"
-msgstr "som jed horovitz, forretningsmann bak video rørledning, sa til meg,"
-
-#. PAGE BREAK 197
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-#, mtrans, fuzzy
-msgid ""
-"We're losing [creative] opportunities right and left. Creative people are "
-"being forced not to express themselves. Thoughts are not being expressed. "
-"And while a lot of stuff may [still] be created, it still won't get "
-"distributed. Even if the stuff gets made … you're not going to get it "
-"distributed in the mainstream media unless you've got a little note from a "
-"lawyer saying, \"This has been cleared.\" You're not even going to get it on "
-"PBS without that kind of permission. That's the point at which they control "
-"it."
-msgstr ""
-"Vi miste [kreative] muligheter høyre og venstre. kreative mennesker blir "
-"tvunget ikke til å uttrykke seg. tanker er ikke angitt. og mens mange ting "
-"kan [fortsatt] opprettes, den fremdeles ikke får distribuert. Selv om ting "
-"blir gjort... du ikke kommer til å få det distribueres i mainstream media, "
-"med mindre du har et lite notat fra en advokat sier, \"Dette er tømt.\" du "
-"skal ikke engang få det på pbs uten den typen tillatelse. Det er poenget som "
-"de kontrollen."
-
-#. type: Content of: <book><part><chapter><section><title>
-#, mtrans, fuzzy
-msgid "Constraining Innovators"
-msgstr "Begrensende innovators"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"going. Maybe you think there's enough weird art out there, and enough "
-"expression that is critical of what seems to be just about everything. And "
-"if you think that, you might think there's little in this story to worry you."
-msgstr ""
-"historien om den siste delen var en crunchy lefty historie—kreativitet "
-"ødela, kunstnere som ikke kan snakke, yada babbelet. kanskje det ikke komme "
-"i gang. kanskje tror du det er nok rare kunst der ute, og nok uttrykk som er "
-"kritisk til hva synes å være omtrent alt. og hvis du tror at du kanskje tror "
-"det er lite i denne historien å bekymre deg over."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"ideologue. And if you're one of these sorts (and a special one at that, 188 "
-"pages into a book like this), then you can see this other aspect by "
-"substituting \"free market\" every place I've spoken of \"free culture.\" "
-"The point is the same, even if the interests affecting culture are more "
-"fundamental."
-msgstr ""
-"men det er en del av denne historien ikke er lefty i noen betydning. Det er "
-"faktisk et aspekt som kan være skrevet av den mest ekstreme promarket "
-"ideologue. og hvis du er en av disse sorterer (og en spesiell en på at 188 "
-"sider i en bok som dette), så du kan se dette andre aspekter ved å erstatte "
-"\"fritt marked\" hvert sted som jeg har omtalt \"gratis kultur.\" poenget er "
-"det samme, selv om interesser som påvirker kultur er mer grunnleggende."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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, "
-"concedes that some regulation of markets is necessary—at a minimum, we "
-"need rules of property and contract, and courts to enforce both. Likewise, "
-"in this culture debate, everyone concedes that at least some framework of "
-"copyright is also required. But both perspectives vehemently insist that "
-"just because some regulation is good, it doesn't follow that more regulation "
-"is better. And both 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."
-msgstr ""
-"Jeg har vært å gjøre om regulering av kultur er samme tillegget gratis "
-"markedsførere gjøre om regulerer markeder. enhver, selvfølgelig innrømme at "
-"noen regulering av markeder er nødvendig—et minimum, vi trenger "
-"reglene for egenskapen og kontrakt og domstolene for å håndheve begge. på "
-"samme måte i denne kultur debatten innrømme enhver at minst noen rammen av "
-"copyright er også nødvendig. men begge perspektiver insisterer vehemently at "
-"bare fordi noen regulering er bra, ikke det følger at mer regulering er "
-"bedre. og begge perspektiver er stadig attuned til måtene i hvilke "
-"regulering aktiverer bare de kraftige industriene i dag for å beskytte seg "
-"mot konkurrenter i morgen."
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Barry, Hank"
-msgstr "Barry, Hank"
-
-#. PAGE BREAK 198
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This is the single most dramatic effect of the shift in regulatory strategy "
-"that I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend="
-"\"property-i\"/>. 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 industries. That lesson has been taught "
-"through a series of cases that were designed and executed to teach venture "
-"capitalists a lesson. That lesson—what former Napster CEO Hank Barry "
-"calls a \"nuclear pall\" that has fallen over the Valley—has been "
-"learned."
-msgstr ""
-"Dette er single mest dramatiske effekten av skiftet i regulatoriske strategi "
-"som jeg beskrevet i kapittel 10. konsekvens av denne massiv trussel av "
-"ansvar knyttet til skummel grensene om opphavsrett er at innovators som "
-"ønsker å skape noe nytt i denne plassen kan trygt innovate bare hvis de har "
-"avlogging fra siste generasjon dominerende bransjer. denne leksjonen har "
-"lært gjennom en rekke tilfeller som ble utformet og utført for å lære "
-"venture kapitalister en leksjon. denne leksjonen—hva tidligere napster "
-"ceo hank barry kaller en \"kjernefysisk pall\" som har falt over dalen—"
-"har blitt lært."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"that even I (pessimist extraordinaire) would never have predicted."
-msgstr ""
-"vurdere ett eksempel for å gjøre punktet, en historie som begynnelsen jeg "
-"fortalt i fremtiden for idéer og som har kommet i en måte at selv jeg "
-"(pessimist extraordinaire) ville aldri ha forutsett."
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Roberts, Michael"
-msgstr "Roberts, Michael"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"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."
-msgstr ""
-"i 1997, michael roberts lansert et firma som heter mp3.com. MP3.com var "
-"opptatt av å remake musikkbransjen. deres mål var ikke bare for å lette nye "
-"måter å få tilgang til innhold. deres mål var også å lette nye måter å lage "
-"innhold. i motsetning til de store plateselskapene tilbudt mp3.com skaperne "
-"en arena for å distribuere sine kreativitet, uten å kreve en eksklusiv "
-"engasjement fra skaperne."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"leverage the revealed preferences of music listeners to recommend new "
-"artists. If you like Lyle Lovett, you're likely to enjoy Bonnie Raitt. And "
-"so on. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Hvis du vil gjøre dette systemet fungerer, men trengte mp3.com en pålitelig "
-"måte å anbefale musikk til sine brukere. idéen bak denne alternative var å "
-"utnytte åpenbarte innstillingene av musikk lyttere å anbefale nye artister. "
-"Hvis du liker lyle lovett, sannsynligvis du til å nyte bonnie raitt. og så "
-"videre."
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"data. In January 2000, the company launched a service called my.mp3.com. "
-"Using software provided by MP3.com, a user would sign into an account and "
-"then insert into her computer a CD. The software would identify the CD, and "
-"then give the user access to that content. So, for example, if you inserted "
-"a CD by Jill Sobule, then wherever you were—at work or at home—"
-"you could get access to that music once you signed into your account. The "
-"system was therefore a kind of music-lockbox."
-msgstr ""
-
-#. PAGE BREAK 199
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"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."
-msgstr ""
-"ingen tvil kan noen bruker dette systemet til å kopiere ulovlig innhold. men "
-"at mulighet eksistert med eller uten mp3.com. målet for my.mp3.com-tjenesten "
-"var å gi brukere tilgang til sitt eget innhold, og er et biprodukt ved å se "
-"innholdet de allerede eid, til å oppdage hva slags innhold som brukerne "
-"likte."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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, "
-"but that would have taken a great deal of time, and would have produced a "
-"product of questionable quality.) It therefore purchased 50,000 CDs from a "
-"store, and started the process of making copies of those CDs. Again, it "
-"would not serve the content from those copies to anyone except those who "
-"authenticated that they 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."
-msgstr ""
-"Hvis du vil gjøre denne systemfunksjon, men mp3.com nødvendig å kopiere "
-"50.000 CDer til en server. (i prinsippet, det kunne ha vært brukeren som "
-"lastet opp musikken, men som ville ha tatt mye tid, og ville har produsert "
-"et produkt av tvilsom kvalitet.) Det er derfor kjøpt 50.000 CDer fra en "
-"butikk, og startet prosessen med å lage kopier av disse CDene. igjen, det "
-"ville ikke tjene innholdet fra de kopiene til alle bortsett fra de som "
-"godkjent at de hadde en kopi av cd de ønsket å få tilgang til. så selv om "
-"dette var 50 000 eksemplarer, det var 50,000 kopier som er rettet mot å gi "
-"kunder noe de hadde allerede kjøpt."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"the five. Nine months later, a federal judge found MP3.com to have been "
-"guilty of willful infringement with respect to the fifth. Applying the law "
-"as it is, the judge imposed a fine against MP3.com of $118 million. MP3.com "
-"then settled with the remaining plaintiff, Vivendi Universal, paying over "
-"$54 million. Vivendi purchased MP3.com just about a year later."
-msgstr ""
-"ni dager etter mp3.com lansert sin tjeneste, brakte de fem store etikettene, "
-"ledet av riaa, en sak mot mp3.com. MP3.com utlignet med fire av de fem. ni "
-"måneder senere, en føderal dommer funnet mp3.com å ha vært skyldig i willful "
-"brudd med hensyn til femte. å bruke loven som det er, pålagt dommeren en bot "
-"mot mp3.com av 118 millioner. MP3.com deretter utlignet med gjenstående "
-"saksøker, vivendi universal, betaler over $54 millioner. Vivendi kjøpt mp3."
-"com omtrent et år senere."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid "That part of the story I have told before. Now consider its conclusion."
-msgstr "Den delen av historien har jeg fortalt før. Nå kommer konklusjonen."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"good faith claim that the service they wanted to offer would be considered "
-"legal under copyright law. This lawsuit alleged that it should have been "
-"obvious that the courts would find this behavior illegal; therefore, this "
-"lawsuit sought to punish any lawyer who had dared to suggest that the law "
-"was less restrictive than the labels demanded."
-msgstr ""
-"Etter at Vivendi kjøpte MP3.com, snudde Vivendi seg rundt og saksøkte for "
-"malpractice juristene som hadde anbefalt at de hadde en god tro hevder at de "
-"ønsket å tilby tjenesten vil bli vurdert juridiske lover om opphavsrett. "
-"Dette søksmålet påstått at det burde vært åpenbart at domstolene ville finne "
-"denne virkemåten ulovlig; Derfor var dette søksmålet søkt å straffe noen "
-"advokat som hadde våget å foreslå at loven mindre restriktive enn etikettene "
-"krevde."
-
-#. PAGE BREAK 200
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"send an unequivocal message to lawyers advising clients in this space: It is "
-"not just your clients who might suffer if the content 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."
-msgstr ""
-"Den åpenbare hensikten med dette søksmålet (som ble avsluttet med et forlik "
-"for et uspesifisert beløp like etter at saken ikke lenger fikk "
-"pressedekning), var å sende en melding som ikke kan misforstås til advokater "
-"som gir råd til klienter på dette området: Det er ikke bare dine klienter "
-"som får lide hvis innholdsindustrien retter sine våpen mot dem. Det får "
-"også du. Så de av dere som tror loven burde være mindre restriktiv bør "
-"innse at et slikt syn på loven vil koste deg og ditt firma dyrt."
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Hummer, John"
-msgstr "Hummer, John"
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Hummer Winblad"
-msgstr "Hummer Winblad"
-
-#. f4.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" <citetitle>Los "
-"Angeles Times</citetitle>, 23 April 2003. For a parallel argument about the "
-"effects on innovation in the distribution of music, see Janelle Brown, \"The "
-"Music Revolution Will Not Be Digitized,\" Salon.com, 1 June 2001, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #42</ulink>. See also "
-"Jon Healey, \"Online Music Services Besieged,\" <citetitle>Los Angeles "
-"Times</citetitle>, 28 May 2001."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"(VC) that had funded Napster at a certain stage of its development, its "
-"cofounder ( John Hummer), and general partner (Hank Barry).<placeholder type="
-"\"footnote\" id=\"0\"/> 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 "
-"whose business turned out to be beyond the law. Here again, the aim of the "
-"lawsuit is transparent: Any VC now recognizes that if you fund a company "
-"whose business is not approved of by the dinosaurs, you are at risk not just "
-"in the marketplace, but in the courtroom as well. Your investment buys you "
-"not only a company, it also buys you a lawsuit. So extreme has the "
-"environment become that even car manufacturers are afraid of technologies "
-"that touch content. In an article in <citetitle>Business 2.0</citetitle>, "
-"Rafe Needleman describes a discussion with BMW: <placeholder type=\"indexterm"
-"\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><blockquote><indexterm><primary>
-msgid "BMW"
-msgstr "BMW"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-msgid "Needleman, Rafe"
-msgstr "Needleman, Rafe"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-msgid ""
-"Rafe Needleman, \"Driving in Cars with MP3s,\" <citetitle>Business 2.0</"
-"citetitle>, 16 June 2003, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #43</ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this "
-"example. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Rafe Needleman, \"Driving in Cars with MP3s,\" <citetitle>Business 2.0</"
-"citetitle>, 16. juni 2003, tilgjengelig via <ulink url=\"http://free-culture."
-"cc/notes/\">link #43</ulink>. Jeg er Dr. Mohammad Al-Ubaydli takknemlig mot "
-"for dette eksemplet. <placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-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 "
-"had rigged a new vehicle to play MP3s via 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. … <placeholder "
-"type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"This is the world of the mafia—filled with \"your money or your life\" "
-"offers, governed in the end not by courts but by the threats that the law "
-"empowers copyright holders to exercise. It is a system that will obviously "
-"and necessarily stifle new innovation. It is hard enough to start a company. "
-"It is impossibly hard if that company is constantly threatened by litigation."
-msgstr ""
-"Dette er verden til mafiaen—fylt med \"penger eller livet\"-trusler, "
-"som ikke er regulert av domstolene men av trusler som loven gir "
-"rettighetsinnehaver mulighet til å komme med. Det er et system som åpenbart "
-"og nødvendigvis vil kvele ny innovasjon. Det er vanskelig nok å starte et "
-"selskap. Det blir helt umulig hvis selskapet er stadig truet av søksmål."
-
-#. PAGE BREAK 201
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The point is not that businesses should have a right to start illegal "
-"enterprises. The point is the definition of \"illegal.\" The law is a mess "
-"of uncertainty. We have no good way to know how it should apply to new "
-"technologies. Yet by reversing our tradition of judicial deference, and by "
-"embracing the astonishingly high penalties that copyright law imposes, that "
-"uncertainty now yields a reality which is far more conservative than is "
-"right. If the law imposed the death penalty for parking tickets, we'd not "
-"only have fewer parking tickets, we'd also have much less driving. The same "
-"principle applies to innovation. If innovation is constantly checked by this "
-"uncertain and unlimited liability, we will have much less vibrant innovation "
-"and much less creativity."
-msgstr ""
-"Poenget er ikke at virksomheter bør ha rett til å starte ulovlig bedrifter. "
-"Poenget er definisjonen av \"ulovlig.\" loven er et rot av usikkerhet. Vi "
-"har ingen god måte å vite hvordan den skal brukes på nye teknologier. ennå "
-"gir ved å snu vår tradisjon av juridisk deference, og ved å omfavne de "
-"astonishingly høyt straffene som pålegger lov om opphavsrett, det "
-"usikkerheten nå en realitet som er langt mer konservative enn det som er "
-"rett. Hvis loven pålagt dødsstraff for parkering billetter, vi ville ikke "
-"bare ha færre parkering billetter, ville vi også ha mye mindre kjøring. det "
-"samme prinsippet gjelder for innovasjon. Hvis innovasjon er stadig "
-"kontrolleres av denne usikker og ubegrenset ansvar, har vi mye mindre "
-"levende innovasjon og mye mindre kreativitet."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The point is directly parallel to the crunchy-lefty point about fair use. "
-"Whatever the \"real\" law is, realism about the effect of law in both "
-"contexts is the same. This wildly punitive system of regulation will "
-"systematically stifle creativity and innovation. It will protect some "
-"industries and some creators, but it will harm industry and creativity "
-"generally. Free market and free culture depend upon vibrant competition. "
-"Yet the effect of the law today is to stifle just this kind of competition. "
-"The effect is to produce an overregulated culture, just as the effect of too "
-"much control in the market is to produce an overregulatedregulated market."
-msgstr ""
-"Poenget er direkte parallell til crunchy lefty punktet om fair use. Uansett "
-"\"ekte\" loven er, er realisme om effekten av loven i begge sammenhenger den "
-"samme. Denne vill straffende system av regulering vil systematisk kveler "
-"kreativitet og innovasjon. den vil beskytte noen bransjer og noen skapere, "
-"men det vil skade industri og kreativitet generelt. fritt marked og fri "
-"kultur, avhenger av levende konkurranse. enda er virkningen av loven i dag å "
-"undertrykke akkurat denne type konkurranse. effekten er å produsere en "
-"overregulated kultur, akkurat som effekten av for mye kontroll i markedet er "
-"å produsere en overregulatedregulated markedet."
-
-#. PAGE BREAK 202
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"innovation. A permission culture means a lawyer's culture—a culture in "
-"which the ability to create requires a call to your lawyer. Again, I am not "
-"antilawyer, at least when they're kept in their proper place. I am certainly "
-"not antilaw. But our profession has lost the sense of its limits. And "
-"leaders in our profession have lost an appreciation of the high costs that "
-"our profession imposes upon others. The inefficiency of the law is an "
-"embarrassment to our tradition. And while I believe our profession should "
-"therefore do everything it can to make the law more efficient, it should at "
-"least do everything it can to limit the reach of the law where the law is "
-"not doing any good. The transaction costs buried within a permission culture "
-"are enough to bury a wide range of creativity. Someone needs to do a lot of "
-"justifying to justify that result. The uncertainty of the law is one burden "
-"on innovation. There is a second burden that operates more directly. This is "
-"the effort by many in the content industry to use the law to directly "
-"regulate the technology of the Internet so that it better protects their "
-"content."
-msgstr ""
-"byggingen av en tillatelse-kultur, i stedet for en fri kultur, er den første "
-"viktige måten der vil endringene jeg har beskrevet byrden innovasjon. en "
-"tillatelse kultur betyr en advokat kultur—en kultur der muligheten til "
-"å opprette krever en telefonsamtale til din advokat. igjen, jeg er ikke "
-"antilawyer, minst når de er holdt i deres riktig sted. Jeg er sikkert ikke "
-"antilaw. Men vårt yrke har mistet følelsen av sine grenser. og ledere i vår "
-"profesjon har mistet en styrking av de høye kostnadene som vårt yrke "
-"pålegger over andre. ineffektiviteten i loven er en forlegenhet til vår "
-"tradisjon. og mens jeg tror vårt yrke bør derfor gjøre alt den kan for å "
-"effektivisere loven, det bør minst gjøre alt den kan for å begrense "
-"rekkevidden av loven der loven ikke gjør noe bra. transaksjonskostnader "
-"begravde innen en tillatelse kultur er nok å begrave et bredt spekter av "
-"kreativitet. noen må gjøre en masse rettferdiggjørende for å rettferdiggjøre "
-"dette resultatet. Usikkerheten av loven er en byrde på innovasjon. Det er en "
-"andre byrde som opererer mer direkte. Dette er innsats av mange i bransjen "
-"innhold for å bruke loven til å regulere direkte teknologi på Internett slik "
-"at det bedre beskytter innholdet."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"design. But from the perspective of the content industry, this feature is a "
-"\"bug.\" The efficient spread of content means that content distributors "
-"have a harder time controlling the distribution of content. One obvious "
-"response to this efficiency is thus to make the Internet less efficient. If "
-"the Internet enables \"piracy,\" then, this response says, we should break "
-"the kneecaps of the Internet."
-msgstr ""
-"motivasjon for dette svaret er åpenbart. Internett gjør det mulig for "
-"effektiv spredning av innhold. at effektiviteten er en funksjon av "
-"internetts design. men fra perspektiv av innhold industrien, denne "
-"funksjonen er en \"bug.\" effektiv spredning av innhold betyr at innhold "
-"distributører har en hardere tid kontrollere distribusjon av innhold. ettall "
-"åpenbare svaret å denne effektiviteten er derfor å gjøre Internett mindre "
-"effektivt. Hvis Internett gjør at \"piratkopiering\", deretter dette svaret "
-"sier, vi bør bryte kneecaps av Internett."
-
-#. f6.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"\"Copyright and Digital Media in a Post-Napster World,\" GartnerG2 and the "
-"Berkman Center for Internet and Society at Harvard Law School (2003), "
-"33–35, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#44</ulink>."
-msgstr ""
-
-#. f7.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid "GartnerG2, 26–27."
-msgstr "gartnerg2, 2627."
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"require computers to determine whether the content they access is protected "
-"or not, and to disable the spread of protected content.<placeholder type="
-"\"footnote\" id=\"0\"/> Congress has already launched proceedings to explore "
-"a mandatory \"broadcast flag\" 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.<placeholder type=\"footnote\" id=\"1\"/>"
-msgstr ""
-
-#. PAGE BREAK 203
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"infrastructure will always be tuned to the particular technology of the day. "
-"It will impose significant burdens and costs on the technology, but will "
-"likely be eclipsed by advances around exactly those requirements."
-msgstr ""
-"i en forstand synes disse løsningene fornuftig. Hvis problemet er koden, "
-"hvorfor ikke regulere koden for å fjerne problemet. men noen regulering av "
-"tekniske infrastruktur vil alltid er stilt inn på bestemt teknologi av "
-"dagen. det vil innføre betydelig byrder og kostnader på teknologi, men vil "
-"trolig være eclipsed av fremskritt rundt akkurat disse kravene."
-
-#. f8.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"See David McGuire, \"Tech Execs Square Off Over Piracy,\" Newsbytes, "
-"February 2002 (Entertainment)."
-msgstr ""
-"se david mcguire, \"tech execs torget off over piratkopiering,\" newsbytes, "
-"februar 2002 (underholdning)."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Intel"
-msgstr "Intel"
-
-#. type: Content of: <book><part><chapter><section><para>
-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 impose."
-"<placeholder type=\"footnote\" id=\"0\"/> Their argument was obviously not "
-"that copyright should not be protected. Instead, they argued, any protection "
-"should not do more harm than good. <placeholder type=\"indexterm\" id=\"1\"/"
-">"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"There is one more obvious way in which this war has harmed innovation—"
-"again, a story that will be quite familiar to the free market crowd."
-msgstr ""
-"Det er en tydeligere måte der denne krigen har skadet innovasjon - igjen, en "
-"historie som vil være ganske kjent for fritt marked publikum."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"done right, it benefits creators and harms leeches. When done wrong, it is "
-"regulation the powerful use to defeat competitors."
-msgstr ""
-"Copyright kanskje eiendom, men som all eiendom, det er også en form for "
-"regulering. Det er en forordning som fordeler noen og skader andre. Når det "
-"gjøres riktig, det fordeler skaperne og skader leeches. Når gjort galt, det "
-"er regulering kraftig bruk å beseire konkurrenter."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: "
-"Prometheus Books, 2001). <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend="
-"\"property-i\"/>, despite this feature of copyright as regulation, and "
-"subject to important qualifications outlined by Jessica Litman in her book "
-"<citetitle>Digital Copyright</citetitle>,<placeholder type=\"footnote\" id="
-"\"0\"/> overall this history of copyright is not bad. As chapter 10 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 in the case of "
-"the VCR) has been another."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"new technology and the legitimate rights of content creators, both the "
-"courts and Congress have imposed legal restrictions that will have the "
-"effect of smothering the new to benefit the old."
-msgstr ""
-"men dette mønsteret av deference til nye teknologier er nå endret med "
-"veksten av Internett. i stedet for å treffe en balanse mellom kravene til en "
-"ny teknologi og legitime rettighetene til skapere av innhold, har både "
-"domstoler og Kongressen innført juridiske restriksjoner som vil ha effekten "
-"av smothering ny for å dra nytte av gamle."
-
-#. f10.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"The only circuit court exception is found in <citetitle>Recording Industry "
-"Association of America (RIAA)</citetitle> v. <citetitle>Diamond Multimedia "
-"Systems</citetitle>, 180 F. 3d 1072 (9th Cir. 1999). There the court of "
-"appeals for the Ninth Circuit reasoned that makers of a portable MP3 player "
-"were not liable for contributory copyright infringement for a device that is "
-"unable to record or redistribute music (a device whose only copying function "
-"is to render portable a music file already stored on a user's hard drive). "
-"At the district court level, the only exception is found in <citetitle>Metro-"
-"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</"
-"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found "
-"the link between the distributor and any given user's conduct too attenuated "
-"to make the distributor liable for contributory or vicarious infringement "
-"liability."
-msgstr ""
-"Det eneste unntaket fra circuit court er funnet i innspillingen industry "
-"association of america (riaa) v. diamond multimedia systems, 180 f. 3d 1072 "
-"(9 cir. 1999). det begrunnet court of appeals for niende circuit at skaperne "
-"av en bærbar mp3-spiller ikke var ansvarlig for medvirkende opphavsretten "
-"for en enhet som ikke kan registrere eller videredistribuere musikk (en "
-"enhet Hvis bare kopiering funksjon er å gjengi bærbare en musikkfil som "
-"allerede er lagret på brukerens harddisk). på district court-nivå, er det "
-"eneste unntaket funnet i metro-goldwyn-mayer studios, inc. v. grokster, "
-"ltd., 259 f. supp. 2d 1029 (Deportivo klientadgangslisens (CAL), 2003), der "
-"domstolen fant koblingen mellom distributøren og noen gitt bruker 's "
-"gjennomføre for attenuated å gjøre distributøren ansvarlig for krenkelse av "
-"medvirkende eller stedfortredende erstatningsansvar."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "Hollings, Fritz"
-msgstr "Hollings, Fritz"
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"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 copyright "
-"holders use technology to stop copyright infringement. In August 2002, "
-"Representative Billy Tauzin introduced a bill to mandate that technologies "
-"capable of rebroadcasting digital copies of films broadcast on TV (i.e., "
-"computers) respect a \"broadcast flag\" that would disable copying of that "
-"content. And in March of the same year, Senator Fritz Hollings introduced "
-"the Consumer Broadband and Digital Television Promotion Act, which mandated "
-"copyright protection technology in all digital media devices. See GartnerG2, "
-"\"Copyright and Digital Media in a Post-Napster World,\" 27 June 2003, "
-"33–34, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#44</ulink>. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type="
-"\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"The response by the courts has been fairly universal.<placeholder type="
-"\"footnote\" id=\"0\"/> It has been mirrored in the responses threatened and "
-"actually implemented by Congress. I won't catalog all of those responses "
-"here.<placeholder type=\"footnote\" id=\"1\"/> But there is one example that "
-"captures the flavor of them all. This is the story of the demise of Internet "
-"radio."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend="
-"\"pirates\"/>, when a radio station plays a song, the recording artist "
-"doesn't get paid for that \"radio performance\" unless he or she is also the "
-"composer. So, for example if Marilyn Monroe had recorded a version of "
-"\"Happy Birthday\"—to memorialize her famous performance before "
-"President Kennedy at Madison Square Garden— then whenever that "
-"recording was played on the radio, the current copyright owners of \"Happy "
-"Birthday\" would get some money, whereas Marilyn Monroe would not. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"som jeg beskrevet i kapittel 4, når en radiostasjon spiller en sang, får "
-"ikke innspillingen artisten betalt for at \"radio ytelse\" med mindre han "
-"eller hun er også komponisten. så, for eksempel hvis marilyn monroe hadde "
-"spilt inn en versjon av \"happy birthday\"—for å memorialize sin "
-"berømte opptreden før president kennedy i madison square garden—"
-"deretter når denne innspillingen ble spilt på radio, gjeldende opphavsrett "
-"eierne av \"happy birthday\" ville få noen penger, mens marilyn monroe ville "
-"ikke."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"thus benefited because by playing her music, the radio station was making it "
-"more likely that her records would be purchased. Thus, the recording artist "
-"got something, even if only indirectly. Probably this reasoning had less to "
-"do with the result than with the power of radio stations: Their lobbyists "
-"were quite good at stopping any efforts to get Congress to require "
-"compensation to the recording artists."
-msgstr ""
-"begrunnelsen bak denne balansen truffet av Kongressen gjør noe fornuftig. "
-"Begrunnelsen var at radio var en form for annonsering. Plateartist nytte "
-"dermed fordi ved å spille musikken hennes, radiostasjonen var å gjøre det "
-"mer sannsynlig at hennes poster ville være kjøpt. dermed Plateartist fikk "
-"noe, selv om bare indirekte. sannsynligvis denne begrunnelsen hadde mindre å "
-"gjøre med resultatet enn med makten av radiostasjoner: deres lobbyister var "
-"ganske god til å stoppe enhver innsats for å få Kongressen til å kreve "
-"kompensasjon for artistene."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Enter Internet radio. Like regular radio, Internet radio is a technology to "
-"stream content from a broadcaster to a listener. The broadcast travels "
-"across the Internet, not across the ether of radio spectrum. Thus, I can "
-"\"tune in\" to an Internet radio station in Berlin while sitting in San "
-"Francisco, even though there's no way for me to tune in to a regular radio "
-"station much beyond the San Francisco metropolitan area."
-msgstr ""
-"Skriv inn Internett-radio. som vanlige radio er Internett-radio en teknologi "
-"å direktesende innhold fra en kringkasteren til en lytter. kringkastingen "
-"reiser over Internett, ikke på tvers av Eter av radio spectrum. Således, jeg "
-"kan \"stille inn\" til Internett-radiostasjonen i berlin mens du sitter i "
-"san francisco, selv om det er ingen måte for meg å stille inn på en vanlig "
-"radiostasjon langt utover san francisco metropolitan area."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"to using her computer, whereas under the existing architecture for broadcast "
-"radio, there is an obvious limit to the number of broadcasters and clear "
-"broadcast frequencies. Internet radio could therefore be more competitive "
-"than regular radio; it could provide a wider range of selections. And "
-"because the potential audience for Internet radio is the whole world, niche "
-"stations could 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."
-msgstr ""
-"Denne funksjonen i arkitekturen av Internett-radio betyr at det er "
-"potensielt et ubegrenset antall radiostasjoner at en bruker kan stille inn "
-"til å bruke sin datamaskin, mens under den eksisterende arkitekturen for "
-"kringkasting, det er en åpenbar grense for hvor mange broadcasters og fjerne "
-"kringkastingsfrekvenser. Internett-radio kan derfor være mer "
-"konkurransedyktige enn vanlige radio; den kunne gi et bredere spekter av "
-"valgene. og fordi potensielle publikum for Internett-radio er hele verden, "
-"nisje-stasjoner kan lett utvikle og markedsføre innholdet til et relativt "
-"stort antall brukere over hele verden. Ifølge noen anslag har mer enn åtti "
-"millioner brukere over hele verden stilt inn på denne nye formen for radio."
-
-#. PAGE BREAK 205
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"not only is the technology better, so, too, is the competition. Indeed, "
-"there is a direct parallel between the fight to establish FM radio and the "
-"fight to protect Internet radio. As one author describes Howard Armstrong's "
-"struggle to enable FM radio,"
-msgstr ""
-"Internett-radio er dermed til radio hva fm var å am. Det er en forbedring "
-"potensielt vesentlig større betydning enn fm-forbedring over am, siden ikke "
-"bare er teknologien bedre, så, også, er konkurransen. faktisk er det en "
-"direkte parallell mellom kampen for å etablere fm-radio og kampen for å "
-"beskytte Internett-radio. som en forfatter beskriver howard Armstrongs kamp "
-"for å aktivere fm-radio,"
-
-#. f12.
-#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#, mtrans, fuzzy
-msgid "Lessing, 239."
-msgstr "Lessing, 239."
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-msgid ""
-"An almost unlimited number of FM stations was possible in the shortwaves, "
-"thus ending the unnatural restrictions imposed on radio in the crowded "
-"longwaves. If FM were freely developed, the number of stations would be "
-"limited only by economics and competition rather than by technical "
-"restrictions. … Armstrong likened the situation that had grown up in "
-"radio to that following the invention of the printing press, when "
-"governments and ruling interests attempted to control this new instrument of "
-"mass communications by imposing restrictive licenses on it. This tyranny was "
-"broken only when it 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.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. f13.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid "Ibid., 229."
-msgstr "ibid., 229."
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"This potential for FM radio was never realized—not because Armstrong "
-"was wrong about the technology, but because he underestimated the power of "
-"\"vested interests, habits, customs and legislation\"<placeholder type="
-"\"footnote\" id=\"0\"/> to retard the growth of this competing technology."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"stations. The only restrictions on Internet radio are 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?"
-msgstr ""
-"nå kunne samme kravet gjort om Internett-radio. for på nytt finnes det ingen "
-"teknisk begrensning som kan begrense hvor mange Internett-radiostasjoner. de "
-"eneste begrensningene på Internett-radio som er pålagt av loven. lov om "
-"opphavsrett er en slik lov. så det første spørsmålet som vi bør spørre er, "
-"hvilke opphavsrett regler ville styre Internett-radio?"
-
-#. PAGE BREAK 206
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"lobby, the RIAA. Thus when Congress considered the phenomenon of Internet "
-"radio in 1995, the lobbyists had primed Congress to adopt a different rule "
-"for Internet radio than the rule that applies to terrestrial radio. While "
-"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when "
-"it plays her hypothetical recording of \"Happy Birthday\" on the air, "
-"<emphasis>Internet radio does</emphasis>. Not only is the law not neutral "
-"toward Internet radio—the law actually burdens Internet radio more "
-"than it burdens terrestrial radio."
-msgstr ""
-"men her kraften i lobbyister tilbakeføres. Internett-radio er en ny "
-"industri. artister, derimot, har en svært kraftig lobby, riaa. dermed hadde "
-"Kongressen vurdert når fenomenet Internett-radio i 1995, lobbyister primed "
-"Kongressen å adoptere en annen regel for Internett-radio enn regelen som "
-"gjelder bakkesendte radio. mens bakkesendte radio ikke trenger å betale våre "
-"hypotetisk marilyn monroe når den spilles hennes hypotetisk innspillingen av "
-"\"happy birthday\" på luften, Internett-radio gjør. ikke bare er loven ikke "
-"nøytral mot Internett-radio—loven faktisk byrder Internettradio mer "
-"enn det byrder bakkesendte radio."
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-msgid "CARP (Copyright Arbitration Royalty Panel)"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-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 "
-"Professor William Fisher. Conference Proceedings, iLaw (Stanford), 3 July "
-"2003, on file with author. Professors Fisher and Zittrain submitted "
-"testimony in the CARP proceeding that was ultimately rejected. See Jonathan "
-"Zittrain, Digital Performance Right in Sound Recordings and Ephemeral "
-"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent "
-"analysis making a similar point, see Randal C. Picker, \"Copyright as Entry "
-"Policy: The Case of Digital Distribution,\" <citetitle>Antitrust Bulletin</"
-"citetitle> (Summer/Fall 2002): 461: \"This was not confusion, these are just "
-"old-fashioned entry barriers. Analog radio stations are 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.\" "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"This financial burden is not slight. As Harvard law professor 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."
-"<placeholder type=\"footnote\" id=\"0\"/> A regular radio station "
-"broadcasting the same content would pay no equivalent fee."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 <emphasis>every listening "
-"transaction</emphasis>:"
-msgstr ""
-"byrden er ikke økonomiske bare. under de opprinnelige reglene som ble "
-"foreslått, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) "
-"ville ha til å samle inn følgende data fra hver lytting transaksjon:"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "name of the service;"
-msgstr "navn på tjenesten,"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "channel of the program (AM/FM stations use station ID);"
-msgstr "kanalen til programmet (AM/FM-stasjoner bruker stasjons-ID);"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "type of program (archived/looped/live);"
-msgstr "type program (fra arkivet/i løkke/direkte);"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "date of transmission;"
-msgstr "dato for sending;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "time of transmission;"
-msgstr "tidspunkt for sending;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "time zone of origination of transmission;"
-msgstr "tidssone til opprinnelsen for sending;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-msgid ""
-"numeric designation of the place of the sound recording within the program;"
-msgstr "numeriske angivelsen av i stedet for lydopptak programmet;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "duration of transmission (to nearest second);"
-msgstr "varigheten av sending (til nærmeste sekund):"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "sound recording title;"
-msgstr "lydinnspilling-tittel;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "ISRC code of the recording;"
-msgstr "ISRC-kode for opptaket;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-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 "
-"the track;"
-msgstr ""
-"gi år av albumet per opphavsrett og når det gjelder samlealbum, utgivelsesår "
-"av albumet og kopi høyre datoen for spor;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "featured recording artist;"
-msgstr "spillende plateartist;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "retail album title;"
-msgstr "tittel på album i butikker;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "recording label;"
-msgstr "plateselskap;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "UPC code of the retail album;"
-msgstr "UPC-koden for albumet i butikker;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "catalog number;"
-msgstr "katalognummer;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "copyright owner information;"
-msgstr "informasjon om opphavsrettsinnehaver;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "musical genre of the channel or program (station format);"
-msgstr "musikksjanger for kanal eller programmet (stasjonsformat);"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "name of the service or entity;"
-msgstr "navn på tjenesten eller selskap;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "channel or program;"
-msgstr "kanal eller program;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-msgid "date and time that the user logged in (in the user's time zone);"
-msgstr "datoen og klokkeslettet da brukeren logget på (i brukerens tidssone);"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-msgid "date and time that the user logged out (in the user's time zone);"
-msgstr "datoen og klokkeslettet da brukeren logget ut (i brukerens tidssone);"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-msgid "time zone where the signal was received (user);"
-msgstr "tidssone der signalet ble mottatt (bruker);"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "unique user identifier;"
-msgstr "unik bruker-identifikator;"
-
-#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-msgid "the country in which the user received the transmissions."
-msgstr "landet til brukeren som mottok sendingene."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 basic difference "
-"between Internet radio and terrestrial radio remains: Internet radio has to "
-"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does "
-"not."
-msgstr ""
-"bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, "
-"ventende videre studium. og han endret også de opprinnelige prisene ved "
-"voldgift panelet belastet med angivelse av priser. men den grunnleggende "
-"forskjellen mellom Internett-radio og bakkesendte radio gjenstår: Internett "
-"radio har å betale en type opphavsrett gebyr som bakkesendte radio ikke."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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?"
-msgstr ""
-"hvorfor? Hva rettferdiggjør denne forskjellen? var det noen studier av "
-"økonomiske konsekvensene fra Internett-radio som ville forsvare disse "
-"forskjellene? var motivet å beskytte kunstnere mot piratkopiering?"
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "Real Networks"
-msgstr "Real Networks"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"Real Networks, told me,"
-msgstr ""
-"i sjeldne litt candor innrømmet én riaa ekspert hva syntes åpenbar for alle "
-"samtidig. som alex alben fortalte visepresident for public policy på real "
-"networks, meg:"
-
-#. PAGE BREAK 208
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"it was much higher. It was ten times higher than what radio stations pay to "
-"perform the same songs for the same period of time. And so the attorneys "
-"representing the webcasters asked the RIAA, … \"How do you come up "
-"with a rate that's so much higher? Why is it worth more than radio? Because "
-"here we have hundreds of thousands of webcasters who want to pay, and 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. …\""
-msgstr ""
-"riaa, som var som representerer plateselskapene, presentert noen vitnesbyrd "
-"om hva de tenkte en villig kjøper betaler til en villig selger, og det var "
-"mye høyere. Det var ti ganger høyere enn hva radiostasjoner betale for å "
-"utføre de samme sangene i samme periode av tid. og så advokater som "
-"representerer webcasters spurte riaa... \"hvordan kan du komme opp med en "
-"hastighet som er så mye høyere? Hvorfor er det verdt mer enn radio? fordi "
-"her har vi hundretusener av webcasters som ønsker å betale, og som bør "
-"etablere markedet rate, og hvis du angir satsen så høyt, du kommer til å "
-"drive små webcasters ut av business.... \""
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-#, mtrans, fuzzy
-msgid ""
-"And the RIAA experts said, \"Well, we don't really model this as an industry "
-"with thousands of webcasters, <emphasis>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</emphasis>.\" (Emphasis added.)"
-msgstr ""
-"og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med "
-"tusenvis av webcasters, vi tror det bør være en bransje med, du vet, fem "
-"eller sju store spillere som kan betale en høy hastighet, og det er en "
-"stabil, forutsigbar marked.\" (vekt legges)."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 cause pain to "
-"the dinosaurs of old. There is no one, on either the right 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."
-msgstr ""
-"oversettelse: målet er å bruke loven til å eliminere konkurranse, slik at "
-"denne plattformen av potensielt enorme konkurransen, som ville føre til "
-"mangfoldet og omfanget av innholdet tilgjengelig til å eksplodere, ikke "
-"ville forårsake smerte til dinosaurs av gamle. Det er ingen, enten til høyre "
-"eller venstre, som bør bifaller denne bruken av loven. og ennå er det "
-"praktisk talt ingen, enten til høyre eller venstre, som gjør noe effektivt "
-"for å hindre den."
-
-#. type: Content of: <book><part><chapter><section><title>
-#, mtrans, fuzzy
-msgid "Corrupting Citizens"
-msgstr "ødelegge borgere"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Overregulation stifles creativity. It smothers innovation. It gives "
-"dinosaurs a veto over the future. It wastes the extraordinary opportunity "
-"for a democratic creativity that digital technology enables."
-msgstr ""
-"overregulation stifles kreativitet. det smothers innovasjon. Det gir "
-"dinosaurer vetorett over fremtiden. det avfall ekstraordinær mulighet for en "
-"demokratisk kreativitet som digital teknologi gjør det mulig."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"In addition to these important harms, there is one more that was important "
-"to our forebears, but seems forgotten today. Overregulation corrupts "
-"citizens and weakens the rule of law."
-msgstr ""
-"i tillegg til disse viktige skadene er det en mer som var viktig for våre "
-"forfedre, men synes glemt i dag. overregulation skader borgere og svekker "
-"rettssikkerhet."
-
-#. f15.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"Mike Graziano and Lee Rainie, \"The Music Downloading Deluge,\" Pew Internet "
-"and American Life Project (24 April 2001), available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #46</ulink>. The Pew Internet and American "
-"Life Project reported that 37 million Americans had downloaded music files "
-"from the Internet by early 2001."
-msgstr ""
-
-#. PAGE BREAK 209
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"of citizens. According to <citetitle>The New York Times</citetitle>, 43 "
-"million Americans downloaded music in May 2002.<placeholder type=\"footnote"
-"\" id=\"0\"/> 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 launches lawsuits against not only "
-"the Napsters and Kazaas of the world, but against students building search "
-"engines, and increasingly against ordinary users downloading content, the "
-"technologies for sharing will advance to further protect and hide illegal "
-"use. It is an arms race or a civil war, with the extremes of one side "
-"inviting a more extreme response by the other."
-msgstr ""
-
-#. f16.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" "
-"<citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business."
-msgstr ""
-"Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" "
-"los angeles times, 10 september 2003, business."
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"Jordan it had found a scapegoat, not a defendant. The threat of having to "
-"pay either all the money in the world in damages ($15,000,000) or almost all "
-"the money in the world to defend against paying all the money in the world "
-"in damages ($250,000 in legal fees) led Jordan to choose to pay all the "
-"money he had in the world ($12,000) to make the suit go away. The same "
-"strategy animates 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.<placeholder type=\"footnote\" id=\"0\"/> 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 to settle the "
-"case.) Our law is an awful system for defending rights. It 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."
-msgstr ""
-
-#. f17.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During "
-"Prohibition,\" <citetitle>American Economic Review</citetitle> 81, no. 2 "
-"(1991): 242."
-msgstr ""
-"Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" "
-"amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242."
-
-#. f18.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"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)."
-msgstr ""
-"nasjonale narkotikapolitikken kontroll: høre før house government reform "
-"committee, 108th cong., 1 sess. (5 mars 2003) (setning av john p. walters, "
-"direktør for nasjonale narkotikapolitikken kontroll)."
-
-#. f19.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "
-"<citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey "
-"of compliance literature)."
-msgstr ""
-"se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" "
-"journal av økonomiske litteratur 36 (1998): 818 (undersøkelse av samsvar "
-"litteratur)."
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "alcohol prohibition"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"prohibition, at a time when the per capita consumption of alcohol was 1.5 "
-"gallons per capita per year. The war against drinking initially reduced that "
-"consumption to just 30 percent 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.<placeholder type=\"footnote\" id=\"0\"/> We have launched a "
-"war on drugs aimed at reducing the consumption of regulated narcotics that 7 "
-"percent (or 16 million) Americans now use.<placeholder type=\"footnote\" id="
-"\"1\"/> 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.<placeholder type="
-"\"footnote\" id=\"2\"/> We pride ourselves on our \"free society,\" 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. "
-"<placeholder type=\"indexterm\" id=\"3\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "law schools"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"about the importance of \"ethics.\" As my colleague Charlie Nesson told a "
-"class at Stanford, each year law schools admit thousands of students who "
-"have illegally downloaded music, illegally consumed alcohol and sometimes "
-"drugs, illegally worked without paying taxes, illegally driven cars. These "
-"are kids for whom behaving illegally is increasingly the norm. And then we, "
-"as law professors, are supposed to teach them how to behave ethically—"
-"how to say no to bribes, or keep client funds separate, or honor a demand to "
-"disclose a document that will mean that your case is over. Generations of "
-"Americans—more significantly in some parts of America than in others, "
-"but still, everywhere in America today—can't live their lives both "
-"normally and legally, since \"normally\" entails a certain degree of "
-"illegality. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"denne tilstanden av saker er ikke uten konsekvens. Det er en spesielt "
-"fremtredende spørsmålet for lærere som meg, hvis jobb er det å undervise law "
-"studenter om betydningen av \"etikk.\" som min kollega charlie nesson "
-"fortalte en klasse ved stanford, hvert år lov skoler innrømme tusenvis av "
-"studentene som har ulovlig lastet ned musikk, ulovlig konsumert alkohol og "
-"noen ganger narkotika, ulovlig arbeidet uten å betale skatt, ulovlig drevet "
-"biler. disse er barna som oppfører seg ulovlig er stadig normen. og deretter "
-"vi, som loven professorer, skal lære dem hvordan å oppføre seg etisk—"
-"hvordan å si nei til bestikkelser, holde klienten midler atskilt eller ære "
-"et krav til å avsløre et dokument som betyr at ditt tilfelle er over. "
-"generasjoner av amerikanere—mer betydelig i enkelte deler av Amerika "
-"enn i andre, men likevel, overalt i Amerika i dag—ikke kan lever sine "
-"liv både normalt og lovlig, siden \"normalt\" innebærer en viss grad av "
-"illegality."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"that choice more rationally. Whether a law makes sense depends, in part, at "
-"least, upon whether the costs of the law, both intended and collateral, "
-"outweigh the benefits. If the costs, intended and collateral, do outweigh "
-"the benefits, then the law ought to be changed. Alternatively, if the costs "
-"of the existing system are much greater than the costs of an alternative, "
-"then we have a good reason to consider the alternative."
-msgstr ""
-"response til denne generelle illegality er å håndheve loven mer alvorlig "
-"eller endre loven. Vi har som et samfunn å lære hvordan du gjør mer "
-"rasjonelt. om en lov er fornuftig avhenger, delvis i det minste om "
-"kostnadene ved loven, både tiltenkte og sikkerhetsstillelse, oppveier "
-"fordelene. Hvis kostnader, ment og sikkerhetsstillelse, oppveier fordelene, "
-"burde loven endres. Alternativt, hvis kostnadene for eksisterende systemet "
-"er mye større enn kostnadene for et alternativ, vi har en god grunn til å "
-"vurdere alternativet."
-
-#. PAGE BREAK 211
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"dramatically by legalizing murder on Wednesdays and Fridays. But that "
-"wouldn't make any sense, since murder is wrong every day of the week. A "
-"society is right to ban murder always and everywhere."
-msgstr ""
-"Mitt poeng er ikke den idiotisk: bare fordi folk bryter en lov, vi bør "
-"derfor oppheve den. Vi kan selvfølgelig redusere mord statistikk dramatisk "
-"ved legalizing drap for på onsdager og fredager. men det ville ikke gi noen "
-"mening, siden drap er galt hver dag i uken. et samfunn er rett å utestenge "
-"drap alltid og overalt."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"obeying the law. The more often, and more repeatedly, we as citizens "
-"experience violating the law, the less we respect the law. Obviously, in "
-"most cases, the important issue is the law, not respect for the law. I don't "
-"care whether the rapist respects the law or not; I want to catch and "
-"incarcerate the rapist. But I do care whether my students respect the law. "
-"And I do care if the rules of law sow increasing disrespect because of the "
-"extreme of regulation they impose. Twenty million Americans have come of "
-"age since the Internet introduced this different idea of \"sharing.\" We "
-"need to be able to call these twenty million Americans \"citizens,\" not "
-"\"felons.\""
-msgstr ""
-"Mitt poeng er i stedet en som demokratier forstått i generasjoner, men som "
-"vi nylig har lært å glemme. rettssikkerhet, er avhengig av folk som følge "
-"loven. Jo oftere og mer gjentatte ganger, vi som borgere oppleve brudd på "
-"loven, jo mindre vi respekterer loven. Tydeligvis, i de fleste tilfeller, "
-"det viktige spørsmålet er lov, ikke respekt for loven. jeg ikke bryr seg om "
-"voldtektsforbryter respekterer loven eller ikke; Jeg ønsker å fange og "
-"fengsle voldtektsforbryter. men jeg bryr seg om mine studenter respekterer "
-"loven. og jeg bryr seg Hvis reglene for loven purke økende aktelse på grunn "
-"av ekstreme regulering de innføre. fem millioner amerikanere har kommet av "
-"alder siden Internett innført denne annen idé om \"deling.\" vi trenger å "
-"kunne ringe disse fem millioner amerikanere \"borgere,\" ikke \"felons\"."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"When at least forty-three million citizens download content from the "
-"Internet, and when they use tools to combine that content in ways "
-"unauthorized by copyright holders, the first question we should be asking is "
-"not how best to involve the FBI. The first question should be whether this "
-"particular prohibition is really necessary in order to achieve the proper "
-"ends that copyright law serves. Is there another way to assure that artists "
-"get paid without transforming forty-three million Americans into felons? "
-"Does it make sense if there are other ways to assure that artists get paid "
-"without transforming America into a nation of felons?"
-msgstr ""
-"Når minst førti - tre millioner innbyggere dataoverføre innhold fra "
-"Internett, og når de bruker verktøy til å kombinere at innhold på måter "
-"uautorisert ved innehaver av opphavsrett, det første spørsmålet som vi bør "
-"spørre ikke er hvordan man best kan innebære fbi. det første spørsmålet bør "
-"være om dette bestemte forbudet er virkelig nødvendig for å oppnå riktig "
-"ender som serverer lov om opphavsrett. er det en annen måte å forsikre at "
-"artister får betalt uten å transformere førti - tre millioner amerikanere i "
-"felons? betyr det fornuftig hvis det finnes andre måter å sikre at artister "
-"får betalt uten å transformere Amerika til en nasjon av felons?"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid "This abstract point can be made more clear with a particular example."
-msgstr "Denne abstrakte punkt kan gjøres mer tydelig med en bestemt eksempel."
-
-#. PAGE BREAK 212
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"protects our right to buy and sell that plastic: It is not a copyright "
-"infringement for me to sell all my classical records at a used record store "
-"and buy jazz records to replace them. That \"use\" of the recordings is free."
-msgstr ""
-"vi alle egne CDer. mange av oss fortsatt eier fonograf poster. disse bitene "
-"av plast kode musikk at i en viss forstand vi har kjøpt. loven beskytter vår "
-"rett til å kjøpe og selge den plasten: det er ikke en krenkelse av "
-"opphavsrett for meg å selge min klassisk poster på en brukte platebutikk og "
-"kjøpe jazz poster hvis du vil erstatte dem. \"Bruk\" av opptak er gratis."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"copy-protection technologies, I am \"free\" to copy, or \"rip,\" music from "
-"my records onto a computer hard disk. Indeed, Apple Corporation went so far "
-"as to suggest that \"freedom\" was a right: In a series of commercials, "
-"Apple endorsed the \"Rip, Mix, Burn\" capacities of digital technologies."
-msgstr ""
-"men som mp3-Mani har vist, er det en annen bruk av fonogram som er effektivt "
-"gratis. Disse opptakene ble gjort uten kopibeskyttelse teknologier, og jeg "
-"er det \"gratis\" for å kopiere eller \"rip\" musikk fra min poster på en "
-"harddisk på datamaskinen. faktisk apple corporation gikk så langt som å "
-"foreslå at \"friheten\" var en rett: i en rekke reklamefilmer, apple "
-"godkjent \"rip, mikse, brenne\" kapasiteter digitale teknologier."
-
-#. type: Content of: <book><part><chapter><section><indexterm><primary>
-msgid "Adromeda"
-msgstr "Adromeda"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This \"use\" 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 program called "
-"Andromeda, we can build different play lists of our music: Bach, Baroque, "
-"Love Songs, Love Songs of Significant Others—the potential is endless. "
-"And by reducing the costs of mixing play lists, these technologies help "
-"build a creativity with play lists that is itself independently valuable. "
-"Compilations of songs are creative and meaningful in their own right."
-msgstr ""
-"Denne \"Bruk\" av min poster er absolutt verdifull. Jeg har begynt en stor "
-"prosess hjemme med ripping av alle mine og min kones CDer, og lagre dem i en "
-"arkiv. deretter bruker Apples itunes eller en praktfull program kalt "
-"andromeda, kan vi bygge forskjellige spillelister over våre musikk: bach, "
-"barokk, love songs, love songs av betydelige andre—potensialet er "
-"uendelige. og ved å redusere kostnadene ved å blande spillelister, disse "
-"teknologier hjelpe bygge en kreativitet med spille lister som selv er "
-"uavhengig verdifull. samlinger av sanger er kreative og meningsfull i egen "
-"rett."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This use is enabled by unprotected media—either CDs or records. But "
-"unprotected media also enable file sharing. File sharing threatens (or so "
-"the content industry believes) the ability of creators to earn a fair return "
-"from their creativity. And thus, many are beginning to experiment with "
-"technologies to eliminate unprotected media. These technologies, for "
-"example, would enable CDs that could not be ripped. Or they might enable spy "
-"programs to identify ripped content on people's machines."
-msgstr ""
-"denne bruken er aktivert av ubeskyttet media—CDer eller poster. men "
-"ubeskyttet media også aktivere fildeling. fildeling truer (eller så innhold "
-"industrien mener) evne til skaperne å tjene en god avkastning fra sin "
-"kreativitet. og dermed mange begynner å eksperimentere med teknologier for å "
-"eliminere ubeskyttet media. disse teknologiene, for eksempel ville aktivere "
-"CDer som ikke blir rippet. eller de kan aktivere spion programmer å "
-"identifisere rippede innhold på folks maskiner."
-
-#. PAGE BREAK 213
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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, "
-"and get technology to disable the technologies that protect the content. "
-"Trading in those technologies is illegal, but maybe that doesn't bother you "
-"much. In any case, for the vast majority of people, these protection "
-"technologies would effectively destroy the archiving use of CDs. The "
-"technology, in other words, would force us all back to the world where we "
-"either listened to music by manipulating pieces of plastic or were part of a "
-"massively complex \"digital rights management\" system."
-msgstr ""
-"Hvis disse teknologiene tok av, ville og bygging av store arkiver av din "
-"egen musikk bli ganske vanskelig. Du kan henge i hacker sirkler, og få "
-"teknologi for å deaktivere teknologier som beskytter innholdet. handel i "
-"disse teknologiene er ulovlig, men kanskje som bry ikke deg mye. i alle fall "
-"for de aller fleste mennesker ville disse beskyttelse teknologiene effektivt "
-"ødelegge arkivering bruk av CDer. teknologi, med andre ord, vil tvinge oss "
-"alle tilbake til verden der vi lyttet til musikk ved å manipulere stykker av "
-"plast eller var del av en svært kompleks \"digital rights management\" "
-"systemet."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"the freedom to move content would be justifiable. But what if there were "
-"another way to assure that artists are paid, without locking down any "
-"content? What if, in other words, a different system could assure "
-"compensation to artists while also preserving the freedom to move content "
-"easily?"
-msgstr ""
-"Hvis den eneste måten å sikre at artister får betalt var eliminering av "
-"muligheten til å fritt flytte innhold, ville så disse teknologiene å "
-"forstyrre bevege innhold være forsvarlig. men hva hvis det var en annen måte "
-"å forsikre at kunstnere er betalt, uten å låse ned innhold? Hva om, med "
-"andre ord, et annet system kan forsikre kompensasjon til kunstnere samtidig "
-"som du beholder også bevege innhold lett?"
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"point is the relatively uncontroversial one: If a different system achieved "
-"the same legitimate objectives that the existing copyright system achieved, "
-"but left consumers and creators much more free, then we'd have a very good "
-"reason to pursue this alternative—namely, freedom. The choice, in "
-"other words, would not be between property and piracy; the choice would be "
-"between different property systems and the freedoms each allowed."
-msgstr ""
-"Mitt poeng er akkurat nå ikke for å bevise at det er et slikt system. Jeg "
-"tilbyr en versjon av slikt system i det siste kapitlet av denne boken. for "
-"nå, det eneste punktet er den relativt ukontroversiell: Hvis et annet system "
-"oppnådd målene er samme legitime som eksisterende opphavsretten til systemet "
-"oppnådd, men forlot forbrukere og skaperne mye mer gratis, så vi ville ha en "
-"svært god grunn til å forfølge denne alternative—nemlig frihet. valg, "
-"med andre ord, ville ikke være mellom eiendom og piratkopiering; valget "
-"ville være mellom forskjellige eiendom systemer og frihetene hver tillatt."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"alternative is that it would lead to a very different market for producing "
-"and distributing creativity. The dominant few, who today control the vast "
-"majority of the distribution of content in the world, would no longer "
-"exercise this extreme of control. Rather, they would go the way of the horse-"
-"drawn buggy."
-msgstr ""
-"Jeg tror det er en måte å sikre at kunstnere er betalt uten å slå førti - "
-"tre millioner amerikanere i felons. men funksjonen fremspringende i denne "
-"alternativ er at det ville føre til en svært forskjellige markedet for "
-"produksjon og distribusjon av kreativitet. de dominerende få, som i dag "
-"kontrollerer det store flertallet av distribusjon av innhold i verden, ville "
-"ikke lenger utøve denne ekstreme av kontroll. de ville heller gå veien for "
-"hest trukket buggy."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Except that this generation's buggy manufacturers have already saddled "
-"Congress, and are riding the law to protect themselves against this new form "
-"of competition. For them the choice is between fortythree million Americans "
-"as criminals and their own survival."
-msgstr ""
-"bortsett fra at denne generasjon vognen produsenter har allerede saddled "
-"Kongressen, og sykle loven for å beskytte seg mot denne nye formen for "
-"konkurranse. for dem er valget mellom fortythree millioner amerikanere som "
-"kriminelle og deres egen overlevelse."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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; "
-"but not so charming as to justify giving up a tradition as deep and "
-"important as our tradition of free culture. There's one more aspect to this "
-"corruption that is particularly important to civil liberties, and follows "
-"directly from any war of prohibition. As Electronic Frontier Foundation "
-"attorney Fred von Lohmann describes, this is the \"collateral damage\" that "
-"\"arises whenever you turn a very large percentage of the population into "
-"criminals.\" This is the collateral damage to civil liberties generally. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Det er forståelig hvorfor de velger som de gjør. Det er ikke forståelig "
-"hvorfor vi som et demokrati fortsette å velge som vi gjør. Jack valenti er "
-"sjarmerende; men ikke så sjarmerende som å rettferdiggjøre å gi opp en "
-"tradisjon som dypt og viktig som vår tradisjon for fri kultur. Det er en mer "
-"aspekt til dette kan føre til minnefeil som er spesielt viktig for "
-"borgerrettigheter, og følger direkte fra noen krig av forbudet. som "
-"electronic frontier foundation advokat fred von sang beskriver, dette er den "
-"\"sikkerhetsstillelse skaden\" som \"oppstår når du slår en veldig stor "
-"prosentandel av befolkningen i kriminelle.\" Dette er sikkerhetsstillelse "
-"skader på borgerrettigheter vanligvis."
-
-#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-msgid "von Lohmann, Fred"
-msgstr "von Lohmann, Fred"
-
-#. type: Content of: <book><part><chapter><section><para>
-msgid ""
-"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains, "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"\"Hvis du kan behandle noen som en antatt lovbryter,\" forklarer von "
-"Lohmann, <placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"hope to have any privacy rights? If you're a copyright infringer, how can "
-"you hope to be secure against seizures of your computer? How can you hope to "
-"continue to receive Internet access? … Our sensibilities change as "
-"soon as we think, \"Oh, well, but that person's a criminal, a lawbreaker.\" "
-"Well, what this campaign against file sharing has done is turn a remarkable "
-"percentage of the American Internet-using population into \"lawbreakers.\""
-msgstr ""
-"så plutselig en rekke grunnleggende frihet for sivil beskyttelse fordampe "
-"til en grad eller annen.... Hvis du er en opphavsrett på lovgivningen, "
-"hvordan kan du håper å ha noen personvernet? Hvis du er en opphavsrett på "
-"lovgivningen, hvordan kan du håper å bli sikker mot beslag av datamaskinen? "
-"Hvordan kan du håper å fortsette å motta Internett-tilgang? ... vår "
-"sensibilities endre så snart vi tror, \"oh, vel, men denne personen er en "
-"kriminell, lawbreaker.\" Vel, hva denne kampanjen mot fildeling har gjort er "
-"å slå en bemerkelsesverdig prosent av den amerikanske internett-bruker "
-"befolkningen i \"lawbreakers.\""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"effectively erase much of the privacy most would presume."
-msgstr ""
-"og konsekvens av denne transformasjonen av den amerikanske offentligheten "
-"til kriminelle er at den blir triviell, som et spørsmål om grunn prosessen "
-"til å effektivt viske ut mye av personvernet mest ville anta."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"names of customers who the RIAA believed were violating copyright law. "
-"Verizon fought that demand and lost. With a simple request to a judge, and "
-"without any notice to the customer at all, the identity of an Internet user "
-"is revealed."
-msgstr ""
-"brukere av Internett begynte å se dette vanligvis i 2003 som riaa lanserte "
-"sin kampanje for å tvinge nettleverandører til å snu navnene på kundene som "
-"riaa trodde var bryter loven om opphavsrett. Verizon kjempet som krever, og "
-"tapte. med en enkel forespørsel til en dommer, og uten varsel til kunden i "
-"det hele tatt, er identiteten til en Internett-bruker avslørt."
-
-#. f20.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in "
-"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington "
-"Post</citetitle>, 10 September 2003, E1; Chris Cobbs, \"Worried Parents Pull "
-"Plug on File `Stealing'; With the Music Industry Cracking Down on File "
-"Swapping, Parents are Yanking Software from Home PCs to Avoid Being Sued,\" "
-"<citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; "
-"Jefferson Graham, \"Recording Industry Sues Parents,\" <citetitle>USA Today</"
-"citetitle>, 15 September 2003, 4D; John Schwartz, \"She Says She's No Music "
-"Pirate. No Snoop Fan, Either,\" <citetitle>New York Times</citetitle>, 25 "
-"September 2003, C1; Margo Varadi, \"Is Brianna a Criminal?\" "
-"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7."
-msgstr ""
-"se frank ahrens, \"riaa's søksmål møte overrasket over mål; enkelt mor i "
-"California, 12-år gammel jente i ny blant saksøkte,\"washington post, 10 "
-"september 2003, e1; Chris cobbs, \"bekymret foreldre trekke pluggen på filen"
-"\"stjele\"; med musikkbransjen cracking ned på Filbytte, er foreldre prøver "
-"å lure programvare fra hjemme-PC å unngå blir saksøkte,\"orlando sentinel "
-"tribune, 30 august 2003, c1; Jefferson graham, \"innspillingen industri sues "
-"foreldre,\" usa today, 15 september 2003, 4 d; John schwartz, \"hun sier hun "
-"er ingen musikk pirat. ikke snoop fan, enten,\"new york times, 25 september "
-"2003, c1; Margo varadi, \"er brianna en kriminell?\" toronto star, 18 "
-"september 2003, p7."
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"copyrighted music from file-sharing systems. But as we've seen, the "
-"potential damages from these suits are astronomical: If a 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.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. f21.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"See \"Revealed: How RIAA Tracks Downloaders: Music Industry Discloses Some "
-"Methods Used,\" CNN.com, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #47</ulink>."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"to track Napster users.<placeholder type=\"footnote\" id=\"0\"/> 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 \"fingerprint.\""
-msgstr ""
-
-#. f22.
-#. type: Content of: <book><part><chapter><section><para><footnote><para>
-msgid ""
-"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" "
-"<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank "
-"Ahrens, \"Four Students Sued over Music Sites; Industry Group Targets File "
-"Sharing at Colleges,\" <citetitle>Washington Post</citetitle>, 4 April 2003, "
-"E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at Their Own Risk,\" "
-"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; "
-"Robert Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two "
-"Students Names Are Handed Over; Lawsuit Possible,\" <citetitle>Chicago "
-"Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, \"RIAA Trains Antipiracy "
-"Guns on Universities,\" <citetitle>Internet News</citetitle>, 30 January "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #48</"
-"ulink>; Benny Evangelista, \"Download Warning 101: Freshman Orientation This "
-"Fall to Include Record Industry Warnings Against File Sharing,\" "
-"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; \"Raid, "
-"Letters Are Weapons at Universities,\" <citetitle>USA Today</citetitle>, 26 "
-"September 2000, 3D."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-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 "
-"used to make as a kid. You don't know, and neither does your daughter, where "
-"these songs came from. But she copies these songs onto her computer. She "
-"then takes her computer to college and connects it to a college network, and "
-"if the college network is \"cooperating\" with the RIAA's espionage, and she "
-"hasn't 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 \"criminal.\" And under the rules that universities are beginning to "
-"deploy,<placeholder type=\"footnote\" id=\"0\"/> your daughter can lose the "
-"right to use the university's computer network. She can, in some cases, be "
-"expelled."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"she didn't know anything about the source of the songs or that they came "
-"from Napster. And it may well be that the university believes her. But the "
-"university might not believe her. It might treat this \"contraband\" as "
-"presumptive of guilt. And as any number of college students have already "
-"learned, our presumptions about innocence disappear in the middle of wars of "
-"prohibition. This war is no different. Says von Lohmann, <placeholder type="
-"\"indexterm\" id=\"0\"/>"
-msgstr ""
-"nå, selvfølgelig, hun vil ha rett til å forsvare seg selv. Du kan leie en "
-"advokat for henne (på $300 per time, hvis du er heldig), og hun kan erkjenne "
-"at hun ikke visste noe om kilden til sangene eller at de kom fra napster. og "
-"det kan godt være at universitetet mener henne. Men universitetet kan ikke "
-"tro henne. Det kan behandle denne \"Kontrabande\" som presumptive av skyld. "
-"og som mange studenter har allerede lært, våre arrogante forutsetningen om "
-"uskyld forsvinne i midten av krigene om forbud. denne krigen er ikke "
-"annerledes. sier von sang,"
-
-#. type: Content of: <book><part><chapter><section><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"civil liberties of those people are very much in peril in a general matter. "
-"[I don't] think [there is any] analog where you could randomly choose any "
-"person off the street and be confident that they were committing an unlawful "
-"act that could put them on the hook for potential felony liability or "
-"hundreds of millions of dollars of civil liability. Certainly we all speed, "
-"but speeding isn't the kind of an act for which we routinely forfeit civil "
-"liberties. Some people use drugs, and I think that's the closest analog, "
-"[but] many have noted that the war against drugs has eroded all of our civil "
-"liberties because it's treated so many Americans as criminals. Well, I think "
-"it's fair to say that file sharing is an order of magnitude larger number of "
-"Americans than drug use. … If forty to sixty million Americans have "
-"become lawbreakers, then we're really on a slippery slope to lose a lot of "
-"civil liberties for all forty to sixty million of them."
-msgstr ""
-"så når vi snakker om tall som førti til seksti millioner amerikanere som er "
-"egentlig opphavsrett varemerkerettigheter, oppretter du en situasjon der "
-"borgerrettigheter av dem er svært mye i fare i en generell sak. [jeg ikke] "
-"[det er noen] analog hvor du kunne tilfeldig velge en person av gaten og "
-"være trygg på at de var begå en ulovlig handling som kan sette dem på kroken "
-"for potensielle forbrytelse erstatningsansvar eller hundrevis av millioner "
-"av dollar til sivilrettslig ansvar. sikkert vi alle hastighet, men fart er "
-"ikke typen en handling som vi miste rutinemessig borgerrettigheter. noen "
-"mennesker bruker narkotika, og jeg tror det er den nærmeste analoge, [men] "
-"mange har bemerket at krigen mot narkotika har eroded alle våre "
-"borgerrettigheter fordi det har behandlet så mange amerikanere som "
-"kriminelle. Vel, jeg tror det er rimelig å si at fildeling er en bestilling "
-"av omfanget større antall amerikanere enn narkotikabruk.... Hvis førti til "
-"seksti millioner amerikanere har blitt lawbreakers, da er vi virkelig på en "
-"glatt skråning å miste mye av borgerrettigheter for alle førti til seksti "
-"millioner av dem."
-
-#. type: Content of: <book><part><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"When forty to sixty million Americans are considered \"criminals\" under the "
-"law, and when the law could achieve the same objective— securing "
-"rights to authors—without these millions being considered \"criminals,"
-"\" 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?"
-msgstr ""
-"Når førti til seksti millioner amerikanere anses \"kriminelle\" under loven, "
-"og når loven kan oppnå det samme målet—sikre rettighetene til "
-"forfattere—uten disse millioner blir betraktet som \"kriminelle\", som "
-"er skurk? amerikanere eller loven? som er amerikansk, en konstant krig på "
-"våre egne folk eller en felles innsats gjennom vårt demokrati for å endre "
-"vår lov?"
-
-#. type: Content of: <book><part><title>
-msgid "BALANCES"
-msgstr "Maktfordeling"
-
-#. type: Content of: <book><part><partintro><para>
-msgid ""
-"So here's 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 know how to put it out. Next to you is a bucket, filled with "
-"gasoline. Obviously, gasoline won't put the fire out."
-msgstr ""
-"Så her er bildet: Du står på siden av veien. Bilen din er på brann. Du er "
-"sint og opprørt fordi du delvis bidro til å starte brannen. Nå vet du ikke "
-"hvordan du slokker den. Ved siden av deg er en bøtte, fylt med bensin. "
-"Bensin vil åpenbart ikke slukke brannen."
-
-#. type: Content of: <book><part><partintro><para>
-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 "
-"understands just why she should stop—the bucket is in the air. The "
-"gasoline is about to hit the blazing car. And the fire that gasoline will "
-"ignite is about to ignite everything around."
-msgstr ""
-"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper "
-"hun bøtta, og før du har hatt sjansen til å be henne stoppe—eller før "
-"hun forstår hvorfor hun bør stoppe—er bøtten i svevet. Bensinen er på "
-"tur mot den brennende bilen. Og brannen som bensinen kommer til å fyre opp "
-"vil straks sette fyr på alt i omgivelsene."
-
-#. type: Content of: <book><part><partintro><para>
-msgid ""
-"A war about copyright rages all around—and we're all focusing on the "
-"wrong thing. No doubt, current technologies threaten existing businesses. "
-"No doubt they may threaten artists. But technologies change. The industry "
-"and technologists have plenty of ways to use technology to protect "
-"themselves against the current threats of the Internet. This is a fire that "
-"if let alone would burn itself out."
-msgstr ""
-"En krig om opphavsrett pågår over alt— og vi fokuserer alle på feil "
-"ting. Det er ingen tvil om at dagens teknologier truer eksisterende "
-"virksomheter. Uten tvil kan de true artister. Men teknologier endrer seg. "
-"Industrien og teknologer har en rekke måter å bruke teknologi til å beskytte "
-"dem selv mot dagens trusler på Internet. Dette er en brann som overlatt til "
-"seg selv vil brenne ut."
-
-#. PAGE BREAK 219
-#. type: Content of: <book><part><partintro><para>
-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 "
-"problem they perceive. But the problem they perceive is not the real threat "
-"this culture faces. For while we watch this small fire in the corner, there "
-"is a massive change in the way culture is made that is happening all around."
-msgstr ""
-"Likevel er ikke besluttningstagere villig til å la denne brannen i fred. "
-"Ladet med masse penger fra lobbyister er de lystne på å gå i mellom for å "
-"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det "
-"er ikke den reelle trusselen som denne kulturen står med ansiktet mot. For "
-"mens vi ser på denne lille brannen i hjørnet er det en massiv endring i "
-"hvordan kultur blir skapt som pågår over alt. "
-
-#. type: Content of: <book><part><partintro><para>
-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 "
-"onto this fire."
-msgstr ""
-"På en eller annen måte må vi klare å snu oppmerksomheten mot dette mer "
-"viktige og fundametale problemet. Vi må finne en måte å unngå å helle "
-"bensin på denne brannen."
-
-#. type: Content of: <book><part><partintro><para>
-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 "
-"broadly, it is the simple, binary view that remains. We rubberneck to look "
-"at the fire when we should be keeping our eyes on the road."
-msgstr ""
-"Vi har ikke funne denne måten ennå. Istedet synes vi å være fanget i en "
-"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser på for å "
-"gjøre rammen for debatten litt bredere, er det dette enkle sort-hvit-synet "
-"som består. Vi kjører sakte forbi og stirrer på brannen når vi i stedet "
-"burde holde øynene på veien."
-
-#. type: Content of: <book><part><partintro><para>
-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 "
-"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."
-msgstr ""
-"Denne utfordringen har vært livet mitt de siste årene. Det har også vært "
-"min falitt. I de to neste kapittlene, beskriver jeg en liten innsats, så "
-"langt uten suksess, på å finne en måte å endre fokus på denne debatten. Vi "
-"må forstå disse mislyktede forsøkene hvis vi skal forstå hva som kreves for "
-"å lykkes."
-
-#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER THIRTEEN: Eldred"
-msgstr "Kapittel tretten: Eldred"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Hawthorne, Nathaniel"
-msgstr "Hawthorne, Nathaniel"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"In 1995, 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 it. Eric Eldred, a retired computer programmer living in "
-"New Hampshire, decided to put Hawthorne on the Web. An electronic version, "
-"Eldred thought, with links to pictures and explanatory text, would make this "
-"nineteenth-century author's work come alive."
-msgstr ""
-"i 1995 var en far frustrert at hans døtre ikke synes å ha hawthorne. uten "
-"tvil var det flere slike far, men minst én gjorde noe med det. Eric eldred, "
-"en pensjonert datamaskinen programmerer bor i new hampshire, besluttet å "
-"sette hawthorne på nettet. en elektronisk versjon eldred trodde, med "
-"koblinger til bilder og forklarende tekst, ville gjøre av 1800-tallet "
-"forfatterens arbeid blir levende."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"hobby, and his hobby begat a cause: Eldred would build a library of public "
-"domain works by scanning these works and making them available for free."
-msgstr ""
-"den gjorde ikke arbeide—minst for hans døtre. de finner ikke hawthorne "
-"noe mer interessant enn før. men eldred's eksperimentet fødte en hobby og "
-"hans hobby fikk en årsak: eldred ville bygge et bibliotek med bøker ved "
-"skanning disse verkene og gjøre dem tilgjengelig gratis."
-
-#. PAGE BREAK 221
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"who can't get access to printed versions of these works. Instead, Eldred was "
-"producing derivative works from these public domain works. Just as Disney "
-"turned Grimm into stories more accessible to the twentieth century, Eldred "
-"transformed Hawthorne, and many others, into a form more accessible—"
-"technically accessible—today."
-msgstr ""
-"eldred's biblioteket var ikke bare en kopi av visse bøker, men ville ha vært "
-"enda en kopi av stor verdi til folk over hele verden som ikke kan få tilgang "
-"til trykte versjoner av disse verkene. eldred var i stedet brukes til å "
-"produsere avledede produkter fra disse offentlige verker. akkurat som disney "
-"omgjort grimm til historier mer tilgjengelig for det tjuende århundre, "
-"eldred transformert hawthorne, og mange andre, til et skjema som er mer "
-"tilgjengelig—teknisk tilgjengelig—i dag."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"into the public domain in 1907. It was free for anyone to take without the "
-"permission of the Hawthorne estate or anyone else. Some, such as Dover Press "
-"and Penguin Classics, take works from the public domain and produce printed "
-"editions, which they sell in bookstores across the country. Others, such as "
-"Disney, take these stories and turn them into animated cartoons, sometimes "
-"successfully (<citetitle>Cinderella</citetitle>), sometimes not "
-"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure "
-"Planet</citetitle>). These are all commercial publications of public domain "
-"works."
-msgstr ""
-"eldred's frihet til å gjøre dette med hawthorne's arbeid vokste fra den "
-"samme kilden som disney's. hawthorne's sange hadde gått inn i den offentlige "
-"sfæren, i 1907. Det var gratis for alle å ta uten tillatelse fra den "
-"hawthorne eiendommen eller noen andre. noen, for eksempel dover trykk og "
-"penguin klassikere, ta works fra public domain og produsere trykte utgavene, "
-"som de selger i bokhandler over hele landet. andre, for eksempel disney, ta "
-"disse historiene og slå dem i animerte-tegneserier, noen ganger lykkes "
-"(cinderella), noen ganger ikke (hunchback i notre dame, skatt planeten). "
-"disse er alle kommersielle publikasjoner av offentlige verker."
-
-#. f1.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"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 were distributing porn but were "
-"not making money directly or indirectly from that distribution. Such a "
-"class didn't exist before the Internet came into being because the costs of "
-"distributing porn were so high. Yet this new class of distributors got "
-"special attention in the Supreme Court, when the Court struck down the "
-"Communications Decency Act of 1996. It was partly because of the burden on "
-"noncommercial speakers that the statute was found to exceed Congress's "
-"power. The same point could have been made about noncommercial 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."
-msgstr ""
-"Det er en parallell her med pornografi som er litt vanskelig å beskrive, men "
-"det er en sterk en. ett fenomen som Internett opprettet var en verden av "
-"ikke-kommersiell pornographers—personer som var distribuere porno, men "
-"var ikke å gjøre penger direkte eller indirekte fra at distribusjonen. slike "
-"en klasse eksisterte ikke før Internett kom til å være fordi kostnadene ved "
-"å distribuere porno var så høy. ennå fikk dette ny klasse med distributører "
-"spesiell oppmerksomhet i Høyesterett, når domstolen slått ned kommunikasjon "
-"sømmelighet act of 1996. Det var delvis på grunn av byrden på ikke-"
-"kommersiell høyttalere som Vedtektene ble funnet for å overgå Kongressens "
-"makt. samme punkt kunne vært gjort om ikke-kommersiell utgivere etter advent "
-"av Internett. eric eldreds av verden før Internett var svært få. ennå skulle "
-"en tro det minst like viktig å beskytte eldreds av verden som beskytter ikke-"
-"kommersiell pornographers."
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"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 discovered this "
-"platform of expression and now use it to share works that are, by law, free "
-"for the taking. This has produced what we might call the \"noncommercial "
-"publishing industry,\" which before the 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.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"public domain. Eldred wanted to post that collection in his free public "
-"library. But Congress got in the way. As I described in chapter <xref "
-"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, 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."
-msgstr ""
-"som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av "
-"dikt i new hampshire slated skjedde i public domain. Eldred ønsket å legge "
-"samlingen i hans gratis offentlig bibliotek. men landsmøtet fått i veien. "
-"som jeg beskrevet i kapittel 10, i 1998, for ellevte gang i førti år, "
-"utvidet Kongressen vilkårene i eksisterende opphavsrettigheter—denne "
-"tiden av tjue år. Eldred ville ikke være fri til å legge til et hvilket som "
-"helst works som er nyere enn 1923 i sin samling 2020. Faktisk ville ingen "
-"opphavsrettsbeskyttede passere i public domain til samme år (og ikke engang "
-"deretter, hvis Kongressen utvider sikt igjen). derimot i samme periode, vil "
-"mer enn 1 million patenter passere i public domain."
-
-#. f2.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"The full text is: \"Sonny [Bono] wanted the term of copyright protection to "
-"last forever. I am informed by staff that such a change would violate the "
-"Constitution. I invite all of you to work with me to strengthen our "
-"copyright laws in all of the ways available to us. As you know, there is "
-"also Jack Valenti's proposal for a term to last forever less one day. "
-"Perhaps the Committee may look at that next Congress,\" 144 Cong. Rec. "
-"H9946, 9951-2 (October 7, 1998)."
-msgstr ""
-"hele teksten er: \"sonny [bono] ønsket av opphavsrettslig vern til å vare "
-"evig. Jeg informert av ansatte at slik endring ville bryte Grunnloven. Jeg "
-"inviterer alle til å arbeide med meg å styrke våre lover om opphavsrett i "
-"alle måter som er tilgjengelig for oss. som du vet, er det også jack valenti "
-"forslag til et uttrykk til å vare evig mindre en dag. Komiteen kan kanskje "
-"se på at neste Kongressen,\"144 cong. REC h9946, 9951-2 (7. oktober 1998)."
-
-#. type: Content of: <book><part><chapter><para>
-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, "
-"Mary Bono, says, believed that \"copyrights should be forever.\"<placeholder "
-"type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"would publish as planned, CTEA notwithstanding. But because of a second law "
-"passed in 1998, the NET (No Electronic Theft) Act, his act of publishing "
-"would make Eldred a felon—whether or not anyone complained. This was a "
-"dangerous strategy for a disabled programmer to undertake."
-msgstr ""
-"Eldred besluttet å kjempe denne loven. han først løst å bekjempe den gjennom "
-"sivil ulydighet. i en rekke intervjuer kunngjort eldred at han vil publisere "
-"som planlagt, ctea til tross for. men på grunn av en andre lov vedtatt i "
-"1998, net (ingen elektronisk tyveri)-act hans handling av publisering ville "
-"gjøre eldred en forbryter—om noen klaget. Dette var en farlig strategi "
-"for en deaktivert programmerer å gjennomføre."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"It was here that I became involved in Eldred's battle. I was a "
-"constitutional scholar whose first passion was constitutional "
-"interpretation. And though constitutional law courses never focus upon the "
-"Progress Clause of the Constitution, it had always struck me as importantly "
-"different. As you know, the Constitution says,"
-msgstr ""
-"Det var her at jeg ble involvert i slaget ved eldred's. Jeg var en "
-"konstitusjonelle lærd der første lidenskap var konstitusjonelle tolkning. og "
-"selv om konstitusjonell rett kurs aldri fokus på setningsdelen fremdriften "
-"av Grunnloven, hadde det alltid slo meg som viktigere forskjellige. som du "
-"vet, Grunnloven sier,"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-msgid ""
-"Congress has the power to promote the Progress of Science … by "
-"securing for limited Times to Authors … exclusive Right to their "
-"… Writings. …"
-msgstr ""
-"Kongressen har makt til å fremme utviklingen av vitenskap... ved å sikre for "
-"begrenset ganger til forfattere... eksklusive rett til deres... skrifter...."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"to Congress simply says Congress has the power to do something—for "
-"example, to regulate \"commerce among the several states\" or \"declare War."
-"\" But here, the \"something\" is something quite specific—to "
-"\"promote … Progress\"—through means that are also "
-"specific— by \"securing\" \"exclusive Rights\" (i.e., copyrights) "
-"\"for limited Times.\""
-msgstr ""
-"som jeg har beskrevet, denne bestemmelsen er unikt innenfor strøm-granting-"
-"setningsdel i artikkelen i, Seksjon 8 av vår grunnlov. hver andre "
-"setningsdelen gi strøm til Kongressen sier bare Kongressen har makt til å "
-"gjøre noe—for eksempel, å regulere \"handel mellom flere stater\" "
-"eller \"erklærer krig\" men her, \"noe\" er noe helt spesielt—å "
-"\"fremme... fremgang\"—gjennom betyr at er også spesifikke—av "
-"\"sikre\" \"enerett\" (det vil si opphavsrett) \"for begrenset ganger.\""
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Jaszi, Peter"
-msgstr "Jaszi, Peter"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"Congress has the power to extend existing terms, then the Constitution's "
-"requirement that terms be \"limited\" will have no practical effect. If "
-"every time a copyright is about to expire, Congress has the power to extend "
-"its term, then Congress can achieve what the Constitution plainly "
-"forbids—perpetual terms \"on the installment plan,\" as Professor "
-"Peter Jaszi so nicely put it. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"i de siste 40 årene, har Kongressen fått i praksis for å utvide eksisterende "
-"vilkår for opphavsrettslig vern. Hva rådvill meg om dette var, hvis "
-"Kongressen har makt til å utvide eksisterende vilkår, så for grunnlovens "
-"krav at vilkårene være \"begrenset\" vil ha noen praktiske effekten. Hvis "
-"hver gang en opphavsrett er om å opphøre, Kongressen har makt til å utvide "
-"sin sikt, Kongressen kan oppnå hva Grunnloven tydelig forbyr—"
-"evigvarende vilkår \"på avbetaling plan,\" som professor peter jaszi så pent "
-"sette den."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"of the question. No one had ever challenged Congress's practice of extending "
-"existing terms. That failure may in part be why Congress seemed so "
-"untroubled in its habit. That, and the fact that the practice had become so "
-"lucrative for Congress. Congress knows that copyright owners will be willing "
-"to pay a great deal of money to see their copyright terms extended. And so "
-"Congress is quite happy to keep this gravy train going."
-msgstr ""
-"som en akademiker var min første reaksjon å trykke bøker. Jeg husker "
-"sittende sent på kontoret, scouring on-line databaser for noen seriøs "
-"vurdering av spørsmålet. Ingen hadde noen gang utfordret congress's praksis "
-"for å utvide eksisterende vilkår. at feil kan delvis være grunnen kongress "
-"syntes så untroubled i sin vane. det, og det faktum at praksis hadde blitt "
-"så lukrative for Kongressen. landsmøtet vet at eiere av opphavsretter vil "
-"være villig til å betale mye penger å se sine opphavsrett vilkår utvidet. og "
-"så congress er ganske fornøyd med å holde denne Kjøttsaft tog går."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"For this is the core of the corruption in our present system of government. "
-"\"Corruption\" not in the sense that representatives are bribed. Rather, "
-"\"corruption\" in the sense that the system induces the beneficiaries of "
-"Congress's acts to raise and give money to Congress to induce it to act. "
-"There's only so much time; there's only so much Congress can do. Why not "
-"limit its actions to those things it must do—and those things that "
-"pay? Extending copyright terms pays."
-msgstr ""
-"for dette er kjernen i korrupsjon i vår nåværende system av regjeringen. "
-"\"ødelagt\" ikke i den forstand at representanter er bribed. snarere "
-"\"corruption\" i den forstand at systemet leder beneficiaries av congress's "
-"handlinger for å øke og gi penger til Kongressen for å få det til å handle. "
-"Det er bare så mye tid; Det er bare så mye kongress kan gjøre. Hvorfor ikke "
-"begrense handlingene til disse tingene det må gjøre— og de tingene som "
-"betaler? forlengelse av lønner seg."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"hundred years after it was created. The Estate of Robert Frost is a good "
-"example. Frost died in 1963. His poetry continues to be extraordinarily "
-"valuable. Thus the Robert Frost estate benefits greatly from any extension "
-"of copyright, since no publisher would pay the estate any money if the poems "
-"Frost wrote could be published by anyone for free."
-msgstr ""
-"Hvis det ikke er åpenbart for deg, kan du vurdere følgende: si du er en av "
-"svært få heldige opphavsrett eierne som har copyright fortsetter å gjøre "
-"penger ett hundre år etter at den ble opprettet. eiendom av robert frost er "
-"et godt eksempel. Frost døde i 1963. hans poesi fortsetter å være svært "
-"verdifull. Dermed kan robert frost eiendom fordelene sterkt fra noen "
-"utvidelse av opphavsrett, siden ingen publisher vil betale eiendom noen "
-"penger hvis dikt frost skrev publiseres av alle gratis."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 expire. "
-"You sit on the board of the Robert Frost estate. Your financial adviser "
-"comes to your board meeting with a very grim report:"
-msgstr ""
-"så forestille robert frost eiendom er tjener $100.000 i året fra tre av "
-"frost's dikt. og forestille seg opphavsretten for disse diktene er i ferd "
-"med å utløpe. du sitter i styret for robert frost eiendom. finansiell "
-"rådgiver kommer til din styremøte med en svært dystre rapport:"
-
-#. PAGE BREAK 224
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"Next year,\" the adviser announces, \"our copyrights in works A, B, and C "
-"will expire. That means that after next year, we will no longer be receiving "
-"the annual royalty check of $100,000 from the publishers of those works."
-msgstr ""
-"\"neste år,\" rådgiver kunngjør, \"våre opphavsrett i works a, b og c vil "
-"utløpe. Det betyr at etter neste år, vi vil ikke lenger motta årlige royalty "
-"kontroll av $100.000 fra utgivere av disse fungerer."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"There's a proposal in Congress, however,\" she continues, \"that could "
-"change this. A few congressmen are floating a bill to extend the terms of "
-"copyright by twenty years. That bill would be extraordinarily valuable to "
-"us. So we should hope this bill passes.\""
-msgstr ""
-"\"det er et forslag i Kongressen, men,\" hun fortsetter, \"som kan endre "
-"dette. noen congressmen flyter en regning å utvide vilkårene i copyright ved "
-"tjue år. at regningen ville være ekstremt verdifullt for oss. så vi bør håpe "
-"passerer denne regningen.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"Hope?\" a fellow board member says. \"Can't we be doing something about it?"
-"\""
-msgstr ""
-"\"håper?\" styremedlem stipendiat sier. \"kan ikke vi gjøre noe med det?\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"Well, obviously, yes,\" the adviser responds. \"We could contribute to the "
-"campaigns of a number of representatives to try to assure that they support "
-"the bill.\""
-msgstr ""
-"\"Vel, tydeligvis ja,\" rådgiver svarer. \"vi kunne bidra til kampanjene av "
-"en rekke representanter å prøve å sikre at de støtter regningen.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"You hate politics. You hate contributing to campaigns. So you want to know "
-"whether this disgusting practice is worth it. \"How much would we get if "
-"this extension were passed?\" you ask the adviser. \"How much is it worth?\""
-msgstr ""
-"du hater politikk. du hater at bidra til kampanjer. så du ønsker å vite om "
-"denne motbydelig praksis er verdt det. \"hvor mye ville vi få Hvis denne "
-"utvidelsen ble passert?\" du be rådgiver. \"hvor mye er det verdt?\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"Well,\" the adviser says, \"if you're confident that you will continue to "
-"get at least $100,000 a year from these copyrights, and you use the "
-"`discount rate' that we use to evaluate estate investments (6 percent), then "
-"this law would be worth $1,146,000 to the estate.\""
-msgstr ""
-"\"Vel,\" rådgiver sier, \"Hvis du er sikker på at du vil fortsette å få "
-"minst $100.000 i året fra disse opphavsrett, og du bruker 'diskontosats' som "
-"vi bruker til å evaluere eiendom investeringer (6 prosent), og denne loven "
-"vil være verdt $1,146,000 til eiendom.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"You're a bit shocked by the number, but you quickly come to the correct "
-"conclusion:"
-msgstr ""
-"du er litt sjokkert av nummeret, men du komme raskt til riktig konklusjon:"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"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 contributions would "
-"assure that the bill was passed?\""
-msgstr ""
-"så du sier det ville være verdt det for oss å betale mer enn $1,000,000 i "
-"kampanjen bidrag om vi var sikker på disse bidragene vil forsikre at "
-"regningen ble sendt?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"Absolutely,\" the adviser responds. \"It is worth it to you to contribute "
-"up to the `present value' of the income you expect from these copyrights. "
-"Which for us means over $1,000,000.\""
-msgstr ""
-"\"absolutt\", svarer rådgiver. \"det er verdt det for deg å bidra med opp "
-"til stede verdien av inntekten du forventer fra disse opphavsrettigheter. "
-"som for oss betyr over $1,000,000.\""
-
-#. PAGE BREAK 225
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"in the position of the Robert Frost estate faces the same choice: If they "
-"can contribute to get a law passed to extend copyrights, they will benefit "
-"greatly from that extension. And so each time copyrights are about to "
-"expire, there is a massive amount of lobbying to get the copyright term "
-"extended."
-msgstr ""
-"du raskt få poeng—du som medlem av styret, og jeg stoler du leseren. "
-"hver gang opphavsrett er om å opphøre, hver mottaker i posisjon av robert "
-"frost eiendom står overfor det samme valget: Hvis de kan bidra til å få en "
-"lov vedtatt for å utvide opphavsrettigheter, de vil ha stor nytte fra denne "
-"filtypen. og så hver gang opphavsrett er om å opphøre, det er en enorm "
-"mengde lobbyvirksomhet for å få opphavsrett begrepet utvidet."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"buy further extensions of copyright."
-msgstr ""
-"dermed en Kongressens evighetsmaskin maskin: så lenge lovgivning kan kjøpes "
-"(riktignok indirekte), vil det være alle ansporingen i verden til å kjøpe "
-"ytterligere utvidelser av copyright."
-
-#. f3.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
-"Effort; Congress OKs Bill Granting Creators 20 More Years,\" "
-"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22."
-msgstr ""
-"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
-"Effort; Congress OKs Bill Granting Creators 20 More Years,\" "
-"<citetitle>Chicago Tribune</citetitle>, 17. oktober 1998, 22."
-
-#. f4.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"See Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #49</ulink>."
-msgstr ""
-"Se Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #49</"
-"ulink>."
-
-#. f5.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" "
-"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>."
-msgstr ""
-"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" "
-"<citetitle>Congressional Quarterly This Week</citetitle>, 8. august 1990, "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #50</"
-"ulink>."
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"In the lobbying that led to the passage of the Sonny Bono Copyright Term "
-"Extension Act, this \"theory\" about incentives was proved 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.<placeholder type=\"footnote\" "
-"id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/> "
-"Disney is estimated to have contributed more than $800,000 to reelection "
-"campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Constitutional law is not oblivious to the obvious. Or at least, it need not "
-"be. So when I was considering Eldred's complaint, this reality about the "
-"never-ending incentives to increase the copyright term was central to my "
-"thinking. In my view, a pragmatic court committed to interpreting and "
-"applying the Constitution of our framers would see that if Congress has the "
-"power to extend existing terms, then there would be no effective "
-"constitutional requirement that terms be \"limited.\" If they could extend "
-"it once, they would extend it again and again and again."
-msgstr ""
-"konstitusjonelle loven er ikke oblivious til det åpenbare. eller i det "
-"minste, det trenger ikke være. så når jeg var vurderer eldred's klage, denne "
-"virkeligheten om never-ending insentiver til å øke opphavsrett begrepet var "
-"sentral til min tenkning. i min mening, vil en pragmatisk domstol forpliktet "
-"til å tolke og bruke Grunnloven av våre underskrev se at hvis Kongressen har "
-"makt til å utvide eksisterende vilkår, og det vil være ingen effektiv "
-"konstitusjonelle krav at vilkårene være \"begrenset.\" Hvis de kunne "
-"forlenge det en gang, de ville utvide den igjen og igjen og igjen."
-
-#. PAGE BREAK 226
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"Court's work knows, this Court has increasingly restricted the power of "
-"Congress when it has viewed Congress's actions as exceeding the power "
-"granted to it by the Constitution. Among constitutional scholars, the most "
-"famous example of this trend was the Supreme Court's decision in 1995 to "
-"strike down a law that banned the possession of guns near schools."
-msgstr ""
-"Det var også mitt skjønn at denne Høyesterett ikke ville tillate at "
-"Kongressen til å utvide eksisterende vilkår. alle nær Høyesterett arbeid "
-"vet, har denne retten i økende grad begrenset kraften i Kongressen når det "
-"har sett congress's handlinger som overstiger makt som er gitt til det av "
-"Grunnloven. blant konstitusjonelle forskere var det mest kjente eksempelet "
-"av denne trenden Høyesterett beslutning i 1995 å ramme en lov som forbød "
-"besittelse av våpen i nærheten av skoler."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Since 1937, the Supreme Court had interpreted Congress's granted powers very "
-"broadly; so, while the Constitution grants Congress the power to regulate "
-"only \"commerce among the several states\" (aka \"interstate commerce\"), "
-"the Supreme Court had interpreted that power to include the power to "
-"regulate any activity that merely affected interstate commerce."
-msgstr ""
-"siden 1937, hadde Høyesterett tolket congress's gitt krefter svært bredt; så "
-"mens Grunnloven gir Kongressen makt til å regulere bare \"handel mellom "
-"flere stater\" (aka \"utdanningen handel\"), Høyesterett hadde tolket som "
-"makt til å inkludere makt til å regulere alle aktiviteter som bare berørt "
-"utdanningen handel."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"considered on a national scale, affects interstate commerce. A Constitution "
-"designed to limit Congress's power was instead interpreted to impose no "
-"limit."
-msgstr ""
-"som økonomien vokste, mente denne standarden stadig at det var ingen grense "
-"congress's makt til å regulere, siden omtrent hver aktivitet, når det i "
-"nasjonal skala, påvirker utdanningen handel. en konstitusjon som er utformet "
-"for å begrense Kongressens makt ble i stedet tolket for å innføre ingen "
-"grense."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Rehnquist, William H."
-msgstr "Rehnquist, William H."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The Supreme Court, under Chief Justice Rehnquist's command, changed that in "
-"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The "
-"government had argued that possessing guns near schools affected interstate "
-"commerce. Guns near schools increase crime, crime lowers property values, "
-"and so on. In the oral argument, the Chief Justice asked the government "
-"whether there was any activity that would not affect interstate commerce "
-"under the reasoning the government advanced. The government said there was "
-"not; if Congress says an activity affects interstate commerce, then that "
-"activity affects interstate commerce. The Supreme Court, the government "
-"said, was not in the position to second-guess Congress."
-msgstr ""
-"Høyesterett, under chief justice rehnquist kommando, endret som i USA v. "
-"lopez. regjeringen hadde hevdet at ha våpen i nærheten av skoler berørt "
-"utdanningen handel. våpen i nærheten av skoler øke kriminalitet, "
-"kriminalitet senker egenskapsverdier, og så videre. i argumentet muntlig "
-"bedt justisministeren regjeringen om det var noen aktivitet som ikke vil "
-"påvirke utdanningen handel under begrunnelsen regjeringen Avansert. "
-"regjeringen sa det var ikke; Hvis Kongressen sier en aktivitet påvirker "
-"utdanningen handel, påvirker den aktiviteten utdanningen handel. "
-"Høyesterett, regjeringen sa, var ikke i posisjon til å second-guess "
-"Kongressen."
-
-#. f6.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U."
-"S. 549, 564 (1995)."
-msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)."
-
-#. f7.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
-"U.S. 598 (2000)."
-msgstr "USA v. morrison, 529 amerikanske 598 (2000)."
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"\"We pause to consider the implications of the government's arguments,\" the "
-"Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> 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 "
-"<citetitle>Lopez</citetitle> was reaffirmed five years later in "
-"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>."
-"<placeholder type=\"footnote\" id=\"1\"/>"
-msgstr ""
-
-#. f8.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-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 "
-"the Commerce Clause was that the interpretation offered by the government "
-"would allow the government unending power to regulate commerce—the "
-"limitation to interstate commerce notwithstanding. The same point is true in "
-"the context of the Copyright Clause. Here, too, the government's "
-"interpretation would allow the government unending power to regulate "
-"copyrights—the limitation to \"limited times\" notwithstanding."
-msgstr ""
-"Hvis det er et prinsipp om nummerert kreftene, deretter bærer prinsippet fra "
-"en nummerert power til en annen. animert poenget i konteksten av handel-"
-"setningsdelen var at tolkningen tilbys av regjeringen ville tillate "
-"regjeringen unending makt til å regulere handel—begrenset til "
-"utdanningen handel til tross for. det samme punktet er sant i forbindelse "
-"med opphavsrett-setningsdel. her også, regjeringens tolkning ville tillate "
-"regjeringen unending makt til å regulere opphavsrett—begrenset til "
-"\"begrenset ganger\" til tross for."
-
-#. PAGE BREAK 227
-#. type: Content of: <book><part><chapter><para>
-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\" id="
-"\"0\"/> And if it is applied to the Progress Clause, the principle should "
-"yield the conclusion that Congress can't extend an existing term. If "
-"Congress could extend an existing term, then there would be no \"stopping "
-"point\" to Congress's power over terms, though the Constitution expressly "
-"states that there is such a limit. Thus, the same principle applied to the "
-"power to grant copyrights should entail that Congress is not allowed to "
-"extend the term of existing copyrights."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"<emphasis>If</emphasis>, that is, the principle announced in "
-"<citetitle>Lopez</citetitle> stood for a principle. Many believed the "
-"decision in <citetitle>Lopez</citetitle> stood for politics—a "
-"conservative Supreme Court, which believed in states' rights, using its "
-"power over Congress to advance its own personal political preferences. But I "
-"rejected that view of the Supreme Court's decision. Indeed, shortly after "
-"the decision, I wrote an article demonstrating the \"fidelity\" in such an "
-"interpretation of the Constitution. The idea that the Supreme Court decides "
-"cases based upon 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."
-msgstr ""
-"Hvis, det vil si at prinsippet annonsert i lopez stod for et prinsipp. mange "
-"trodde beslutningen i lopez stod for politikk—en konservativ "
-"Høyesterett, som trodde på states rettigheter, ved hjelp av sin makt over "
-"Kongressen for å fremme sine egne personlige politiske preferanser. men jeg "
-"har avvist denne visningen av Høyesterett beslutning. faktisk, kort tid "
-"etter vedtaket skrev jeg en artikkel demonstrere \"kvalitet\" i en slik "
-"tolkning av Grunnloven. idéen at Høyesterett bestemmer tilfeller basert på "
-"sin politikk slo meg som svært kjedelig. Jeg hadde ikke tenkt å vie livet "
-"til undervisning statsrett Hvis disse ni justiariusene skulle være smålig "
-"politikere."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Now let's pause for a moment to make sure we understand what the argument in "
-"<citetitle>Eldred</citetitle> was not about. By insisting on the "
-"Constitution's limits to copyright, obviously Eldred was not endorsing "
-"piracy. Indeed, in an obvious sense, he was fighting a kind of piracy—"
-"piracy of the public domain. When Robert Frost wrote his work and when Walt "
-"Disney created Mickey Mouse, the maximum copyright term was just fifty-six "
-"years. Because of interim changes, Frost and Disney had already enjoyed a "
-"seventy-five-year monopoly for their work. They had gotten the benefit of "
-"the bargain that the Constitution envisions: In exchange for a monopoly "
-"protected for fifty-six years, they created new work. But now these entities "
-"were using their power—expressed through the power of lobbyists' "
-"money—to 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."
-msgstr ""
-"Nå la oss pause for et øyeblikk å sørge for at vi forstår hva argumentet i "
-"eldred ikke var om. ved å insistere på grunnlovens grenser for opphavsrett, "
-"var åpenbart eldred ikke støttet piratkopiering. faktisk i en åpenbar "
-"forstand kjemper han en form for piratkopiering—piratkopiering av den "
-"offentlige sfæren. da robert frost skrev hans arbeid og når walt disney "
-"opprettet Mikke Mus, maksimal opphavsrett begrepet var bare femtiseks år. på "
-"grunn av midlertidige endringer, hadde frost og disney allerede likte "
-"monopol sytti-fem år for deres arbeid. de hadde fått fordelen av handel som "
-"Grunnloven ser for seg: i bytte for et monopol som er beskyttet for femti-"
-"seks år, de opprettet nytt arbeid. men nå disse enhetene bruker deres "
-"makt—uttrykt gjennom strømmen av lobbyister penger—for å få en "
-"annen tyve års dollop av monopol. at tyve års Dollop dollop ville bli Hentet "
-"fra public domain. Eric eldred var kjemper en piratkopiering som påvirker "
-"oss alle."
-
-#. f9.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"Brief of the Nashville Songwriters Association, <citetitle>Eldred</"
-"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. "
-"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #51</ulink>."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Nashville Songwriters Association"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"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 \"legal piracy.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> 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 charter. <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"development and distribution of our culture. Yet, as Eric Eldred discovered, "
-"we have set up a system that assures that copyright terms will be repeatedly "
-"extended, and extended, and extended. We have created the perfect storm for "
-"the public domain. Copyrights have not expired, and will not expire, so long "
-"as Congress is free to be bought to extend them again."
-msgstr ""
-"som vi har sett, krever systemet vårt konstitusjonelle begrensninger på "
-"opphavsrett som en måte å sikre at innehaver av opphavsrett ikke for sterkt "
-"påvirke utviklingen og distribueringen av vår kultur. ennå, som eric eldred "
-"oppdaget, har vi satt opp et system som sikrer at opphavsrett vilkårene vil "
-"være gjentatte ganger utvidet, og utvidet, og utvidet. Vi har opprettet den "
-"perfekte stormen for public domain. opphavsrett er utløpt ikke, og utløper "
-"ikke, så lenge congress er gratis kjøpes for å utvide dem igjen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"It is valuable copyrights that are responsible for terms being extended. "
-"Mickey Mouse and \"Rhapsody in Blue.\" These works are too valuable for "
-"copyright owners to ignore. But the real harm to our society from copyright "
-"extensions is not that Mickey Mouse remains Disney's. Forget Mickey Mouse. "
-"Forget Robert Frost. Forget all the works from the 1920s and 1930s that have "
-"continuing commercial value. The real harm of term extension comes not from "
-"these famous works. The real harm is to the works that are not famous, not "
-"commercially exploited, and no longer available as a result."
-msgstr ""
-"Det er verdifull opphavsrett som er ansvarlig for vilkårene blir utvidet. "
-"Mikke Mus og \"rhapsody in blue.\" disse verkene er også nyttig for eiere av "
-"opphavsretter å ignorere. men reell skade samfunnet fra opphavsrett "
-"servertilleggene er ikke at Mikke Mus forblir disney. glem Mikke Mus. glem "
-"robert frost. Glem alle verker fra 1920- og 1930-tallet som har fortsetter "
-"kommersiell verdi. reell skade sikt-utvidelsen kommer ikke fra disse berømte "
-"verk. reell skade er Works ikke er kjent, ikke kommersielt utnyttede og ikke "
-"lenger tilgjengelig som et resultat."
-
-#. f10.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"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, <citetitle>Eldred</citetitle> v. "
-"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #52</ulink>."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"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.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. PAGE BREAK 229
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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, "
-"10,047 books were published. In 2000, 174 of those books were still in "
-"print. Let's say you were Brewster Kahle, and you wanted to make available "
-"to the world in your iArchive project the remaining 9,873. What would you "
-"have to do?"
-msgstr ""
-"Tenk praktisk talt konsekvens av denne utvidelsen—praktisk talt, som "
-"en businessperson, og ikke som en advokat ivrige etter å få mer juridisk "
-"arbeid. i 1930, ble 10,047 bøker utgitt. i 2000 var 174 av bøkene fortsatt i "
-"utskriften. La oss si at du var brewster kahle, og du vil gjøre tilgjengelig "
-"for verden i iarchive prosjektet gjenværende 9,873. Hva ville du trenger å "
-"gjøre?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 on-"
-"line) and paging through tomes of books, cross-checking the titles and "
-"authors of the 9,873 books with the copyright registration and renewal "
-"records for works published in 1930. That will produce a list of books still "
-"under copyright."
-msgstr ""
-"Vel, først, ville du har til å bestemme hvilke av de 9,873 bøkene var "
-"fortsatt under copyright. som krever skal et bibliotek (disse dataene ikke "
-"er on-line) og sidevekslingsfilen gjennom tomes bøker, på tvers av "
-"kontrollere titler og forfatterne av 9,873 bøker med copyright registrering "
-"og fornyelse postene for verk utgitt i 1930. som vil produsere en liste over "
-"bøker som fortsatt under opphavsrett."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Then for the books still under copyright, you would need to locate the "
-"current copyright owners. How would you do that?"
-msgstr ""
-"deretter for bøkene fortsatt under opphavsrett trenger du å finne gjeldende "
-"opphavsrett eiere. How 'd du gjøre det?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"thousands of government monopolies without there being at least a list?"
-msgstr ""
-"de fleste mennesker tror at det må være en liste over disse eiere av "
-"opphavsretter et sted. praktisk folk tror på denne måten. Hvordan kunne det "
-"være tusenvis og tusenvis av regjeringen monopoler uten det er minst en "
-"liste?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"how impossibly difficult it would be to track down thousands of such "
-"records—especially since the person who registered is not necessarily "
-"the current owner. And we're just talking about 1930!"
-msgstr ""
-"men det er ingen liste. Det kan være et navn fra 1930, og deretter i 1959, "
-"på personen som registrerte opphavsretten. men det er bare tenke praktisk "
-"talt på hvordan impossibly vanskelig det ville være å spore opp tusenvis av "
-"slike poster—spesielt siden personen som registrert ikke er "
-"nødvendigvis gjeldende eier. og vi snakker bare om 1930!"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"But there isn't a list of who owns property generally,\" the apologists "
-"for the system respond. \"Why should there be a list of copyright owners?\""
-msgstr ""
-"\"men det er ikke en liste av hvem som eier egenskapen vanligvis\" "
-"apologists for systemet svarer. \"Hvorfor skulle det være en liste over "
-"eiere av opphavsretter?\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"to cars. And where there isn't a list, the code of real space is pretty "
-"good at suggesting who the owner of a bit of property is. (A swing set in "
-"your backyard is probably yours.) So formally or informally, we have a "
-"pretty good way to know who owns what tangible property."
-msgstr ""
-"Vel, egentlig, er Hvis du tenker på det, det masse av lister av hvem som "
-"eier hva egenskapen. Tenk på gjerninger på hus eller titler til biler. og "
-"der det ikke finnes en liste, koden for virkelige rommet er ganske god til å "
-"foreslå som eieren av en bit av egenskapen er. (en sving i bakgården er "
-"sannsynligvis ditt.) så har formelt eller uformelt, vi en ganske god måte å "
-"vite hvem som eier hvilke konkrete-egenskapen."
-
-#. PAGE BREAK 230
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"ordinarily a license plate that will link the owner to the car. If you see a "
-"bunch of children's toys sitting on the front lawn of a house, it's fairly "
-"easy to determine who owns the toys. And if you happen to see a baseball "
-"lying in a gutter on the side of the road, look around for a second for some "
-"kids playing ball. If you don't see any kids, then okay: Here's a bit of "
-"property whose owner we can't easily determine. It is the exception that "
-"proves the rule: that we ordinarily know quite well who owns what property."
-msgstr ""
-"slik: du gå ned en gate og ser et hus. du vet hvem som eier huset ved slå "
-"opp i courthouse registret. Hvis du ser en bil, er det vanligvis en lisens "
-"plate som skal knytte eieren til bilen. Hvis du ser en rekke barneleker "
-"sitter på fremsiden plen av et hus, er det ganske enkelt å finne ut hvem som "
-"eier leketøy. og hvis du tilfeldigvis ser en baseball liggende i en "
-"innbindingsmarg på siden av veien, se deg rundt for andre for noen barn "
-"spille ball. Hvis du ikke ser noen barn, deretter OK: Her er litt av eiendom "
-"der eieren vi ikke finner lett. Det er unntaket som beviser regelen: at vi "
-"vanligvis vet svært godt hvem som eier hva egenskapen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"described, there's no list of copyright owners. There are authors' names, of "
-"course, but their copyrights could have been assigned, or passed down in an "
-"estate like Grandma's old jewelry. To know who owns what, you would have to "
-"hire a private detective. The bottom line: The owner cannot easily be "
-"located. And in a regime like ours, in which it is a felony to use such "
-"property without the property owner's permission, the property isn't going "
-"to be used."
-msgstr ""
-"sammenligne denne historien til immaterielle eiendom. du går inn i et "
-"bibliotek. biblioteket eier bøkene. men hvem som eier opphavsretten? som jeg "
-"allerede har beskrevet, er det ingen liste over eiere av opphavsretter. Det "
-"finnes forfatternes navn, selvfølgelig, men sine opphavsrettigheter kan er "
-"tilordnet, eller gått ned i en eiendom som grandma's gamle smykker. Hvis du "
-"vil vite hvem som eier hva, ville du har til å ansette en privat "
-"etterforsker. Bunnlinjen: eieren ikke lett blir funnet. og i et regime som "
-"vårt, der er det en forbrytelse å bruke slike eiendom uten egenskapen "
-"eierens tillatelse, egenskapen er ikke skal brukes."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"creative works is much more dire."
-msgstr ""
-"konsekvens med hensyn til gamle bøker er at de ikke digitalisert, og dermed "
-"vil bare rot bort på hyller. men konsekvensen for andre kreative verker er "
-"mye mer dire."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Agee, Michael"
-msgstr "Agee, Michael"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Hal Roach Studios"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Laurel and Hardy Films"
-msgstr ""
-
-#. f11.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" "
-"<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, "
-"\"Classic Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today "
-"on Striking Down Copyright Extension,\" <citetitle>Orlando Sentinel Tribune</"
-"citetitle>, 9 October 2002."
-msgstr ""
-"Hvis du vil se david g. savage, \"high court scene av showdown på lov om "
-"opphavsrett\" los angeles times, 6 oktober 2002; David streitfeld, "
-"\"klassiske filmer, sanger, bøker på spill; Høyesterett hører argumenter i "
-"dag på støtning ned opphavsrett forlengelsen,\"orlando sentinel tribune, 9 "
-"oktober 2002."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Lucky Dog, The"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"beneficiary of the Bono Act. The Laurel and Hardy films were made between "
-"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</"
-"citetitle>, is currently out of copyright. But for the CTEA, films made "
-"after 1923 would have begun entering the public domain. Because Agee "
-"controls the exclusive rights for these popular films, he makes a great deal "
-"of money. According to one estimate, \"Roach has sold about 60,000 "
-"videocassettes and 50,000 DVDs of the duo's silent films.\"<placeholder type="
-"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the Sonny Bono Copyright Term Extension Act will, if left standing, destroy "
-"a whole generation of American film."
-msgstr ""
-"ennå imot agee ctea. hans grunner demonstrere en sjelden dyd i denne "
-"kulturen: selflessness. Han hevdet i en kort før Høyesterett at sonny bono "
-"opphavsrett begrepet filtypen act vil, hvis stå stående, ødelegge en hel "
-"generasjon av american film."
-
-#. PAGE BREAK 231
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"His argument is straightforward. A tiny fraction of this work has any "
-"continuing commercial value. The rest—to the extent it survives at "
-"all—sits in vaults gathering dust. It may be that some of this work "
-"not now commercially valuable will be deemed to be valuable by the owners of "
-"the vaults. For this to occur, however, the commercial benefit from the work "
-"must exceed the costs of making the work available for distribution."
-msgstr ""
-"hans argument er enkelt. en liten brøkdel av dette arbeidet har noen "
-"vedvarende kommersiell verdi. resten—i den grad det er blitt bevart på "
-"alle—sitter i vaults samle støv. Det kan være at noe av dette arbeidet "
-"ikke nå kommersielt verdifull, anses for å være verdifulle av eierne av "
-"vaults. for at dette skal skje, men må kommersiell fordel fra arbeidet "
-"overskride kostnadene ved å gjøre arbeidet tilgjengelig for distribusjon."
-
-#. f12.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the "
-"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</"
-"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus "
-"Curiae filed on behalf of Petitioners by the Internet Archive, "
-"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"technology has lowered these costs substantially. While it cost more than "
-"$10,000 to restore a ninety-minute black-and-white film in 1993, it can now "
-"cost as little as $100 to digitize one hour of mm film.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Restoration technology is not the only cost, nor the most important. "
-"Lawyers, too, are a cost, and increasingly, a very important one. In "
-"addition to preserving the film, a distributor needs to secure the rights. "
-"And to secure the rights for a film that is under copyright, you need to "
-"locate the copyright owner."
-msgstr ""
-"restaurering teknologien er ikke den eneste kostnaden, og heller ikke det "
-"viktigste. advokater, er også en kostnad, og i økende grad, en meget "
-"betydelig ettall. i tillegg til bevare filmen, må en distributør å sikre "
-"rettighetene. og for å sikre rettighetene for en film som er under "
-"opphavsrett, du trenger å finne eieren av opphavsretten."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"a single person whom you can contact about those copyrights; there are as "
-"many as can hold the rights, which turns out to be an extremely large "
-"number. Thus the costs of clearing the rights to these films is "
-"exceptionally high."
-msgstr ""
-"eller mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt "
-"copyright tilknyttet en film; Det er mange. Det er ikke en eneste person "
-"hvem du kan kontakte om m├Ñte av opphavsrettighetene; Det er så mange som "
-"kan holde rettigheter, som viser seg for å være et svært stort tall. dermed "
-"kostnadene ved å fjerne rettighetene til disse filmene er usedvanlig høy."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"But can't you just restore the film, distribute it, and then pay the "
-"copyright owner when she shows up?\" Sure, if you want to commit a felony. "
-"And even if you're not worried about committing a felony, when she does show "
-"up, she'll have the right to sue you for all the profits you have made. So, "
-"if you're successful, you can be fairly confident you'll be getting a call "
-"from someone's lawyer. And if you're not successful, you won't make enough "
-"to cover the costs of your own lawyer. Either way, you have to talk to a "
-"lawyer. And as is too often the case, saying you have to talk to a lawyer is "
-"the same as saying you won't make any money."
-msgstr ""
-"\"men ikke kan du bare gjenopprette filmen, distribuere den, og deretter "
-"betale eieren av opphavsretten når hun viser?\" sikker, hvis du vil utføre "
-"en forbrytelse. og selv om din ikke ' bekymret når hun viser, begår du en "
-"forbrytelse, hun vil ha rett til å saksøke deg for alle fortjeneste du har "
-"gjort. så, hvis du lykkes, du kan være ganske sikker på at du får et anrop "
-"fra noens advokat. og hvis du ikke er vellykket, kan du gjøre ikke nok til å "
-"dekke kostnadene for din egen advokat. Uansett, du har å snakke med en "
-"advokat. og som for ofte er tilfellet, sier du har til å snakke med en "
-"advokat er det samme som å si du ikke gjøre noen penger."
-
-#. PAGE BREAK 232
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"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."
-msgstr ""
-"for noen filmer, kan fordelen av å slippe filmen godt overskride disse "
-"kostnadene. men for de aller fleste av dem, det er ikke mulig nytte ville "
-"oppveier saksomkostninger. Således, for de aller fleste av gamle filmer, "
-"agee hevdet, filmen vil ikke bli restaurert og distribuert til opphavsretten "
-"utløper."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"dissolves over time. They will be gone, and the metal canisters in which "
-"they are now stored will be filled with nothing more than dust."
-msgstr ""
-"men da opphavsretten for disse filmene utløper, vil filmen har utløpt. disse "
-"filmene ble produsert på nitrat-basert lager, og nitrat lager oppløser over "
-"tid. de vil være borte, og metall canisters der de er nå lagret bli fylt med "
-"noe mer enn støv."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Of all the creative work produced by humans anywhere, a tiny fraction has "
-"continuing commercial value. For that tiny fraction, the copyright is a "
-"crucially important legal device. For that tiny fraction, the copyright "
-"creates incentives to produce and distribute the creative work. For that "
-"tiny fraction, the copyright acts as an \"engine of free expression.\""
-msgstr ""
-"av alle kreative arbeidet produsert av mennesker overalt, har en liten "
-"brøkdel fortsetter kommersiell verdi. for at liten brøkdel er opphavsretten "
-"en svært viktig juridisk enhet. for at liten brøkdel oppretter opphavsretten "
-"incentiver til å produsere og distribuere skapende arbeid. for at liten "
-"brøkdel fungerer opphavsretten som en \"motoren i fri ytring.\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"go out of print within one year. The same is true of music and film. "
-"Commercial culture is sharklike. It must keep moving. And when a creative "
-"work falls out of favor with the commercial distributors, the commercial "
-"life ends."
-msgstr ""
-"men selv for at liten brøkdel, den faktiske tiden da skapende arbeid har en "
-"kommersiell levetid er ekstremt kort. som jeg har angitt, vil de fleste "
-"bøker gå ut av Skriv ut innen ett år. det samme gjelder av musikk og film. "
-"kommersielle kultur er sharklike. Det må bevege. og når en skapende arbeid "
-"faller ut av tjeneste med kommersielle distributører, kommersiell levetid "
-"slutter."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"have archives of films because we expect people to choose between spending "
-"Friday night watching new movies and spending Friday night watching a 1930 "
-"news documentary. The noncommercial life of culture is important and "
-"valuable—for entertainment but also, and more importantly, for "
-"knowledge. To understand who we are, and where we came from, and how we have "
-"made the mistakes that we have, we need to have access to this history."
-msgstr ""
-"Det betyr ennå ikke livet av endene skapende arbeid. vi holde ikke "
-"biblioteker av bøker for å konkurrere med barnes & noble, og vi har ikke "
-"arkiver av filmer fordi forventer vi folk til å velge mellom utgifter fredag "
-"kveld å se nye filmer og utgifter fredag kveld å se en 1930 nyheter "
-"dokumentar. ikke-kommersiell livet av kultur er viktig og verdifull—"
-"for underholdning men også, og enda viktigere, for kunnskap. for å forstå "
-"hvem vi er, og der vi kom fra, og hvordan vi har gjort feil som vi har, "
-"trenger vi å ha tilgang til denne historien."
-
-#. PAGE BREAK 233
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"context do no good."
-msgstr ""
-"opphavsrettigheter i denne konteksten Kjør ikke en motor gratis "
-"uttrykksmåter. i denne sammenheng er det ikke behov for en eksklusiv rett. "
-"opphavsrettigheter i denne konteksten ikke nytter."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"<emphasis>copyright-related use</emphasis> that would be inhibited by an "
-"exclusive right. When a book went out of print, you could not buy it from a "
-"publisher. But you could still buy it from a used book store, and when a "
-"used book store sells it, in America, at least, there is no need to pay the "
-"copyright owner anything. Thus, the ordinary use of a book after its "
-"commercial life ended was a use that was independent of copyright law."
-msgstr ""
-"Likevel, for det meste av vår historie, de også gjorde lite skade. for de "
-"fleste av vår historie, når et arbeid endte sin kommersielle liv, var det "
-"ingen copyright-relaterte bruk som ville være inhibited med en eksklusiv "
-"rett. Når en bok gikk ut av print, kan du ikke kjøpe det fra en utgiver. men "
-"du kan fortsatt kjøpe den fra brukt boka store, og når brukt boka store "
-"selger den, i Amerika, minst, det er ikke nødvendig å betale eieren av "
-"opphavsretten noe. dermed var vanlig bruk av en bok etter sin kommersiell "
-"levetid avsluttet en bruk som var uavhengig av lov om opphavsrett."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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, "
-"it was never at all feasible to preserve or restore film. Like the remains "
-"of a great dinner, when it's over, it's over. Once a film passed out of its "
-"commercial life, it may have been archived for a bit, but that was the end "
-"of its life so long as the market didn't have more to offer."
-msgstr ""
-"det samme var effektivt sant av film. fordi kostnadene for å gjenopprette en "
-"film—den virkelige økonomiske kostnader, ikke advokat kostnadene—"
-"var så høyt, det var aldri i det hele tatt mulig å beholde eller "
-"gjenopprette filmen. som restene av en stor middag, når det er over, er "
-"over. Når en film gikk ut av sine kommersielle livet, det kan ha blitt "
-"arkivert for litt, men det var slutten av sitt liv så lenge markedet ikke "
-"har mer å tilby."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"their commercial value. Long copyrights for these works would not have "
-"interfered with anything."
-msgstr ""
-"med andre ord, om copyright har vært relativt kort for mesteparten av vår "
-"historie, ville ikke lang opphavsrett ha mattered for arbeider som mistet "
-"sin kommersiell verdi. lang opphavsretten for disse arbeider ville ikke har "
-"interfered med noe."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid "But this situation has now changed."
-msgstr "men denne situasjonen er nå endret."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"One crucially important consequence of the emergence of digital technologies "
-"is to enable the archive that Brewster Kahle dreams of. Digital "
-"technologies now make it possible to preserve and give access to all sorts "
-"of knowledge. Once a book goes out of print, we can now imagine digitizing "
-"it and making it available to everyone, forever. Once a film goes out of "
-"distribution, we could digitize it and make it available to everyone, "
-"forever. Digital technologies give new life to copyrighted material after it "
-"passes out of its commercial life. It is now possible to preserve and assure "
-"universal access to this knowledge and culture, whereas before it was not."
-msgstr ""
-"en svært viktig konsekvens av fremveksten av digital teknologi er å aktivere "
-"arkivet at brewster kahle drømmer om. Digital teknologi gjør det nå mulig å "
-"bevare og gi tilgang til alle slags kunnskap. Når en bok går ute av print, "
-"kan vi nå forestille digitalisere det og gjøre den tilgjengelig for alle, "
-"evig. Når en film går ut av distribusjon, kunne vi digitalisere det og gjøre "
-"den tilgjengelig for alle, evig. Digital teknologi gi nytt liv til "
-"opphavsrettsbeskyttet materiale når den sender ut av sin kommersiell "
-"levetid. Det er nå mulig å bevare og forsikrer særlige til denne kunnskap og "
-"kultur, mens før det ikke var."
-
-#. PAGE BREAK 234
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"copyright. To digitize a book is to copy it. To do that requires permission "
-"of the copyright owner. The same with music, film, or any other aspect of "
-"our culture protected by copyright. The effort to make these things "
-"available to history, or to researchers, or to those who just want to "
-"explore, is now inhibited by a set of rules that were written for a "
-"radically different context."
-msgstr ""
-"og nå lov om opphavsrett komme i veien. hvert trinn for å produsere denne "
-"digitalt arkiv av vår kultur krenker på eksklusive rett er copyright. Hvis "
-"du vil digitalisere en bok er å kopiere den. Hvis du vil gjøre som krever "
-"tillatelse fra eieren av opphavsretten. det samme med musikk, film eller "
-"noen andre aspekter av vår kultur som er beskyttet av opphavsrett. innsatsen "
-"for å gjøre disse tingene tilgjengelig til historien, forskere, eller til de "
-"som ønsker å utforske, er nå inhibited med et sett med regler som ble "
-"skrevet for en radikalt annen sammenheng."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the way. And it doesn't get in the way for any useful <emphasis>copyright</"
-"emphasis> purpose, for the purpose of copyright is to enable the commercial "
-"market that spreads culture. No, we are talking about culture after it has "
-"lived its commercial life. In this context, copyright is serving no purpose "
-"<emphasis>at all</emphasis> related to the spread of knowledge. In this "
-"context, copyright is not an engine of free expression. Copyright is a brake."
-msgstr ""
-"Her er kjernen av skade kommer fra utvide vilkår: nå som teknologi gjør det "
-"mulig for oss å gjenoppbygge biblioteket i alexandria, loven kommer i veien. "
-"og det ikke komme i veien for nyttig opphavsrett formål, med det formål å "
-"copyright er å aktivere det kommersielle markedet som sprer kultur. Nei, vi "
-"snakker om kultur etter at det har bodd sin kommersiell levetid. i denne "
-"sammenhengen er copyright serverer ingen formål på alle relatert til "
-"spredning av kunnskap. i denne sammenheng er copyright ikke en motor gratis "
-"uttrykksmåter. Copyright er en brems."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"You may well ask, \"But if digital technologies lower the costs for Brewster "
-"Kahle, then they will lower the costs for Random House, too. So won't "
-"Random House do as well as Brewster Kahle in spreading culture widely?\""
-msgstr ""
-"Du kan også spørre, \"men hvis digital teknologi lavere kostnader for "
-"brewster kahle, deretter de vil lavere kostnader for random house, også. så "
-"ikke random house gjøre samt brewster kahle i å spre kultur allment?\""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Maybe. Someday. But there is absolutely no evidence to suggest that "
-"publishers would be as complete as libraries. If Barnes & Noble offered "
-"to lend books from its stores for a low price, would that eliminate the need "
-"for libraries? Only if you think that the only role of a library is to serve "
-"what \"the market\" would demand. But if you think the role of a library is "
-"bigger than this—if you think its 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."
-msgstr ""
-"kanskje. en dag. men det er absolutt ingen bevis som tyder på at utgivere "
-"ville være så fullstendig som biblioteker. Hvis barnes & noble tilbudt å "
-"låne bøker fra sine butikker for en lav pris, ville som eliminerer behovet "
-"for biblioteker? bare hvis du mener at et bibliotek eneste rolle er å tjene "
-"\"markedet\" ville kreve. men hvis du tror rollen til et bibliotek er større "
-"enn dette—hvis du tror sin rolle er å arkivere kultur, om det er en "
-"etterspørsel etter en bestemt bit av denne kulturen eller ikke— så vi "
-"ikke stole på det kommersielle markedet å gjøre arbeidet vårt bibliotek for "
-"oss."
-
-#. f13.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-msgid ""
-"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 "
-"December 2002, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #54</ulink>."
-msgstr ""
-"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 "
-"December 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #54</ulink>."
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"message is absolutely not antimarket. But where we see the market is not "
-"doing the job, then we should allow nonmarket forces the freedom to fill the "
-"gaps. As one researcher calculated for American culture, 94 percent of the "
-"films, books, and music produced between and 1946 is not commercially "
-"available. However much you love the commercial market, if access is a "
-"value, then 6 percent is a failure to provide that value.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal "
-"district court in Washington, D.C., asking the court to declare the Sonny "
-"Bono Copyright Term Extension Act unconstitutional. The two central claims "
-"that we made were (1) that extending existing terms violated the "
-"Constitution's \"limited Times\" requirement, and (2) that extending terms "
-"by another twenty years violated the First Amendment."
-msgstr ""
-"i januar 1999 anlagt vi en sak på eric eldred vegne i federal district court "
-"i washington, DC, spør domstolen å erklære sonny bono opphavsrett begrepet "
-"forlengelse loven unconstitutional. to sentrale krav som vi gjorde var (1) "
-"at utvide eksisterende vilkårene krenket av Grunnloven \"begrenset ganger\" "
-"krav, og (2) at utvide vilkårene ved en annen tjue år krenket first endring."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"claims, though after hearing an extensive argument. But that decision at "
-"least had a dissent, by one of the most conservative judges on that court. "
-"That dissent gave our claims life."
-msgstr ""
-"district court avvist påstander om våre uten å selv høre et argument. et "
-"panel av court of appeals for DC-kretsen også oppsagt våre krav, men etter "
-"høre et omfattende argument. men at beslutningen hadde minst en dissens, av "
-"en av de mest konservative dommerne på at domstolen. at ga dissens livet "
-"vårt krav."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Judge David Sentelle said the CTEA violated the requirement that copyrights "
-"be for \"limited Times\" only. His argument was as elegant as it was simple: "
-"If Congress can extend existing terms, then there is no \"stopping point\" "
-"to Congress's power under the Copyright Clause. The power to extend existing "
-"terms means Congress is not required to grant terms that are \"limited.\" "
-"Thus, Judge Sentelle argued, the court had to interpret the term \"limited "
-"Times\" to give it meaning. And the best interpretation, Judge Sentelle "
-"argued, would be to deny Congress the power to extend existing terms."
-msgstr ""
-"dommer david sentelle sa ctea brutt kravet opphavsrett være for \"begrenset "
-"ganger\" bare. hans argument var like elegant som den var enkel: Hvis "
-"Kongressen kan utvide eksisterende vilkår, så det er ingen \"stoppe poeng\" "
-"til Kongressens makten under opphavsrett-setningsdel. strøm for å forlenge "
-"eksisterende vilkårene betyr Kongressen ikke er nødvendig å gi vilkårene at "
-"er \"begrenset.\" derfor dømme sentelle hevdet, domstolen hadde å tolke "
-"begrepet \"begrenset ganger\" å gi den mening. og beste tolkningen, dommer "
-"sentelle hevdet, ville være å nekte Kongressen makt til å utvide "
-"eksisterende vilkår."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"cases or cases that raise issues specific to the circuit as a whole, where "
-"the court will sit \"en banc\" to hear the case."
-msgstr ""
-"vi spurte court of appeals for DC-kretsen som helhet å høre tilfelle. "
-"tilfeller er vanligvis hørt i paneler med tre, med unntak av viktige saker "
-"eller tilfeller som øke problemer som er spesifikke for kretsen som helhet, "
-"der domstolen skal sitte \"no banc\" for å høre tilfelle."
-
-#. PAGE BREAK 236
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 D.C. "
-"Circuit, Judge David Tatel. Both the most conservative and the most liberal "
-"judges in the D.C. Circuit believed Congress had overstepped its bounds."
-msgstr ""
-"lagmannsrett avvist vår anmodning om å høre case no banc. Denne gangen "
-"vurdere sentelle ble med seg mest liberale medlem av DC-krets, bedømme david "
-"tatel. både den mest konservative og mest liberale dommere i DC-krets mente "
-"Kongressen hadde overstepped sin grensene."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"hundred cases a year, out of more than five thousand appeals.) And it "
-"practically never reviews a decision that upholds a statute when no other "
-"court has yet reviewed the statute."
-msgstr ""
-"Det var her at de fleste forventet eldred v. ashcroft ville dø, for "
-"Høyesterett vurderinger sjelden noen avgjørelse av en domstol i appeller. "
-"(det hører rundt hundre tilfeller et år, ut av mer enn fem tusen appeller.) "
-"og det praktisk talt aldri vurderinger en beslutning som opprettholder en "
-"vedtekt når ingen andre domstolen har gjennomgått vedtektene."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"2002. The summer would be spent writing briefs and preparing for argument."
-msgstr ""
-"men i februar 2002, Høyesterett overrasket verden ved å gi vår "
-"underskriftskampanje for å gå gjennom DC krets oppfatning. argumentet ble "
-"satt for oktober 2002. sommeren ville være utbrent skrive truser og "
-"forberede for argumentet."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"It is over a year later as I write these words. It is still astonishingly "
-"hard. If you know anything at all about this story, you know that we lost "
-"the appeal. And if you know something more than just the minimum, you "
-"probably think there was no way this case could have been won. After our "
-"defeat, I received literally thousands of missives by well-wishers and "
-"supporters, thanking me for my work on behalf of this noble but doomed "
-"cause. And none from this pile was more significant to me than the e-mail "
-"from my client, Eric Eldred."
-msgstr ""
-"Det er over et år senere som jeg skriver disse ordene. Det er fortsatt "
-"astonishingly vanskelig. Hvis du vet noe om denne historien, vet du at vi "
-"mistet appell. og hvis du vet noe mer enn bare minste, du tror sannsynligvis "
-"det var ingen måte dette tilfellet kunne ha blitt vunnet. etter vårt "
-"nederlag fikk jeg bokstavelig talt tusenvis av missives ved godt wishers og "
-"støttespillere, takke meg for mitt arbeid på vegne av denne edle men dømt "
-"årsaken. og ingen fra jordhaugen var mer betydelig for meg enn e-post fra "
-"min klient, eric eldred."
-
-#. type: Content of: <book><part><chapter><para>
-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 story "
-"to myself, I can never escape believing that my own mistake lost it."
-msgstr ""
-"Men min klient og disse vennene tok feil. Denne saken kunne vært 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."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Steward, Geoffrey"
-msgstr "Steward, Geoffrey"
-
-#. PAGE BREAK 237
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"The mistake 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, and by the law firm he had moved to, Jones, Day, "
-"Reavis and Pogue. Jones Day took a great deal of heat 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."
-msgstr ""
-"Feil ble gjort tidlig, skjønt den ble først åpenbart på slutten. Vår sak "
-"hadde støtte hos en ekstraordinær advokat, Geoffrey Stewart, helt fra "
-"starten, og hos advokatfirmaet hadde han flyttet til, Jones, Day, Reavis og "
-"Pogue. Jones Day mottok mye press fra 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."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Ayer, Don"
-msgstr "Ayer, Don"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Bromberg, Dan"
-msgstr "Bromberg, Dan"
-
-#. type: Content of: <book><part><chapter><para>
-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 involved. "
-"Bromberg and Ayer in particular had a common view about how this case would "
-"be won: We would only win, they repeatedly told me, if we could make the "
-"issue seem \"important\" to the Supreme Court. It had to seem as if dramatic "
-"harm were being done to free speech and free culture; otherwise, they would "
-"never vote against \"the most powerful media companies in the world.\""
-msgstr ""
-"Det var tre viktige advokater på saken fra Jones DaY. Geoff Stewart var den "
-"først, men siden ble Dan Bromberg og Don Ayer ganske involvert. Bromberg og "
-"Ayer spesielt hadde en felles oppfatning om hvordan denne saken ville bli "
-"vunnet: vi ville bare vinne, fortalte de gjentatte ganger til meg, hvis vi "
-"få problemet til å virke \"viktig\" for Høyesterett. Det måtte synes som om "
-"dramatisk skade ble gjort til ytringsfriheten og fri kultur, ellers ville de "
-"aldri stemt mot \"de mektigste mediaselskapene i verden\"."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"is. But the idea that the Supreme Court decides the law based on how "
-"important they believe the issues are is just wrong. It might be \"right\" "
-"as in \"true,\" I thought, but it is \"wrong\" as in \"it just shouldn't be "
-"that way.\" As I believed that any faithful interpretation of what the "
-"framers of our Constitution did would yield the conclusion that the CTEA was "
-"unconstitutional, and as I believed that any faithful interpretation of what "
-"the First Amendment means would yield the conclusion that the power to "
-"extend existing copyright terms is unconstitutional, I was not persuaded "
-"that we had to sell our case like soap. Just as a law that bans the "
-"swastika is unconstitutional not because the Court likes Nazis but because "
-"such a law would violate the Constitution, so too, in my view, would the "
-"Court decide whether Congress's law was constitutional based on the "
-"Constitution, not based on whether they liked the values that the framers "
-"put in the Constitution."
-msgstr ""
-"Jeg hater dette synet på loven. Selvfølgelig trodde jeg Sonny Bono-loven var "
-"en dramatisk skade på ytringsfriheten og fri kultur. Selvfølgelig tror jeg "
-"fortsatt dette. Men idéen om at Høyesterett bestemmer loven basert på hvor "
-"viktig de tror problemene er er bare galt. Det kan være \"riktig\" som i "
-"\"sann,\" jeg tenkte, men det er \"galt\" som i \"det bare bør ikke være den "
-"måten.\" som jeg mente at alle trofaste tolkning av forfatterne av vår "
-"grunnlov gjorde gi konklusjonen at ctea var forfatningsstridig, og som jeg "
-"mente at alle trofaste tolkning av hva den første endring betyr ville gi "
-"konklusjonen som strøm for å forlenge eksisterende opphavsrett vilkårene er "
-"unconstitutionalJeg var ikke overbevist om at vi måtte selge vårt tilfelle "
-"som såpe. akkurat som en lov som forbud swastika er unconstitutional ikke "
-"fordi retten liker nazistene, men fordi slik lov ville bryte Grunnloven, så "
-"også, i min mening, ville domstol bestemmer om congress's lov var "
-"konstitusjonelle basert på Grunnloven, ikke basert på om de likte verdiene "
-"som underskrev de innlegge Grunnloven."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"reason to hear the case in the Supreme Court if they weren't convinced that "
-"this regulation was harmful. So in my view, we didn't need to persuade them "
-"that this law was bad, we needed to show why it was unconstitutional."
-msgstr ""
-"Uansett, jeg tenkte, domstolen må allerede se faren og skade som skyldes "
-"denne typen lov. Hvorfor ville de gir gjennomgang? Det var ingen grunn å "
-"høre tilfelle i Høyesterett hvis de ikke var overbevist om at denne "
-"reguleringen var skadelig. så etter min mening, vi ikke trenger å overtale "
-"dem at denne loven var ille, vi trengte å vise hvorfor det var "
-"forfatningsstridig."
-
-#. PAGE BREAK 238
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"would not hear our arguments if it thought these were just the arguments of "
-"a group of lefty loons. This Supreme Court was not about to launch into a "
-"new field of judicial review if it seemed that this field of review was "
-"simply the preference of a small political minority. Although my focus in "
-"the case was not to demonstrate how bad the Sonny Bono Act was but to "
-"demonstrate that it was unconstitutional, my hope was to make this argument "
-"against a background of briefs that covered the full range of political "
-"views. To show that this claim against the CTEA was grounded in "
-"<emphasis>law</emphasis> and not politics, then, we tried to gather 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."
-msgstr ""
-"Det var en måte, men i som jeg følte politikk ville saken og som jeg trodde "
-"et svar var riktig. Jeg var overbevist om at domstolen ikke ville høre våre "
-"argumenter Hvis det trodde disse var bare argumentene i en gruppe av lefty "
-"loons. Denne Høyesterett var ikke om å lansere i et nytt felt med juridisk "
-"vurdering Hvis det syntes at dette feltet av nytt var bare preferanse av et "
-"lite politisk mindretall. Selv om mitt fokus i tilfelle var ikke til å "
-"demonstrere hvor ille sonny bono handle var, men for å demonstrere at det "
-"var forfatningsstridig, mitt håp var å gjøre dette argumentet mot et "
-"bakteppe av truser som dekket hele spekteret av politiske synspunkter. å "
-"vise at denne påstanden mot ctea ble jordet i loven og ikke politikk, så vi "
-"prøvde å samle så mange søkeordresultater troverdig kritikere—"
-"troverdig ikke fordi de var rike og berømte, men fordi de, i samlet, vist at "
-"denne loven var forfatningsstridig uavhengig av ens politikk."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Eagle Forum"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Schlafly, Phyllis"
-msgstr "Schlafly, Phyllis"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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. Mrs. "
-"Schlafly viewed the CTEA as a sellout by Congress. In November 1998, she "
-"wrote a stinging editorial attacking the Republican Congress for allowing "
-"the law to pass. As she wrote, \"Do you sometimes wonder why bills that "
-"create a financial windfall to narrow special interests slide easily through "
-"the intricate legislative process, while bills that benefit the general "
-"public seem to get bogged down?\" The answer, as the editorial documented, "
-"was the power of money. Schlafly enumerated Disney's contributions to the "
-"key players on the committees. It was money, not justice, that gave Mickey "
-"Mouse twenty more years in Disney's control, Schlafly argued. <placeholder "
-"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"det første trinnet skjedde alt av seg selv. Phyllis schlafly organisasjon, "
-"eagle forum, hadde vært motstander av ctea fra begynnelsen. Mrs. schlafly "
-"sett ctea som en sellout av Kongressen. i november 1998 skrev hun en "
-"stinging redaksjonelle angripe det republikanske Kongressen for å la loven "
-"skjedde. som hun skrev, \"noen ganger lurer du hvorfor regninger som "
-"oppretter en finansiell nedfallsfrukt for å begrense spesielle interesser "
-"skyv lett gjennom den intrikate lovgivende prosessen, mens regninger at "
-"fordelen allmennheten synes å komme bogged ned?\", som de redaksjonelle "
-"dokumentert, var svaret strømmen av penger. schlafly nummerert disney's "
-"bidrag til sentrale aktører på komiteene. Det var penger, ikke "
-"rettferdighet, som ga Mikke Mus tjue år i disney's kontroll, schlafly hevdet."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the Supreme Court: If Congress can extend the term of existing copyrights, "
-"there is no limit to Congress's power to set terms. That strong "
-"conservative argument persuaded a strong conservative judge, Judge Sentelle."
-msgstr ""
-"i lagmannsrett var eagle forum ivrig etter å inngi en kort som støtter vår "
-"posisjon. sine kort gjort argumentet om at ble kjernen kravet i Høyesterett: "
-"Hvis Kongressen kan forlenge eksisterende opphavsrettigheter, det er ingen "
-"grense for Kongressens makt til å angi vilkår. som sterkt konservativ "
-"argumentet overtalt en sterk konservative dommer, dommer sentelle."
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"Foundation (home of the GNU project that made GNU/ Linux possible). They "
-"included a powerful brief about the costs of uncertainty by Intel. There "
-"were two law professors' briefs, one by copyright scholars and one by First "
-"Amendment scholars. There was an 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. "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type="
-"\"indexterm\" id=\"3\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "American Association of Law Libraries"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "National Writers Union"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the Internet Archive, the American Association of Law Libraries, and the "
-"National Writers Union. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"disse truser innrammet et juridisk argument. deretter for å støtte "
-"argumentet juridiske, var det en rekke kraftige truser av biblioteker og "
-"arkiver, inkludert internet archive, american association av loven "
-"biblioteker og den nasjonale forfattere unionen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"was struck, a whole generation of American film would disappear. The other "
-"made the economic argument absolutely clear."
-msgstr ""
-"men to truser fanget argumentet policyen best. en gjort argumentet jeg har "
-"allerede beskrevet: en kort av hal mort studios hevdet at med mindre loven "
-"ble truffet, en hel generasjon av american film ville forsvinne. den andre "
-"gjort argumentet økonomiske helt klart."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Akerlof, George"
-msgstr "Akerlof, George"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Arrow, Kenneth"
-msgstr "Arrow, Kenneth"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Buchanan, James"
-msgstr "Buchanan, James"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Coase, Ronald"
-msgstr "Coase, Ronald"
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Friedman, Milton"
-msgstr "Friedman, Milton"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"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 the list of "
-"Nobel winners demonstrates, spanned the political spectrum. Their "
-"conclusions were powerful: There was no plausible claim that extending the "
-"terms of existing copyrights would do anything to increase incentives to "
-"create. Such extensions were nothing more than \"rent-seeking\"—the "
-"fancy term economists use to describe special-interest legislation gone wild."
-msgstr ""
-"Denne økonomer kort ble signert av sytten økonomer, inkludert fem "
-"Nobelprisen vinnerne, inkludert ronald Coases, james buchanan, milton "
-"friedman, kenneth pilen og george akerlof. økonomer, spredte som viser "
-"listen over nobel vinnere, det politiske spektret. deres konklusjoner var "
-"kraftig: det var ingen sannsynlig hevder at utvide vilkårene i eksisterende "
-"opphavsrettigheter ville gjøre noe for å øke insentiver til å opprette. "
-"slike utvidelser var ingenting mer enn \"leie-søker\"—fancy sikt "
-"økonomer bruk å beskrive spesielle interesser lovgivning gone wild."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Fried, Charles"
-msgstr "Fried, Charles"
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Morrison, Alan"
-msgstr "Morrison, Alan"
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Public Citizen"
-msgstr ""
-
-#. type: Content of: <book><chapter><indexterm><primary>
-msgid "Reagan, Ronald"
-msgstr "Reagan, Ronald"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the start. But when the case got to the Supreme Court, we added three "
-"lawyers to help us frame this argument to this Court: Alan Morrison, a "
-"lawyer from Public Citizen, a Washington group that had made constitutional "
-"history with a series of seminal victories in the Supreme Court defending "
-"individual rights; my colleague and dean, Kathleen Sullivan, who had argued "
-"many cases in the Court, and who had advised us early on about a First "
-"Amendment strategy; and finally, former solicitor general Charles Fried. "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> <placeholder type="
-"\"indexterm\" id=\"3\"/>"
-msgstr ""
-"samme innsats på balanse ble reflektert i det juridiske teamet vi samles for "
-"å skrive våre truser i tilfelle. jones dag advokater hadde blitt med oss fra "
-"starten. men da saken kom til Høyesterett, vi har lagt tre advokater for å "
-"hjelpe oss ramme dette argumentet til denne retten: alan morrison, en "
-"advokat fra offentlige borger, en washington gruppe som hadde gjort "
-"konstitusjonelle historie med en rekke banebrytende seire i Høyesterett "
-"forsvare rettigheter; Min kollega og dean, kathleen sullivan, som hadde "
-"hevdet mange tilfeller i domstol, og som hadde informert oss tidlig om en "
-"første endring strategi; og endelig, tidligere advokat general charles stekt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"companies the special favor of extended copyright terms. Fried was the only "
-"one who turned down that lucrative assignment to stand up for something he "
-"believed in. He had been Ronald Reagan's chief lawyer in the Supreme Court. "
-"He had helped craft the line of cases that limited Congress's power in the "
-"context of the Commerce Clause. And while he had argued many positions in "
-"the Supreme Court that I personally disagreed with, his joining the cause "
-"was a vote of confidence in our argument. <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
-msgstr ""
-"stekt var en spesiell seier for vår side. hver andre tidligere advokat "
-"generelt ble ansatt av den andre siden, å forsvare congress's kraft til å gi "
-"medieselskaper spesiell gunst utvidet opphavsrett vilkårene. stekt var den "
-"eneste som slått ned lukrative tildelingen til å stå opp for noe han mente "
-"i. han hadde vært ronald reagan's sjef advokat i Høyesterett. Han hadde "
-"bidratt til å skape linjen i tilfeller som begrenset Kongressens makt i "
-"forbindelse med handel-setningsdel. og mens han hadde hevdet mange "
-"posisjoner i Høyesterett som jeg personlig uenige med, hans begynte årsaken "
-"var en stemme av tilliten i vår argumentet."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The government, in defending the statute, had its collection of friends, as "
-"well. Significantly, however, none of these \"friends\" included historians "
-"or economists. The briefs on the other side of the case were written "
-"exclusively by major media companies, congressmen, and copyright holders."
-msgstr ""
-"regjeringen, i å forsvare statutten, hadde sin samling av venner, også. "
-"betydelig, men ingen av disse \"vennene\" inkludert historikere eller "
-"økonomer. truser på den andre siden av saken ble skrevet utelukkende av "
-"store medieselskaper, congressmen og innehaver av opphavsrett."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"their power and, indirectly, the gravy train of contributions such power "
-"induced. And of course it was not surprising 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."
-msgstr ""
-"media selskapene var ikke overraskende. de har mest å tjene på loven. "
-"congressmen var ikke overraskende enten—de var å forsvare sin makt, og "
-"indirekte, Kjøttsaft tog av bidrag slik makt indusert. og selvfølgelig var "
-"det ikke overraskende at rettighetshavere ville forsvare idéen om at de bør "
-"fortsette å ha rett til å kontrollere hvem som gjorde hva med innhold de "
-"ønsket å kontroll."
-
-#. f14.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. "
-"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19."
-msgstr ""
-"kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 "
-"amerikanske (2003) (nr 01-618), 19."
-
-#. f15.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins "
-"the Fray,\" <citetitle>New York Times</citetitle>, 28 March 1998, B7."
-msgstr ""
-"dinitia smith, \"udødelig ord, udødelig royalties? selv Mikke Mus tiltrer "
-"fray,\"new york times, 28 mars 1998, b7."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Gershwin, George"
-msgstr "Gershwin, George"
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"than allowing it to fall into the public domain—because if this "
-"creativity were in the public domain, then people could use it to \"glorify "
-"drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> "
-"That was also the motive of the Gershwin estate, which defended its "
-"\"protection\" of the work of George Gershwin. They refuse, for example, to "
-"license <citetitle>Porgy and Bess</citetitle> to anyone who refuses to use "
-"African Americans in the cast.<placeholder type=\"footnote\" id=\"1\"/> "
-"That's their view of how this part of American culture should be controlled, "
-"and they wanted this law to help them effect that control. <placeholder "
-"type=\"indexterm\" id=\"2\"/>"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"making a choice about which speakers it will favor. Famous and beloved "
-"copyright owners, such as the Gershwin estate and Dr. Seuss, come to "
-"Congress and say, \"Give us twenty years to control the speech about these "
-"icons of American culture. We'll do better with them than anyone else.\" "
-"Congress of course likes to reward the popular and famous by giving them "
-"what they want. But when Congress gives people an exclusive right to speak "
-"in a certain way, that's just what the First Amendment is traditionally "
-"meant to block."
-msgstr ""
-"Dette argumentet gjort klart et tema som er sjelden merke i denne debatten. "
-"Når Kongressen beslutter å forlenge eksisterende opphavsrettigheter, gjør "
-"Kongressen et valg om hvilke høyttalere det prioriteres. berømte og elskede "
-"opphavsrett eiere, for eksempel gershwin eiendom og dr. seuss, komme til "
-"Kongressen og si, \"gi oss tjue år å kontrollere tale om disse ikonene av "
-"den amerikanske kulturen. Vi vil gjøre bedre med dem enn noen andre."
-"\"Kongressen liker selvfølgelig å belønne de populære og berømte ved å gi "
-"dem det de ønsker. men når Kongressen gir folk en eksklusiv rett til å "
-"snakke på en bestemt måte, det er akkurat hva den første endringen er "
-"tradisjonelt ment å blokkere."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 copyrights—"
-"extensions that would further concentrate the market; it would also mean "
-"that there was no limit to Congress's power to play favorites, through "
-"copyright, with who has the right to speak. Between February and October, "
-"there was little I did beyond preparing for this case. Early on, as I said, "
-"I set the strategy."
-msgstr ""
-"Vi hevdet så mye i en endelige kort. ikke bare vil opprettholde ctea bety at "
-"det var ingen grense for strøm av Kongressen for å forlenge "
-"opphavsrett—utvidelser som ytterligere konsentrere seg markedet; det "
-"vil også bety at det var ingen grense congress's kraft til å spille "
-"favoritter, gjennom opphavsrett, med som har rett til å snakke. mellom "
-"februar og oktober var det lite jeg gjorde utover forbereder for denne "
-"saken. tidlig som jeg sa, satt jeg strategien."
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"The Supreme Court was divided into two important camps. One camp we called "
-"\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives "
-"included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice "
-"Kennedy, and Justice Thomas. These five had been the most consistent in "
-"limiting Congress's power. They were the five who had supported the "
-"<citetitle>Lopez/Morrison</citetitle> line of cases that said that an "
-"enumerated power had to be interpreted to assure that Congress's powers had "
-"limits."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Breyer, Stephen"
-msgstr "Breyer, Stephen"
-
-#. PAGE BREAK 242
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"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 "
-"Constitution gives Congress broad discretion to decide how best to implement "
-"its powers. In case after case, these justices had argued that the Court's "
-"role should be one of deference. Though the votes of these four justices "
-"were the votes that I personally had most consistently agreed with, they "
-"were also the votes that we were least likely to get."
-msgstr ""
-"resten var fire justiariusene som hadde sterkt imot begrensninger på "
-"Kongressens makt. disse fire—rettferdighet stevens, rettferdighet "
-"souter, rettferdighet ginsburg og rettferdighet breyer—hadde gjentatte "
-"ganger hevdet at grunnloven gir Kongressen bred skjønn å bestemme hvordan du "
-"best å implementere sin myndighet. i sak etter sak, hadde disse to andre "
-"justiariusene hevdet at retten rolle bør være en av deference. om stemmene "
-"til disse fire justiariusene var stemmene som jeg personlig hadde mest "
-"konsekvent avtalt med, var de også stemmene som vi var minst sannsynlig å få."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"involved), she had been particularly deferential in the context of "
-"intellectual property protections. She and her daughter (an excellent and "
-"well-known intellectual property scholar) were cut from the same "
-"intellectual property cloth. We expected she would agree with 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."
-msgstr ""
-"spesielt var minst sannsynlig rettferdighet ginsburg. i tillegg til hennes "
-"Generelt-visningen om deference Kongressen (unntatt der utgaver av kjønn er "
-"involvert), hadde hun vært spesielt deferential i forbindelse med "
-"beskyttelse av intellektuell eiendom. Hun og hennes datter (en glimrende og "
-"velkjente immaterielle scholar) ble kuttet fra samme immaterielle klut. vi "
-"ventet Hun vil være enig med skriftene til datteren: at Kongressen hadde "
-"makt i denne sammenheng å gjøre som det ønsket, selv om hva Kongressen "
-"ønsket gjort lite fornuftig."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"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."
-msgstr ""
-"Lukk bak rettferdighet ginsburg var to justiariusene hvem vi også sett på "
-"som usannsynlig allierte, om mulig overraskelser. rettferdighet souter "
-"favoriserte sterkt deference Kongressen, som gjorde rettferdighet breyer. "
-"men begge var også svært sensitive til ytringsfriheten bekymringer. og som "
-"vi sterkt mente, det var en svært viktig ytringsfriheten argument mot disse "
-"retrospektiv utvidelser."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 on this "
-"Court. His votes are consistently eclectic, which just means that no simple "
-"ideology explains where he will stand. But he had consistently argued for "
-"limits in the context of intellectual property generally. We were fairly "
-"confident he would recognize limits here."
-msgstr ""
-"den eneste stemme som vi kan være trygg på var at for rettferdighet stevens. "
-"historie registrerer rettferdighet stevens som en av de største dommerne på "
-"denne retten. hans stemmer er konsekvent variert, som betyr bare at ingen "
-"enkel ideologi forklarer hvor han vil stå. men han hadde konsekvent "
-"argumentert for grenser i forbindelse med immaterielle generelt. Vi var "
-"ganske trygg på han ville anerkjenne grenser her."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"This analysis of \"the Rest\" showed most clearly where our focus had to be: "
-"on the Conservatives. To win this case, we had to crack open these five and "
-"get at least a majority to go our way. Thus, the single overriding argument "
-"that animated our claim rested on the Conservatives' most important "
-"jurisprudential innovation—the argument that Judge Sentelle had relied "
-"upon in the Court of Appeals, that Congress's power must be interpreted so "
-"that its enumerated powers have limits."
-msgstr ""
-"Denne analysen av \"resten\" viste mest tydelig der vårt fokus måtte være: "
-"på høyre. for å vinne dette tilfellet, vi hadde å sprekk åpne disse fem og "
-"få minst et flertall å gå på vår måte. dermed enkelt overstyrende argument "
-"som animert våre krav hvilte på Høyres viktigste jurisprudential innovasjon "
-"- argumentet at dommer sentelle hadde grunnlag i lagmannsrett, at "
-"Kongressens makt må tolkes slik at dens nummerert kreftene har begrensninger."
-
-#. PAGE BREAK 243
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"<citetitle>Lopez</citetitle> case, under the government's argument here, "
-"Congress would always have unlimited power to extend existing terms. If "
-"anything was plain about Congress's power under the Progress Clause, it was "
-"that this power was supposed to be \"limited.\" Our aim would be to get the "
-"Court to reconcile <citetitle>Eldred</citetitle> with <citetitle>Lopez</"
-"citetitle>: If Congress's power to regulate commerce was limited, then so, "
-"too, must Congress's power to regulate copyright be limited."
-msgstr ""
-"Dette var deretter kjernen i vår strategi—en strategi som jeg er "
-"ansvarlig. Vi ville få retten å se at akkurat som du er med under "
-"regjeringens argument her i tilfelle lopez, Kongressen ville alltid ha "
-"ubegrenset makt til å utvide eksisterende vilkår. Hvis noe var vanlig om "
-"Kongressens makt under setningsdelen fremdrift, det var at dette makt var "
-"ment for å være \"begrenset.\" vårt mål vil være å få retten å avstemme "
-"eldred med lopez: Hvis Kongressens makt til å regulere handel var begrenset, "
-"deretter så, også, congress's makt til å regulere copyright skal begrenses."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The argument on the government's side came down to this: Congress has done "
-"it before. It should be allowed to do it again. The government claimed that "
-"from the very beginning, Congress has been extending the term of existing "
-"copyrights. So, the government argued, the Court should not now say that "
-"practice is unconstitutional."
-msgstr ""
-"argumentet på regjeringens side kom ned til dette: Kongressen har gjort det "
-"før. det skal være tillatt å gjøre det igjen. regjeringen hevdet at helt fra "
-"starten, Kongressen har blitt utvidelse av eksisterende opphavsrettigheter. "
-"så regjeringen hevdet, domstolen bør ikke nå si at praksis er "
-"unconstitutional."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"course, in 1962, Congress began extending existing terms regularly—"
-"eleven times in forty years."
-msgstr ""
-"Det var noen sannhet til regjeringens krav, men ikke mye. Vi absolutt avtalt "
-"at Kongressen hadde utvidet eksisterende vilkårene i og i 1909. og "
-"selvfølgelig, i 1962, Kongressen begynte utvide eksisterende "
-"regelmessig—betingelser elleve ganger i førti år."
-
-#. PAGE BREAK 244
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"But this \"consistency\" should be kept in perspective. Congress extended "
-"existing terms once in the first hundred years of the Republic. It then "
-"extended existing terms once again in the next fifty. Those rare extensions "
-"are in contrast to the now regular practice of extending existing terms. "
-"Whatever restraint Congress had had in the past, that restraint was now "
-"gone. Congress was now in a cycle of extensions; there was no reason to "
-"expect that cycle would end. This Court had not hesitated to intervene where "
-"Congress was in a similar cycle of extension. There was no reason it "
-"couldn't intervene here. Oral argument was scheduled for the first week in "
-"October. I arrived in D.C. two weeks before the argument. During those two "
-"weeks, I was repeatedly \"mooted\" by lawyers who had volunteered to help in "
-"the case. Such \"moots\" are basically practice rounds, where wannabe "
-"justices fire questions at wannabe winners."
-msgstr ""
-"men dette \"konsistens\" bør holdes i perspektiv. Kongressen utvidet "
-"eksisterende vilkårene en gang i første hundre år av Republikken. det "
-"deretter utvidet eksisterende vilkårene igjen i de neste femti. disse "
-"sjeldne utvidelser er i motsetning til nå vanlig praksis for å utvide "
-"eksisterende vilkår. Uansett selvbeherskelse Kongressen hadde hatt i siste, "
-"at selvbeherskelse nå var borte. Kongressen var nå i en syklus av "
-"utvidelser; Det var ingen grunn til å forvente at syklus ville end. denne "
-"domstolen hadde ikke vil nøle med å intervenere der Kongressen var i en "
-"lignende syklus av filtypen. Det var ingen grunn det ikke kunne gripe inn "
-"her. muntlig argumentet var planlagt for den første uken i oktober. Jeg "
-"ankom i DC to uker før argumentet. i løpet av de to ukene, ble jeg gjentatte "
-"ganger \"mooted\" av advokater som hadde frivillig til å hjelpe i tilfelle. "
-"slike \"moots\" er i utgangspunktet praksis runder, der wannabe "
-"justiariusene brann spørsmål på wannabe vinnere."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"power to set terms. Going with the government would mean that terms would be "
-"effectively unlimited; going with us would give Congress 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."
-msgstr ""
-"Jeg var overbevist om at for å vinne, jeg måtte holde domstolen fokusert på "
-"et enkelt punkt: at hvis denne utvidelsen er tillatt, så det er ingen grense "
-"makt til å angi vilkår. Going med regjeringen ville bety at vilkårene vil "
-"være effektivt ubegrenset; Going med oss ville gi Kongressen en klar linje å "
-"følge: ikke utvide eksisterende vilkår. moots var en effektiv praksis, Jeg "
-"har funnet måter å ta alle spørsmål tilbake til dette sentrale idéen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"Fried. He had argued many cases before the Supreme Court. And in his review "
-"of the moot, he let his concern speak: <placeholder type=\"indexterm\" id="
-"\"0\"/>"
-msgstr ""
-"en moot var før jurister på jones dag. Don ayer var skeptisk. Han "
-"tjenestegjorde i Justisdepartementet reagan med advokat general charles "
-"stekt. Han hadde hevdet mange tilfeller før Høyesterett. og han la sin "
-"bekymring snakke i sin anmeldelse av moot:"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"\"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 "
-"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.\""
-msgstr ""
-"Jeg er bare redd at med mindre de ser virkelig skade, de ikke vil være "
-"villig til å opprørt denne praksis som regjeringen sier har vært en "
-"konsekvent praksis for to hundre år. du har å gjøre dem se skade—"
-"passionately få dem til å se skaden. for hvis de ser ikke som, så vi har "
-"ikke noen sjanse til å vinne."
-
-#. PAGE BREAK 245
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"thing—not because of politics but because it was right. As a law "
-"professor, I had spent my life teaching my students that this Court does the "
-"right thing—not because of politics but because it is right. As I "
-"listened to Ayer's plea for passion in pressing politics, I understood his "
-"point, and I rejected it. Our argument was right. That was enough. Let the "
-"politicians learn to see that it was also good. The night before the "
-"argument, a line of people began to form in front of the Supreme Court. The "
-"case had become a focus of the press and of the movement to free culture. "
-"Hundreds stood in line for the chance to see the proceedings. Scores spent "
-"the night on the Supreme Court steps so that they would be assured a seat."
-msgstr ""
-"han kanskje har hevdet mange tilfeller før denne retten, jeg tenkte, men han "
-"forstod ikke sin sjel. Jeg hadde sett justiariusene gjøre rette—ikke "
-"på grunn av politikk som en kontorist, men fordi det var rett. Jeg hadde "
-"tilbrakt livet undervise elevene mine at denne retten gjør rette—ikke "
-"på grunn av politikk som en lov professor, men fordi det er riktig. da jeg "
-"lyttet til ayer's påstand om lidenskap i presserende politikk, jeg forsto "
-"hans punkt, og jeg avviste den. Vårt argument var rett. Det var nok. La "
-"politikerne lære å se at det var også god. natten før argumentet, en linje "
-"av mennesker begynte å form foran Høyesterett. saken hadde blitt et fokus av "
-"pressen og bevegelse for fri kultur. hundrevis sto i kø for sjansen til å se "
-"proceedings. score tilbragte natten på Høyesterett trinnene slik at de ville "
-"være trygg på et sete."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"parents, for example.) Members of the Supreme Court bar can get a seat in a "
-"special section reserved for them. And senators and congressmen have a "
-"special place where they get to sit, too. And finally, of course, the press "
-"has a gallery, as do clerks working for the Justices on the Court. As we "
-"entered that morning, there was no place that was not taken. This was an "
-"argument about intellectual property law, yet the halls were filled. As I "
-"walked in to take my seat at the front of the Court, I saw my parents "
-"sitting on the left. As I sat down at the table, I saw Jack Valenti sitting "
-"in the special section ordinarily reserved for family of the Justices."
-msgstr ""
-"ikke alle har til å vente på linjen. folk som vet de to andre justiariusene "
-"kan be om seter de kontroll. (jeg spurte rettferdighet scalia kamre for "
-"plasser for mine foreldre, for eksempel.) medlemmer av Høyesterett baren kan "
-"få et sete i en spesiell del reservert for dem. og senators og congressmen "
-"har et spesielt sted hvor de får å sitte, også. og til slutt, selvfølgelig, "
-"pressen har et galleri som gjør clerks som jobber for de to andre "
-"justiariusene på domstol. som vi har angitt den morgenen, var det ikke noe "
-"sted som ikke ble tatt. Dette var et argument om lovgivning for "
-"immaterielle, men hallene var fylt. så jeg gikk i å ta min plass på forsiden "
-"av retten, så jeg mine foreldre som sitter til venstre. som jeg satte meg "
-"ned ved bordet, så jeg jack valenti sitter i delen spesielle vanligvis "
-"forbeholdt familie av de to andre justiariusene."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"was a case about enumerated powers, I said, and whether those enumerated "
-"powers had any limit."
-msgstr ""
-"Når justisministeren ringte meg å starte mitt argument, jeg begynte hvor jeg "
-"skal bo: på spørsmålet om begrensninger på Kongressens makt. Dette var en "
-"sak om nummerert kreftene, jeg sa, og om de nummerert kreftene hadde noen "
-"grense."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Justice O'Connor stopped me within one minute of my opening. The history "
-"was bothering her."
-msgstr ""
-"rettferdighet o'connor stoppet meg ett minutts min åpning. historien var "
-"plaget henne."
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"of time? I mean, this seems to be a practice that began with the very first "
-"act."
-msgstr ""
-"rettferdighet o'connor: Kongressen har utvidet begrepet så ofte gjennom "
-"årene, og hvis du har rett, ikke vi kjøre risikoen for upsetting tidligere "
-"utvidelser av tid? Jeg mener, dette synes å være en praksis som begynte med "
-"svært første akt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"She was quite willing to concede \"that this flies directly in the face of "
-"what the framers had in mind.\" But my response again and again was to "
-"emphasize limits on Congress's power."
-msgstr ""
-"Hun var ganske villig til å innrømme \"at dette flyr direkte i møte med hva "
-"underskrev hadde i tankene.\", men mitt svar var igjen og igjen å "
-"understreke begrensninger på Kongressens makt."
-
-#. PAGE BREAK 246
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"effect to what they had in mind, and the answer is yes."
-msgstr ""
-"Mr. lessig: Vel, hvis det flyr i ansiktet av hva underskrev hadde i tankene, "
-"så spørsmålet er, er det en måte å tolke sine ord som gir kraft til hva de "
-"hadde i tankene, og svaret er Ja."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 ""
-"Det var to poeng i dette argumentet når jeg burde ha sett hvor domstolen "
-"skulle. Først var et spørsmål av rettferdighet kennedy, som observert,"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"because of the disruption, is that for all these years the act has impeded "
-"progress in science and the useful arts. I just don't see any empirical "
-"evidence for that."
-msgstr ""
-"rettferdighet kennedy: Vel, jeg antar implisitt i argumentet at ' 76-loven, "
-"også, bør har blitt gjort ugyldige, og at vi kan la det være på grunn av "
-"avbrudd, er som for alle disse årene loven har hindret fremgang i vitenskap "
-"og nyttig kunst. Jeg ser ikke noen empiriske bevis for dette."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Here follows my clear mistake. Like a professor correcting a student, I "
-"answered,"
-msgstr ""
-"Her følger min klart feil. som professor korrigere en student, svarte jeg,"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"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."
-msgstr ""
-"Mr. lessig: rettferdighet, vi ikke gjør en empirisk krav på alle. ingenting "
-"i våre opphavsrett-setningsdel krav henger på empirisk påstanden om hindrer "
-"fremdrift. vår eneste argumentet er at dette er en strukturell begrensning "
-"som er nødvendig for å sikre at det ville være et effektivt evigvarende sikt "
-"ikke tillates under lover om opphavsrett."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"briefs had been written about it. He wanted to hear it. And here was the "
-"place Don Ayer's advice should have mattered. This was a softball; my answer "
-"was a swing and a miss."
-msgstr ""
-"Det var riktig svar, men det var ikke riktig svar. riktig svar var i stedet "
-"at det var en opplagt og dyptgripende skade. en rekke truser hadde vært "
-"skrevet om den. han ønsket å høre den. og her var sted don ayer's råd skal "
-"ha mattered. Dette var en softball; mitt svar var en swing og en glipp."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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> ruling, "
-"and we hoped that he would see this case as its second cousin."
-msgstr ""
-"andre kom fra sjefen, som hele saken hadde blitt utformet. for "
-"justisministeren hadde utformet lopez avgjørelse, og vi håpet at ville han "
-"se denne saken som sin andre fetter."
-
-#. PAGE BREAK 247
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 ""
-"Det var klart en andre i sin spørsmålet at han ikke var på alle sympatisk. "
-"til ham var vi en gjeng med anarkistene. så han spurte:"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 ""
-"Chief justice: godt, men du ønsker mer enn som. du vil ha rett til å kopiere "
-"ordrett andres bøker, ikke du?"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"cannot be justified under ordinary First Amendment analysis or under a "
-"proper reading of the limits built into the Copyright Clause."
-msgstr ""
-"Mr. lessig: vi vil ha rett til å kopiere ordrett verk som bør være i den "
-"offentlige sfæren, og ville være allemannseie, men for en vedtekter som ikke "
-"kan begrunnes under vanlige første endring analyse eller under en riktig "
-"lesing av grensene som er innebygd i setningsdelen opphavsrett."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"General Olson,"
-msgstr ""
-"ting gikk bedre for oss når regjeringen ga argumentet; for nå domstolen "
-"plukket opp på kjernen av våre krav. som rettferdighet spurte scalia advokat "
-"generelt olson"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"argument that's being made by petitioners here, that a limited time which is "
-"extendable is the functional equivalent of an unlimited time."
-msgstr ""
-"rettferdighet scalia: du si at samme en ubegrenset tid ville være et brudd "
-"[av Grunnloven], men det er nettopp argumentet som gjøres av petitioners "
-"her, det en begrenset periode som er utvidbart er samme en ubegrenset tid."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"academic, not the practical. The government was arguing as if this were the "
-"first case ever to consider limits on Congress's Copyright and Patent Clause "
-"power. Ever the professor and not the advocate, I closed by pointing out the "
-"long history of the Court imposing limits on Congress's power in the name of "
-"the Copyright and Patent Clause— indeed, the very first case striking "
-"a law of Congress as exceeding a specific enumerated power was based upon "
-"the Copyright and Patent Clause. All true. But it wasn't going to move the "
-"Court to my side."
-msgstr ""
-"Når olson var ferdig, var det min tur til å gi en avsluttende rebuttal. "
-"olson's flailing hadde gjenopplivet sinnet mitt. men min vrede fortsatt ble "
-"sendt til akademiske, ikke praktiske. regjeringen var kranglet som om dette "
-"var det første tilfellet noensinne å vurdere begrensninger på congress's "
-"copyright og patent-setningsdel makt. professoren og ikke talsmann, jeg "
-"lukket noensinne ved å peke på den lange historien av domstolen innføre "
-"begrensninger på Kongressens makt i navnet på opphavsrett og patent-"
-"setningsdel—faktisk, det aller første tilfellet støtning en lov av "
-"Kongressen som overskrider en bestemt, nummerert makt var basert på "
-"opphavsrett og patent-setningsdel. alle sanne. men det var ikke til å flytte "
-"retten til min side."
-
-#. PAGE BREAK 248
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"As I left the court that day, I knew there were a hundred points I wished I "
-"could remake. There were a hundred questions I wished I had answered "
-"differently. But one way of thinking about this case left me optimistic."
-msgstr ""
-"som jeg venstre retten denne dagen, jeg visste det var en hundre punkter jeg "
-"ønsket at jeg kunne remake. var det en hundre spørsmål jeg ønsket at jeg "
-"hadde svart på en annen måte. men en måte å tenke på dette tilfellet forlatt "
-"meg optimistisk."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"answer I wanted the Court to hear. For I could not imagine how the Court "
-"could understand that the government believed Congress's power was unlimited "
-"under the terms of the Copyright Clause, and sustain the government's "
-"argument. The solicitor general had made my argument for me. No matter how "
-"often I tried, I could not understand how the Court could find that "
-"Congress's power under the Commerce Clause was limited, but under the "
-"Copyright Clause, unlimited. In those rare moments when I let myself believe "
-"that we may have prevailed, it was because I felt this Court—in "
-"particular, the Conservatives—would feel itself constrained by the "
-"rule of law that it had established elsewhere."
-msgstr ""
-"regjeringen hadde blitt spurt om og om igjen, hva er grensen? igjen og "
-"igjen, det hadde besvart det er ingen begrensning. Dette var nettopp svaret "
-"jeg ville retten å høre. for jeg ikke kan forestille meg hvordan domstol "
-"kunne forstå at regjeringen trodde congress's makt var ubegrenset under "
-"betingelsene i setningsdelen opphavsrett, og opprettholde regjeringens "
-"argumentet. advokat-general hadde gjort mitt argument for meg. uansett hvor "
-"ofte jeg forsøkt, kunne jeg ikke forstå hvordan domstol finner at "
-"Kongressens makt under handel-setningsdel var begrenset, men under den "
-"opphavsrett setningen, ubegrenset. i de sjeldne øyeblikkene når jeg la meg "
-"tro at vi kan ha kommet, det var fordi jeg følte denne retten—spesielt "
-"ville konservative—føle seg begrenset av rettssikkerhet at det hadde "
-"etablert andre steder."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The morning of January 15, 2003, I was five minutes late to the office and "
-"missed the 7:00 A.M. call from the Supreme Court clerk. Listening to the "
-"message, I could tell in an instant that she had bad news to report.The "
-"Supreme Court had affirmed the decision of the Court of Appeals. Seven "
-"justices had voted in the majority. There were two dissents."
-msgstr ""
-"15. januar 2003, morgenen jeg var fem minutter for sent til kontoret og "
-"ubesvarte anropet 7: 00 am fra Høyesterett kontorist. lytte til meldingen, "
-"jeg kunne fortelle på et øyeblikk at hun hadde dårlige nyheter til report."
-"the hadde Høyesterett bekreftet avgjørelsen til court of appeals. syv "
-"justiariusene hadde stemt i fleste. Det var to Dissensene."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"had been wrong in my reasoning."
-msgstr ""
-"noen sekunder senere, kom meninger via e-post. Jeg tok telefonen av kroken, "
-"postet en kunngjøring til vår blogg, og satte meg ned for å se hvor jeg "
-"hadde vært feil i mitt resonnement."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"naïve law professor, scouring the pages, looking for reasoning."
-msgstr ""
-"mitt resonnement. Her var en sak som pitted alle pengene i verden mot "
-"resonnement. og her var den siste naivt lov professoren, scouring sider, på "
-"jakt etter resonnement."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"I first scoured the opinion, looking for how the Court would distinguish the "
-"principle in this case from the principle in <citetitle>Lopez</citetitle>. "
-"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."
-msgstr ""
-"Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i "
-"dette tilfellet fra prinsippet i lopez. argumentet var ingensteds å bli "
-"funnet. saken ble ikke selv sitert. argumentet som ble argumentet kjernen i "
-"vårt tilfelle ikke engang vises i retten mening."
-
-#. PAGE BREAK 249
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Justice Ginsburg simply ignored the enumerated powers argument. Consistent "
-"with her view that Congress's power was not limited generally, she had found "
-"Congress's power not limited here."
-msgstr ""
-"rettferdighet ginsburg ganske enkelt ignorert argumentet nummerert kreftene. "
-"konsekvent med hennes syn at Kongressen makt var ikke begrenset Generelt, "
-"hun hadde funnet Kongressens makt ikke begrenset her."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Her opinion was perfectly reasonable—for her, and for Justice Souter. "
-"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to "
-"expect them to write an opinion that recognized, much less explained, the "
-"doctrine they had worked so hard to defeat."
-msgstr ""
-"hennes mening var helt rimelig—for henne, og for rettferdighet souter. "
-"Ingen av dem tror på lopez. det ville være for mye å forvente dem til å "
-"skrive en uttalelse som gjenkjennes, mye mindre forklart, doktrine som de "
-"hadde arbeidet så hardt for å beseire."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"powers with the Commerce Clause and unlimited powers with the Progress "
-"Clause. It had never even occurred to me that they could reconcile the two "
-"simply <emphasis>by not addressing the argument</emphasis>. There was no "
-"inconsistency because they would not talk about the two together. There was "
-"therefore no principle that followed from the <citetitle>Lopez</citetitle> "
-"case: In that context, Congress's power would be limited, but in this "
-"context it would not."
-msgstr ""
-"men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg "
-"hadde sagt det var ingen måte denne retten kan avstemme begrenset krefter "
-"med handel-setningsdelen og ubegrensede krefter med fremgang-setningsdelen. "
-"det hadde aldri skjedd for meg at de kunne forene to ved adressering ikke "
-"argumentet. Det var ingen inkonsekvens fordi de ikke ville snakker om to "
-"sammen. Det ble derfor ingen prinsippet som fulgt av lopez tilfelle: i den "
-"sammenhengen, Kongressens makt ville være begrenset, men i denne sammenheng "
-"vil det ikke."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"select the part of the Constitution they would enforce based on the values "
-"they thought important? We were right back to the argument that I said I "
-"hated at the start: I had failed to convince them that the issue here was "
-"important, and I had failed to 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."
-msgstr ""
-"ennå ved hvilken rett de fikk til å velge hvilke av de underskrev verdiene "
-"de ville respekt? ved hvilken rett gjorde de—de stille fem—får å "
-"velge delen av Grunnloven de ville håndheve basert på verdiene de trodde "
-"viktig? Vi var tilbake til argumentet at jeg sa jeg hatet i starten: Jeg "
-"hadde mislyktes med å overbevise dem om at problemet her var viktig, og jeg "
-"hadde unnlot å innse at det er systemet vi har, men mye jeg kan hater et "
-"system der domstolen får velge konstitusjonelle verdiene som det vil "
-"respektere,."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"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 extension of "
-"terms. He based his argument on a parallel analysis that had governed in the "
-"context of patents (so had we). But the rest of the Court discounted the "
-"parallel—without explaining how the 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."
-msgstr ""
-"to andre justiariusene breyer og stevens skrev veldig sterk Dissensene. "
-"Stevens mening laget interne til loven: han hevdet at tradisjonen med "
-"lovgivning for immaterielle ikke bør støtter dette uberettiget forlengelse "
-"av vilkårene. han basert hans argument på en parallell analyse som hadde "
-"styrt i sammenheng med patenter (så hadde vi). men resten av domstolen "
-"nedsatte parallelt—uten å forklare hvordan de samme ord i fremgang-"
-"setningsdelen kan komme til å bety helt forskjellige ting som er avhengig av "
-"om ordene var om patenter eller opphavsrett. Retten la rettferdighet stevens "
-"kostnad gå ubesvart."
-
-#. PAGE BREAK 250
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"become so long as to be effectively unlimited. We had said that under the "
-"current term, a copyright gave an author 99.8 percent of the value of a "
-"perpetual term. Breyer said we were wrong, that the actual number was "
-"99.9997 percent of a perpetual term. Either way, the point was clear: If the "
-"Constitution said a term had to be \"limited,\" and the existing term was so "
-"long as to be effectively unlimited, then it was unconstitutional."
-msgstr ""
-"rettferdighet breyer oppfatning, kanskje den beste mening han noensinne har "
-"skrevet, var eksterne for Grunnloven. Han hevdet at begrepet av "
-"opphavsretten har blitt så lenge som å være effektivt ubegrenset. Vi hadde "
-"sagt at under gjeldende begrepet, opphavsretten ga en forfatter 99.8 prosent "
-"av verdien av et evigvarende begrep. Breyer sa vi var galt, at det faktiske "
-"antallet var 99.9997 prosent av en evigvarende sikt. Uansett, punktet var "
-"klart: Hvis grunnloven sa en term måtte være \"begrenset\", og eksisterende "
-"begrepet var så langt som å være effektivt ubegrenset, så det var "
-"forfatningsstridig."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"These two justices understood all the arguments we had made. But because "
-"neither believed in the <citetitle>Lopez</citetitle> case, neither was "
-"willing to push it as a reason to reject this extension. The case was "
-"decided without anyone having addressed the argument that we had carried "
-"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince."
-msgstr ""
-"disse to justiariusene forstått alle argumentene vi hadde gjort. men fordi "
-"ingen trodde i lopez-saken, heller ikke var villig til å skyve den som en "
-"grunn til å avvise denne utvidelsen. tilfellet var besluttet uten at noen "
-"har adressert argumentet om at vi hadde fraktet fra dommer sentelle. Det var "
-"hamlet uten prinsen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Defeat brings depression. They say 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."
-msgstr ""
-"tap bringer depresjon. de sier det er et tegn på helse når depresjon gir "
-"måte å sinne. min vrede kom raskt, men det gjorde ikke kurere depresjon. "
-"Dette sinne var inälvor."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"It was first anger with the five \"Conservatives.\" It would have been one "
-"thing for them to have explained why the principle of <citetitle>Lopez</"
-"citetitle> didn't apply in this case. That wouldn't have been a very "
-"convincing argument, I don't believe, having read it made by others, and "
-"having tried to make it myself. But it at least would have been an act of "
-"integrity. These justices in particular have repeatedly said that the "
-"proper mode of interpreting the Constitution is \"originalism\"—to "
-"first understand the framers' text, interpreted in their context, in light "
-"of the structure of the Constitution. That method had produced "
-"<citetitle>Lopez</citetitle> and many other \"originalist\" rulings. Where "
-"was their \"originalism\" now?"
-msgstr ""
-"Det var første sinne på fem \"konservative.\" det ville ha vært en ting for "
-"dem å har forklart hvorfor prinsippet om lopez ikke bruk i dette tilfellet. "
-"ikke som ville vært et veldig overbevisende argument, jeg ikke tror, etter å "
-"ha lest det gjort av andre, og at de hadde prøvd å gjøre det selv. men i "
-"alle fall ville det ha vært en handling av integritet. disse to andre "
-"justiariusene spesielt har gjentatte ganger sagt at riktig tolke Grunnloven "
-"er \"originalism\"—å først forstå underskrev tekst, tolkes i sin "
-"sammenheng, i lys av strukturen av Grunnloven. Denne metoden hadde produsert "
-"lopez og mange andre \"originalist\" rulings. hvor var deres \"originalism\" "
-"nå?"
-
-#. PAGE BREAK 251
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"an opinion that never once tried to explain how the structure of that clause "
-"would affect the interpretation of Congress's power. And they joined an "
-"opinion that didn't even try to explain why this grant of power could be "
-"unlimited, whereas the Commerce Clause would be limited. In short, they had "
-"joined an opinion that did not apply to, and was inconsistent with, their "
-"own method for interpreting the Constitution. This opinion may well have "
-"yielded a result that they liked. It did not produce a reason that was "
-"consistent with their own principles."
-msgstr ""
-"her, de hadde med seg en oppfatning at aldri en gang prøvde å forklare hva "
-"underskrev hadde menes med laging setningsdelen fremgang som de gjorde; de "
-"sluttet seg en oppfatning at aldri en gang forsøkt å forklare hvordan "
-"strukturen i som ledd vil påvirke tolkningen av Kongressens makt. og de med "
-"seg en mening som ikke engang forsøke å forklare hvorfor dette stipendet av "
-"makt kan være ubegrenset, mens handel-setningsdel ville være begrenset. kort "
-"sagt, hadde de sluttet en uttalelse som ikke gjelde, og var inkonsekvent med "
-"sin egen metode for tolking av Grunnloven. denne mening kan også har gitt et "
-"resultat som de likte. det ikke produsere en grunn som var i samsvar med sin "
-"egen prinsipper."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"it is."
-msgstr ""
-"mitt sinne med høyre raskt gitt til sinne med meg selv. for jeg hadde la en "
-"visning av loven som jeg likte forstyrre en visning av loven som det er."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"much more pragmatic view. When Don Ayer said that this case would be won "
-"based on whether I could convince the Justices that the framers' values were "
-"important, I fought the idea, because I didn't want to believe that that is "
-"how this Court decides. I insisted on arguing this case as if it were a "
-"simple application of a set of principles. I had an argument that followed "
-"in logic. I didn't need to waste my time showing it should also follow in "
-"popularity."
-msgstr ""
-"de fleste jurister og de fleste lov professorer, har liten tålmodighet for "
-"idealismen om domstoler Generelt og denne Høyesterett spesielt. de fleste "
-"har mye mer pragmatisk. da don ayer sa at dette tilfellet ville bli vunnet "
-"basert på om jeg kunne overbevise de to andre justiariusene at verdiene for "
-"de underskrev var viktig, jeg kjempet idéen, fordi jeg ikke ønsker å tro at "
-"det er hvordan denne retten bestemmer. jeg insisterte på kranglet denne "
-"saken som om den var en enkel Påføring av et sett prinsipper. Jeg hadde et "
-"argument som fulgte i logikken. Jeg trengte ikke å kaste bort min tid viser "
-"det bør også følge i popularitet."
-
-#. PAGE BREAK 252
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"different directions, where the truth about the harm that this unchecked "
-"power will cause could have been made clear to this Court. Justice Kennedy "
-"in good faith wanted to be shown. I, idiotically, corrected his question. "
-"Justice Souter in good faith wanted to be shown the First Amendment harms. "
-"I, like a math teacher, reframed the question to make the logical point. I "
-"had shown them how they could strike this law of Congress if they wanted to. "
-"There were a hundred places where I could have helped them want to, yet my "
-"stubbornness, my refusal to give in, stopped me. I have stood before "
-"hundreds of audiences trying to persuade; I have used passion in that effort "
-"to persuade; but I 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."
-msgstr ""
-"som jeg leste tilbake over transkripsjon fra argumentet i oktober, kan jeg "
-"se hundre steder der svarene kan ha tatt samtalen i forskjellige retninger, "
-"der sannheten om skade som denne ukontrollert makt vil forårsake kunne vært "
-"gjort klart til denne retten. rettferdighet kennedy i god tro ville være "
-"vist. Jeg, idiotically, rettet opp sine spørsmål. rettferdighet souter i god "
-"tro ville være vist den første endringen skader. Jeg, reframed som en "
-"matematikk-lærer spørsmål for å gjøre det logiske punktet. Jeg hadde vist "
-"dem hvordan de kunne streik denne lov av Kongressen hvis de ville. Det var "
-"en hundre steder hvor jeg kunne ha hjulpet dem vil, men min vrangvilje, mine "
-"nektet å gi i, stoppet meg. Jeg har stått før hundrevis av målgrupper prøver "
-"å overtale; Jeg har brukt lidenskap i at forsøk på å overtale; men jeg "
-"nektet å stå denne målgruppen og prøver å overtale med lidenskap jeg hadde "
-"brukt et annet sted. Det var ikke grunnlag som en domstol bør avgjøre "
-"problemet."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"Sullivan? <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"ville det ha vært annerledes hvis jeg hadde hevdet det annerledes? ville det "
-"ha vært annerledes hvis don ayer hadde hevdet det? eller charles stekt? "
-"eller kathleen sullivan?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"a great deal more to show our society why our framers were right. And when "
-"we do that, we will be able to show that Court."
-msgstr ""
-"mine venner huddled rundt meg å insistere det ikke ville. domstolen ikke var "
-"klar, insisterte mine venner. Dette var et tap som var bestemt. det vil ta "
-"mye mer å vise vårt samfunn hvorfor våre underskrev hadde rett. og når vi "
-"gjør det, vil vi være i stand til å vise at domstolen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"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."
-msgstr ""
-"kanskje, men jeg tviler på det. disse to andre justiariusene har ingen "
-"økonomiske interesse i å gjøre noe annet enn rette. de er ikke planlagt. de "
-"har liten grunn til å motstå gjør akkurat. Jeg kan ikke hjelpe, men mener at "
-"hvis jeg hadde trappet ned fra denne pen bilde av dispassionate "
-"rettferdighet, jeg kunne har overbevist."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 intellectual "
-"property professors stated publicly that my bringing this case was a "
-"mistake. \"The Court is not ready,\" Peter Jaszi said; this issue should not "
-"be raised until it is. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"og selv om jeg ikke kunne, deretter som unnskylde ikke hva som skjedde i "
-"januar. for ved starten av dette tilfellet uttalt en av Amerikas ledende "
-"immaterielle professorer offentlig at mitt å bringe denne saken var en feil. "
-"-domstolen ikke er klar,\"sagt peter jaszi, Dette problemet bør ikke heves "
-"før det er."
-
-#. PAGE BREAK 253
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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, "
-"then that is all the evidence that's needed to know that here again Peter "
-"was right. Either I was not ready to argue this case in a way that would do "
-"some good or they were not ready to hear this case in a way that would do "
-"some good. Either way, the decision to bring this case—a decision I "
-"had made four years before—was wrong. While the reaction to the Sonny "
-"Bono Act itself was almost unanimously negative, the reaction to the Court's "
-"decision was mixed. No one, at least in the press, tried to say that "
-"extending the term of copyright was a good idea. We had won that battle over "
-"ideas. Where the decision was praised, it was praised by papers that had "
-"been skeptical of the Court's activism in other cases. Deference was a good "
-"thing, even if it left standing a silly law. But where the decision was "
-"attacked, it was attacked because it left standing a silly and harmful law. "
-"<citetitle>The New York Times</citetitle> wrote in its editorial,"
-msgstr ""
-"etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han "
-"var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, "
-"deretter som er alle bevis som trengs for å vite at her igjen peter var "
-"rett. Jeg var ikke klar til å argumentere denne saken på en måte som ville "
-"gjøre noen gode eller de var ikke klar til å høre dette tilfellet på en måte "
-"som ville gjøre noen gode. Uansett, beslutningen om å bringe denne "
-"saken—en beslutning om jeg hadde gjort fire år før—var galt. "
-"mens reaksjonen til sonny bono handle selv var nesten enstemmig negativ, var "
-"reaksjonen til domstolens avgjørelse blandet. Ingen, minst i pressen, prøvde "
-"å si at utvidelse av copyright var en god idé. Vi hadde vant den kampen over "
-"ideer. der beslutningen ble rost, ble det rost av papir som hadde vært "
-"skeptisk til retten aktivisme i andre tilfeller. ærbødighet var bra, selv om "
-"det igjen en dum lov. men der beslutningen ble angrepet, den ble angrepet "
-"fordi det igjen en dum og skadelig lov. new york times skrev i sin "
-"redaksjonell,"
-
-#. type: Content of: <book><part><chapter><blockquote><para>
-#, mtrans, fuzzy
-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 "
-"perpetuity. The public domain has been a grand experiment, one that should "
-"not be allowed to die. The ability to draw freely on the entire creative "
-"output of humanity is one of the reasons we live in a time of such fruitful "
-"creative ferment."
-msgstr ""
-"i kraft gjør av Høyesterett beslutningen det sannsynlig at vi ser "
-"begynnelsen på slutten av public domain og fødselen av opphavsrett "
-"perpetuity. public domain har vært en store eksperimentet, som ikke skal "
-"tillates å dø. muligheten til å trekke fritt på hele kreativ produksjon av "
-"menneskeheten er en av grunnene til at vi lever i en tid med slike fruktbart "
-"kreative gjære."
-
-#. type: Content of: <book><part><chapter><figure><indexterm><primary>
-msgid "Bolling, Ruben"
-msgstr "Bolling, Ruben"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"case, was Ruben Bolling's, reproduced on the next page (<xref linkend="
-"\"fig-18\"/>). The \"powerful and wealthy\" line is a bit unfair. But the "
-"punch in the face felt exactly like that. <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
-msgstr ""
-"de beste svarene var i tegneserier. Det var en gaggle av morsom bilder—"
-"av mickey i fengsel og lignende. best, fra min mening i saken, var ruben "
-"bolling, gjengis på neste side. linjen \"kraftige og velstående\" er en "
-"smule urettferdig. Men slag i ansiktet følte akkurat sånn."
-
-#. type: Content of: <book><part><chapter><figure><title>
-msgid "Tom the Dancing Bug cartoon"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><figure>
-msgid ""
-"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm"
-"\" id=\"0\"/>"
-msgstr ""
-"<graphic fileref=\"images/18.png\"></graphic> <placeholder type=\"indexterm"
-"\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The image that will always stick in my head is that evoked by the quote from "
-"<citetitle>The New York Times</citetitle>. That \"grand experiment\" we call "
-"the \"public domain\" is over? When I can make light of it, I think, "
-"\"Honey, I shrunk the Constitution.\" But I can rarely make light of it. We "
-"had 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."
-msgstr ""
-"bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new "
-"york times. at \"store eksperimentet\" vi kaller \"public domain\" er over? "
-"Når jeg kan gjøre lys av det, tror jeg, \"Elskling, jeg krympet Grunnloven."
-"\", men jeg kan sjelden gjøre lyset av den. Vi hadde i vår grunnlov en "
-"engasjement for fri kultur. i tilfelle at jeg far, avkall Høyesterett "
-"effektivt at satsing. ha ville gjort en bedre advokat dem se annerledes."
-
-#. type: Content of: <book><part><chapter><title>
-msgid "CHAPTER FOURTEEN: Eldred II"
-msgstr "Kapittel fjorten: Eldred II"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The day <citetitle>Eldred</citetitle> was decided, fate would have it that I "
-"was to travel to Washington, D.C. (The day the rehearing petition in "
-"<citetitle>Eldred</citetitle> was denied—meaning the case was really "
-"finally over—fate would have it that I was giving a speech to "
-"technologists at Disney World.) This was a particularly 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."
-msgstr ""
-"dag-eldred ble besluttet, men skjebnen ville at som jeg var å reise til "
-"washington, DC (dagen rehearing protestskriv i eldred ble nektet—noe "
-"som betyr at saken var virkelig endelig over—skjebnen ville at at jeg "
-"ga en tale til Teknologorganisasjon på disney verden.) dette var en spesielt "
-"lang flytur til min minst favoritt by. stasjonen til byen fra dulles ble "
-"forsinket på grunn av trafikk, så jeg åpnet opp min datamaskin, og skrev en "
-"op-ed brikke."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"advice from Don Ayer: You need to make them see why it is important. And "
-"alternating with that command was the question of Justice Kennedy: \"For all "
-"these years the act has impeded progress in science and the useful arts. I "
-"just don't see any empirical evidence for that.\" And so, having failed in "
-"the argument of constitutional principle, finally, I turned to an argument "
-"of politics."
-msgstr ""
-"Det var en handling av contrition. under hele flyturen fra san francisco til "
-"washington, jeg hadde hørt om og om igjen i hodet mitt samme råd fra don "
-"ayer: du trenger å gjøre dem se hvorfor det er viktig. og alternerende med "
-"den samme kommandoen ble spørsmålet om rettferdighet kennedy: \"for alle "
-"disse år loven har hindret fremgang i vitenskap og nyttig kunst. Jeg ser "
-"ikke noen empiriske bevis for som.\", og så å ha mislyktes i argument av "
-"konstitusjonelle prinsippet, til slutt, jeg slått til et argument av "
-"politikk."
-
-#. PAGE BREAK 256
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"copyright owner would be required to register the work and pay a small fee. "
-"If he paid the fee, he got the benefit of the full term of copyright. If he "
-"did not, the work passed into the public domain."
-msgstr ""
-"new york times publisert arb. i den, jeg foreslått en enkel Fiks: femti år "
-"etter at et arbeid er publisert, eieren av opphavsretten ville være "
-"nødvendig å registrere arbeidet og betale en liten avgift. Hvis han betalt "
-"gebyret, fikk han fordelen med full sikt av opphavsrett. Hvis han ikke "
-"gjorde bestått arbeidet i public domain."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"early on, it won't get passed unless it has another name."
-msgstr ""
-"Vi kalte denne loven eldred, men det var bare for å gi det et navn. Eric "
-"eldred var slag nok å la hans navn brukes igjen, men som han sa tidlig, det "
-"vil ikke få gått med mindre det er et annet navn."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Or another two names. For depending upon your perspective, this is either "
-"the \"Public Domain Enhancement Act\" or the \"Copyright Term Deregulation "
-"Act.\" Either way, the essence of the idea is clear and obvious: Remove "
-"copyright where it is doing nothing except 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."
-msgstr ""
-"eller en annen to navn. for avhengig av ditt perspektiv, dette er enten "
-"\"public domain forbedring act\" eller den \"copyright begrepet "
-"dereguleringen act.\" Uansett, essensen av idéen er klar og tydelig: fjerne "
-"copyright der det gjør ingenting bortsett fra blokkerer tilgang og spredning "
-"av kunnskap. La det for så lenge Kongressen tillater for disse arbeider der "
-"er verdt minst $1. men for alt annet, kan du la til innhold gå."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Forbes, Steve"
-msgstr "Forbes, Steve"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"support. When you focus the issue on lost creativity, people can see the "
-"copyright system makes no sense. As a good Republican might say, here "
-"government regulation is simply getting in the way of innovation and "
-"creativity. And as a good Democrat might say, here the government is "
-"blocking access and the spread of knowledge for no good reason. Indeed, "
-"there is no real difference between Democrats and Republicans on this issue. "
-"Anyone can recognize the stupid harm of the present system."
-msgstr ""
-"reaksjon på denne idéen var utrolig sterk. Steve forbes vedtok det i en "
-"redaksjonell. Jeg mottok en skred av e-post og brev som uttrykker støtte. "
-"Når du fokuserer problemet på tapt kreativitet, kan folk se opphavsretten "
-"til systemet gir ingen mening. som en god republikansk kan si, komme her "
-"regjeringen regulering bare i veien innovasjon og kreativitet. og som en god "
-"demokratisk kan si, regjeringen blokkerer her tilgang og spredning av "
-"kunnskap for ingen god grunn. faktisk, det er ingen reell forskjell mellom "
-"demokratene og republikanerne på dette problemet. noen kan gjenkjenne de "
-"dumme skader som dagens ordning."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Indeed, many recognized the obvious benefit of the registration "
-"requirement. For one of the hardest things about the current system for "
-"people who want to license content is that there is no obvious place to look "
-"for the current copyright owners. Since registration is not required, since "
-"marking content is not required, since no formality at all is required, it "
-"is often impossibly hard to locate 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."
-msgstr ""
-"faktisk anerkjent mange den åpenbare fordelen med kravet om registrering. "
-"for en av de vanskeligste tingene om dagens system for folk som ønsker å "
-"lisens innholdet er at det er ingen åpenbare sted å lete etter gjeldende "
-"opphavsrett eierne. siden registrering ikke er nødvendig, siden merking "
-"innhold ikke er påkrevd, siden ingen formalitet i det hele tatt er "
-"nødvendig, er det ofte impossibly vanskelig å finne eiere av opphavsretter "
-"for å be om tillatelse til å bruke eller lisensierer sitt arbeid. Dette "
-"systemet vil redusere disse kostnadene ved å etablere minst én registret der "
-"eiere av opphavsretter kan identifiseres."
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Berlin Act (1908)"
-msgstr ""
-
-#. type: Content of: <book><part><chapter><indexterm><primary>
-msgid "Berne Convention (1908)"
-msgstr "Bern-konvensjonen (1908)"
-
-#. f1.
-#. type: Content of: <book><part><chapter><para><footnote><para>
-#, mtrans, fuzzy
-msgid ""
-"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 with the 1908 act, every text "
-"of the Convention has provided that \"the enjoyment and the exercise\" of "
-"rights guaranteed by the Convention \"shall not be subject to any formality."
-"\" The prohibition against formalities is presently embodied in Article 5(2) "
-"of the Paris Text of the Berne Convention. Many countries continue to impose "
-"some form of deposit or registration requirement, albeit not as a condition "
-"of copyright. French law, for example, requires the deposit of copies of "
-"works in national repositories, principally the National Museum. Copies of "
-"books published in the United Kingdom must be deposited in the British "
-"Library. The German Copyright Act provides for a Registrar of Authors where "
-"the author's true name can be filed in the case of anonymous or pseudonymous "
-"works. Paul Goldstein, <citetitle>International Intellectual Property Law, "
-"Cases and Materials</citetitle> (New York: Foundation Press, 2001), "
-"153–54."
-msgstr ""
-"før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett "
-"lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med "
-"formaliteter som registrering, innskudd og affixation av forfatterens "
-"reklamasjon av opphavsrett. imidlertid, starter med 1908 act, hver tekst av "
-"konvensjonen gitt som \"få glede og øvelsen\" av rettigheter garanteres ved "
-"konvensjonen \"skal ikke være gjenstand for alle formalitet.\" forbud mot "
-"formaliteter gjenspeiles dag i 5 (2 artikkelen) av paris-teksten i berne "
-"konvensjonen. mange land fortsatt å innføre noen form for innskudd eller "
-"registrering kravet, om enn ikke som en betingelse for opphavsrett. Fransk "
-"lov, krever for eksempel innskudd på kopier av works i nasjonale, for, "
-"hovedsakelig nasjonalmuseet. Kopier av bøker som er utgitt i Storbritannia "
-"må settes i british library. tysk opphavsrett lov gir en registrar av "
-"forfattere der forfatterens sanne navn kan være arkivert i tilfelle av "
-"anonym eller pseudonymous fungerer. Paul goldstein, lovgivning for "
-"immaterielle, saker og materialer (new york: foundation press, 2001), 15354."
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"As I described in chapter <xref xrefstyle=\"select: labelnumber\" linkend="
-"\"property-i\"/>, formalities in copyright law were removed in 1976, when "
-"Congress followed the Europeans by abandoning any formal requirement before "
-"a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The "
-"Europeans are said to view copyright as a \"natural right.\" Natural rights "
-"don't need forms to exist. Traditions, like the Anglo-American tradition "
-"that required copyright owners to follow form if their rights were to be "
-"protected, did not, the Europeans thought, properly respect the dignity of "
-"the author. My right as a creator turns on my creativity, not upon the "
-"special favor of the government."
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"That's great rhetoric. It sounds wonderfully romantic. But it is absurd "
-"copyright policy. It is absurd especially for authors, because a world "
-"without formalities harms the creator. The ability to spread \"Walt Disney "
-"creativity\" is destroyed when there is no simple way to know what's "
-"protected and what's not."
-msgstr ""
-"Det er stor retorikk. det høres usedvanlig romantiske. men det er absurd "
-"copyright policy. Det er absurd spesielt for forfattere, fordi en verden "
-"uten formaliteter skader skaperen. muligheten til å spre \"walt disney "
-"kreativitet\" er ødelagt når det er ingen enkel måte å vite hva er beskyttet "
-"og hva som ikke."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"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 years, as well as the "
-"abolition of copyright formalities. The formalities were hated because the "
-"stories of inadvertent loss were increasingly common. It was as if a Charles "
-"Dickens character ran all copyright offices, and the failure to dot an "
-"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the "
-"loss of widows' only income."
-msgstr ""
-"kampen mot formaliteter oppnådde sin første virkelige seier i berlin i 1908. "
-"internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til å "
-"kreve opphavsrett vilkårene i livet pluss femti år, i tillegg til "
-"avskaffelse av opphavsrett formaliteter. formaliteter ble hatet fordi "
-"historiene til utilsiktet tap var stadig vanligere. Det var som om et "
-"charles dickens tegn kjørte alle opphavsrett kontorer, og unnlatelse av å "
-"dot en i eller på tvers av en t ført til tap av enker eneste inntekt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"These complaints were real and sensible. And the strictness of the "
-"formalities, especially in the United States, was absurd. The law should "
-"always have ways of forgiving innocent mistakes. There is no reason "
-"copyright law couldn't, as well. Rather than abandoning formalities totally, "
-"the response in Berlin should have been to embrace a more equitable system "
-"of registration."
-msgstr ""
-"disse klager var reelle og fornuftig. og kravene i formaliteter, særlig i "
-"USA, var absurd. loven skal alltid har måter å forgiving uskyldige feil. Det "
-"er ingen grunn lov om opphavsrett kunne også. i stedet for å forlate "
-"formaliteter helt, burde svaret i berlin vært å omfavne en mer rettferdig "
-"system for registrering."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"Even that would have been resisted, however, because registration in the "
-"nineteenth and twentieth centuries was still expensive. It was also a "
-"hassle. The abolishment of formalities promised not only to save the "
-"starving widows, but also to lighten an unnecessary regulatory burden "
-"imposed upon creators."
-msgstr ""
-"selv som ville har vært motstått, men fordi registrering i 1800 og 1900-"
-"tallet var fortsatt dyrt. Det var også en problemfri. oppløsning av "
-"formaliteter lovet ikke bare å lagre sultende enker, men også å lette en "
-"unødvendig regulatoriske belastning påtvang skapere."
-
-#. PAGE BREAK 258
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 second-"
-"class form of property. If a carpenter builds a table, his rights over the "
-"table don't depend upon filing a form with the government. He has a "
-"property right over the table \"naturally,\" and he can assert that right "
-"against anyone who would steal the table, whether or not he has informed the "
-"government of his ownership of the table."
-msgstr ""
-"i tillegg til praktiske klagen av forfattere i 1908 var det så vel moralsk "
-"krav. Det var ingen grunn at creative egenskapen, bør være en annenklasses "
-"form for egenskapen. Hvis en snekker bygger en tabell, avhenger ikke sine "
-"rettigheter over tabellen av innlevering et skjema med regjeringen. Han har "
-"en eiendomsrett over tabellen \"naturlig\", og han kan hevde at høyre mot "
-"alle som ville stjele tabellen, om han har informert regjeringen av sitt "
-"eierskap av tabellen."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"This argument is correct, but its implications are misleading. For the "
-"argument in favor of formalities does not depend upon creative property "
-"being second-class property. The argument in favor of formalities turns upon "
-"the special problems that creative property presents. The law of "
-"formalities responds to the special physics of creative property, to assure "
-"that it can be efficiently and fairly spread."
-msgstr ""
-"Dette argumentet er riktig, men dens implikasjoner er misvisende. for "
-"argumentet til fordel for formaliteter ikke avhenger av på kreative "
-"egenskapen blir annenklasses egenskapen. argumentet for formaliteter slår på "
-"spesielle problemer som creative egenskapen presenterer. loven om "
-"formaliteter svarer på spesielle fysikk av kreative eiendom, å sikre at det "
-"kan være effektivt og ganske spredt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"effective. And few would think a car is second-class property just because "
-"you must register the car with the state and tag it with a license. In both "
-"of those cases, everyone sees that there is an important reason to secure "
-"registration—both because it makes the markets more efficient and "
-"because it better secures the rights of the owner. Without a registration "
-"system for land, landowners would perpetually have to guard their property. "
-"With registration, they can simply point the police to a deed. Without a "
-"registration system for cars, auto theft would be much easier. With a "
-"registration system, the thief has a high burden to sell a stolen car. A "
-"slight burden is placed on the property owner, but those burdens produce a "
-"much better system of protection for property generally."
-msgstr ""
-"Ingen mener for eksempel at landet er annenklasses egenskapen bare fordi du "
-"har å register en gjerning med en domstol Hvis din salg av land er å være "
-"effektive. og få tror en bil er annenklasses egenskapen bare fordi du må "
-"registrere bilen med staten og merke den med en lisens. i begge disse "
-"tilfellene ser alle at det er en viktig grunn til å sikre registrering—"
-"både fordi det gjør markedene mer effektiv, og fordi det sikrer bedre "
-"rettighetene til eieren. uten en registreringssystemet for land måtte "
-"grunneiere perpetually vokte deres eiendom. med registrering, kan de bare "
-"peker politiet til en gjerning. uten en registreringssystemet for biler, "
-"ville auto tyveri være mye enklere. med en registreringssystemet har tyven "
-"en høy belastning å selge en stjålet bil. en liten byrde er plassert på "
-"eiendommen eier, men de byrdene produserer et mye bedre system av "
-"beskyttelse for egenskapen generelt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"It is similarly special physics that makes formalities important in "
-"copyright law. Unlike a carpenter's table, there's nothing in nature that "
-"makes it relatively obvious who might own a particular bit of creative "
-"property. A recording of Lyle Lovett's latest album can exist in a billion "
-"places without anything necessarily linking it back to a particular owner. "
-"And like a car, there's no way to buy and sell creative property with "
-"confidence unless there is some simple way to authenticate who is the author "
-"and what rights he has. Simple transactions are destroyed in a world without "
-"formalities. Complex, expensive, <emphasis>lawyer</emphasis> transactions "
-"take their place. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"på samme måte er det spesielle fysikk som gjør formaliteter viktig i lov om "
-"opphavsrett. i motsetning til en snekker tabell er det ingenting i naturen "
-"som gjør det relativt åpenbare som kan eie en bestemt bit av kreative-"
-"egenskapen. et opptak av lyle lovett siste albumet kan finnes i en milliard "
-"steder uten noe nødvendigvis knytte det tilbake til en bestemt eieren. og "
-"som en bil, det er ingen måte å kjøpe og selge kreative egenskapen med "
-"tillit med mindre det er noen enkel måte å godkjenne hvem er forfatter og "
-"hvilke rettigheter han har. enkle transaksjoner er ødelagt i en verden uten "
-"formaliteter. komplisert, dyrt, advokat transaksjoner ta sin plass."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 \"get.\" "
-"Because we live in a system without formalities, there is no way easily to "
-"build upon or use culture from our past. If copyright terms were, as Justice "
-"Story said they would be, \"short,\" then this wouldn't matter much. For "
-"fourteen years, under the framers' system, a work would be presumptively "
-"controlled. After fourteen years, it would be presumptively uncontrolled."
-msgstr ""
-"Dette var forståelsen av problemet med sonny bono loven som vi prøvde å "
-"demonstrere for retten. Dette var delen som det ikke \"få.\" fordi vi lever "
-"i et system uten formaliteter, det er ingen måte lett å bygge på, eller bruk "
-"kultur fra vår fortid. Hvis opphavsrett vilkårene var, som rettferdighet "
-"historien sa de ville være, ville ikke \"kort\", da dette saken mye. i "
-"fjorten år, ville under underskrev system, et arbeid presumptively "
-"kontrolleres. etter fjorten år, ville det være presumptively ukontrollerte."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"burden on the creative process. If the only way a library can offer an "
-"Internet exhibit about the New Deal is to hire a lawyer to clear the rights "
-"to every image and sound, then the copyright system is burdening creativity "
-"in a way that has never been seen before <emphasis>because there are no "
-"formalities</emphasis>."
-msgstr ""
-"men nå som opphavsrett kan være omtrent et århundre lang, manglende evne til "
-"å vite hva er beskyttet og hva er ikke beskyttet blir en stor og åpenbare "
-"byrde på den kreative prosessen. Hvis det er den eneste måten et bibliotek "
-"kan tilby en Internett-utstilling om new deal til å ansette en advokat for å "
-"fjerne rettighetene til hver bildefil og lydfil, er opphavsretten til "
-"systemet bebyrde kreativitet på en måte som aldri har vært sett før fordi "
-"det er ingen formaliteter."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 term. "
-"Others will know how to contact you and, therefore, how to get your "
-"permission if they want to use your work. And you will get the benefit of an "
-"extended copyright term."
-msgstr ""
-"eldred act ble utformet for å svare på akkurat dette problemet. Hvis det er "
-"verdt $1 til deg, deretter registrere ditt arbeid, og du kan få på lengre "
-"sikt. andre vil vite hvordan du kontakter du, og derfor, hvordan du får din "
-"tillatelse hvis de vil bruke arbeidet. og du vil få nytte av en utvidet "
-"opphavsrett sikt."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"monopoly over that work either. The work should pass into the public domain "
-"where anyone can copy it, or build archives with it, or create a movie based "
-"on it. It should become free if it is not worth $1 to you."
-msgstr ""
-"Hvis det ikke er verdt det for deg å registrere for å få utbytte av en "
-"utvidet periode, bør ikke så det være verdt det for regjeringen å forsvare "
-"ditt monopol over som fungerer heller. arbeidet skal passere i public domain "
-"der alle kan kopiere den, eller bygge arkivet med det eller opprette en film "
-"basert på den. Det bør bli gratis hvis det ikke er verdt $1 for deg."
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"$1? Isn't that the real problem with registration?"
-msgstr ""
-"Noen bekymrer seg over byrden på forfattere. Gjør ikke byrden med å "
-"registrere verket at beløpet $1 egentlig er misvisende? Er ikke "
-"ekstraarbeidet verdt mer enn $1? Er ikke dette det virkelige problemet med "
-"registrering?"
-
-#. PAGE BREAK 260
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"because they are terribly funded) in enabling simple and cheap "
-"registrations. Any real solution to the problem of formalities must address "
-"the real problem of <emphasis>governments</emphasis> standing at the core of "
-"any system of formalities. In this book, I offer such a solution. That "
-"solution essentially remakes the Copyright Office. For now, assume it was "
-"Amazon that ran the registration system. Assume it was one-click "
-"registration. The Eldred Act would propose a simple, one-click registration "
-"fifty years after a work was published. Based 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?"
-msgstr ""
-"Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nå er "
-"grufult. Jeg helt enig at opphavsrettkontoret har gjort en dårlig jobb "
-"(ingen tvil fordi de er dårlig finansiert) med å få på plass enkel og billig "
-"registrering. Alle fornuftige løsning på problemet med formaliteter må "
-"adressen den virkelige problemet av regjeringer stående i kjernen av et "
-"system av formaliteter. i denne boken tilby jeg en slik løsning. Denne "
-"løsningen remakes hovedsak copyright kontoret. for nå, kan du anta at det "
-"var amazon som kjørte registreringssystemet. anta det var ett klikk "
-"registrering. eldred act ville foreslå en enkel, ett klikk registrering "
-"femti år etter et arbeid ble offentliggjort. basert på historiske data, at "
-"systemet ville flytte opptil 98 prosent av kommersielle arbeid, kommersielle "
-"fungerer som ikke lenger hadde en kommersiell levetid, i public domain innen "
-"femti år. hva tror du?"
-
-#. type: Content of: <book><part><chapter><para>
-msgid ""
-"When Steve Forbes 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."
-msgstr ""
-"Da Steve Forbes 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."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Lofgren, Zoe"
-msgstr "Lofgren, Zoe"
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"imposed the simplest requirement upon copyright owners possible. In May "
-"2003, it looked as if the bill would be introduced. On May 16, I posted on "
-"the Eldred Act blog, \"we are close.\" There was a general reaction in the "
-"blog community that something good might happen here. <placeholder type="
-"\"indexterm\" id=\"0\"/>"
-msgstr ""
-"En representant, Zoe Lofgren fra California, gikk så langt som å få "
-"lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal "
-"lov. Det påla de enklest mulige forutsetninger på innehaverne av "
-"opphavsretter. I mai 2003 så det ut som om loven skulle være introdusert. "
-"16. mai, postet jeg på Eldred Act-bloggen, \"vi er nære\". Det oppstod en "
-"generell reaksjon i blogg-samfunnet om at noe godt kunne skje her. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the MPAA. Aided by his lawyer, as Valenti told me, Valenti informed the "
-"congresswoman that the MPAA would oppose the Eldred Act. The reasons are "
-"embarrassingly thin. More importantly, their thinness shows something clear "
-"about what this debate is really about."
-msgstr ""
-"men på dette stadiet, lobbyister begynte å intervenere. Jack valenti og mpaa "
-"sjefsjurist kom til congresswoman's office å gi oversikt over mpaa. hjulpet "
-"av sin advokat, som valenti fortalte meg, informert valenti i congresswoman "
-"at mpaa vil motsette seg eldred act. årsakene er embarrassingly tynn. enda "
-"viktigere, viser deres tykkelse noe klart om hva denne debatten er virkelig "
-"om."
-
-#. PAGE BREAK 261
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"The MPAA argued first that Congress had \"firmly rejected the central "
-"concept in the proposed bill\"—that copyrights be renewed. That was "
-"true, but irrelevant, as Congress's \"firm rejection\" had occurred long "
-"before the Internet made subsequent uses much more likely. Second, they "
-"argued that the proposal would harm poor copyright owners—apparently "
-"those who could not afford the $1 fee. Third, they argued that Congress had "
-"determined that extending a copyright term would encourage restoration work. "
-"Maybe in the case of the small percentage of work covered by copyright law "
-"that is still commercially valuable, but again this was irrelevant, as the "
-"proposal would not cut off the extended term unless the $1 fee was not paid. "
-"Fourth, the MPAA argued that the bill would impose \"enormous\" costs, since "
-"a registration system is not free. True enough, but those costs are "
-"certainly less than the costs of clearing the rights for a copyright whose "
-"owner is not known. Fifth, they worried about the risks if the copyright to "
-"a story underlying a film were to pass into the public domain. But what risk "
-"is that? If it is in the public domain, then the film is a valid derivative "
-"use."
-msgstr ""
-"mpaa hevdet først at Kongressen hadde \"fast avvist sentrale konseptet i "
-"lovforslaget\"—opphavsrett fornyes. Det var sant, men irrelevant, som "
-"congress's \"fast avvisning\" hadde skjedd lenge før Internett gjort "
-"etterfølgende bruker mye mer sannsynlig. for det andre, de hevdet at "
-"forslaget vil skade dårlig eiere av opphavsretter—tilsynelatende de "
-"som ikke hadde råd til $1 gebyret. tredje, de hevdet at Kongressen hadde "
-"bestemt at utvide en opphavsrett sikt vil oppfordre restaurering arbeid. "
-"kanskje når det gjelder en liten prosentdel av arbeid dekket av lov om "
-"opphavsrett som fortsatt er kommersielt verdifulle, men igjen dette var "
-"irrelevant, som forslaget ikke vil kuttet av på lengre sikt med mindre ikke "
-"ble betalt $1 gebyret. fjerde, mpaa hevdet at regningen ville innføre "
-"\"enorme\" kostnader, siden en registreringssystemet ikke er gratis. Sant "
-"nok, men disse kostnadene er sikkert mindre enn kostnadene ved å fjerne "
-"rettighetene for en copyright der eieren ikke er kjent. femte bekymret de om "
-"risikoene hvis opphavsretten til en historie underliggende en film var "
-"skjedde i public domain. men hva risikoen er at? Hvis det er allemannseie, "
-"deretter er filmen en gyldig avledet bruk."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"copyright owners who don't even know they have a copyright to give. Whether "
-"they are free to give away their copyright or not—a controversial "
-"claim in any case—unless they know about a copyright, they're not "
-"likely to."
-msgstr ""
-"Endelig, mpaa hevdet at eksisterende lov aktivert opphavsrett eiere til å "
-"gjøre dette hvis de ville. men hele poenget er at det er tusenvis av "
-"opphavsrett eiere som ikke selv vet de har opphavsretten til å gi. enten de "
-"er fri til å gi bort deres copyright eller ikke—kontroversielle krav i "
-"alle fall—hvis de ikke kjenner om opphavsretten, sannsynligvis de ikke."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"At the beginning of this book, I told two stories about the law reacting to "
-"changes in technology. In the one, common sense prevailed. In the other, "
-"common sense was delayed. The difference between the two stories was the "
-"power of the opposition—the power of the side that fought to defend "
-"the status quo. In both cases, a new technology threatened old interests. "
-"But in only one case did those interest's have the power to protect "
-"themselves against this new competitive threat."
-msgstr ""
-"i begynnelsen av denne boken fortalte jeg to historier om loven reagerer på "
-"endringer i teknologi. i den prevailed sunn fornuft. i den andre, ble sunn "
-"fornuft forsinket. forskjellen mellom to historiene var strømmen av "
-"opposisjonen—kraften til siden som kjempet for å forsvare status quo. "
-"i begge tilfeller truet en ny teknologi gamle interesser. men i bare ett "
-"tilfelle gjorde de interessen har makt til å beskytte seg mot denne nye "
-"konkurransedyktig trusselen."
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"here, too, we should ask, is the law following or resisting common sense? If "
-"common sense supports the law, what explains this common sense?"
-msgstr ""
-"Jeg brukte disse to tilfellene som en måte å ramme inn krigen som denne "
-"boken har handlet om. For her er det også en ny teknologi som tvinger loven "
-"til å reagere. Og her bør vi også spørre, er loven i tråd med eller i strid "
-"med sunn fornuft. Hvis sunn fornuft støtter loven, hva forklarer denne "
-"sunne fornuften?"
-
-#. PAGE BREAK 262
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"law should work to eliminate it. When the issue is p2p sharing, it is easy "
-"to understand why the law backs the owners still: Much of this sharing is "
-"wrong, even if much is harmless. When the issue is copyright terms for the "
-"Mickey Mouses of the world, it is 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."
-msgstr ""
-"Når problemet er piratkopiering, er det riktig for loven tilbake opphavsrett "
-"eierne. kommersielle piratkopiering som jeg beskrevet er galt og skadelig, "
-"og loven bør arbeide for å fjerne den. Når problemet er p2p deling, det er "
-"lett å forstå hvorfor loven backs eierne fortsatt: mye av denne deling er "
-"feil, selv om mye er harmløse. Når problemet er copyright vilkår for Mikke "
-"Mus av verden, er det mulig for fortsatt å forstå hvorfor loven favoriserer "
-"hollywood: de fleste folk ikke gjenkjenner årsakene til å begrense "
-"opphavsrett vilkår; Det er derfor fremdeles mulig å se god tro i motstanden."
-
-#. type: Content of: <book><part><chapter><para><indexterm><primary>
-msgid "Kelly, Kevin"
-msgstr "Kelly, Kevin"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"driving this war. This act would free an extraordinary range of content that "
-"is otherwise unused. It wouldn't interfere with any copyright owner's desire "
-"to exercise continued control over his content. It would simply liberate "
-"what Kevin Kelly calls the \"Dark Content\" that fills archives around the "
-"world. So when the warriors oppose a change like this, we should ask one "
-"simple question: <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"men når opphavsrett eierne motsette et forslag som eldred act, så, til "
-"slutt, er det et eksempel at legger bare naken selfinterest kjører denne "
-"krigen. Denne loven ville frigjøre en ekstraordinære rekke innhold som "
-"ellers er ubrukt. det ville ikke forstyrre noen opphavsrettsinnehaveren "
-"ønske om å utøve fortsatt kontroll over hans innhold. det vil bare frigjøre "
-"hva kevin kelly kall det \"mørke innholdet\" at fyll arkiver rundt om i "
-"verden. så når warriors motsette en endring som dette, bør vi ber ett enkelt "
-"spørsmål:"
-
-#. type: Content of: <book><part><chapter><para>
-msgid "What does this industry really want?"
-msgstr "Hva ønsker denne industrien egentlig?"
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an "
-"effort to assure that nothing more passes into the public domain. It is "
-"another step to assure that the public domain will never compete, that there "
-"will be no use of content that is not commercially controlled, and that "
-"there will be no commercial use of content that doesn't require "
-"<emphasis>their</emphasis> permission first."
-msgstr ""
-"med svært liten innsats, kunne warriors beskytte deres innhold. så innsatsen "
-"for å blokkere noe som eldred loven er ikke virkelig om å beskytte sitt "
-"innhold. innsatsen for å blokkere eldred loven er et forsøk på å sikre at "
-"ingenting mer passerer i public domain. Det er et skritt for å sikre at den "
-"offentlige sfæren vil aldri konkurrere, at det vil være ingen bruk av "
-"innhold som ikke er kommersielt kontrollert, og at det vil være ingen "
-"kommersiell bruk av innhold som ikke krever at deres tillatelse først."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"the protection of \"property\" but the rejection of a tradition. Their aim "
-"is not simply to protect what is theirs. <emphasis>Their aim is to assure "
-"that all there is is what is theirs</emphasis>."
-msgstr ""
-"motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. "
-"mektigste og sexy og godt elsket av lobbies virkelig har som målet ikke "
-"beskyttelse av \"property\" men avvisningen av en tradisjon. deres mål er "
-"ikke bare å beskytte hva er deres. deres mål er å sikre at alt er det er hva "
-"er deres."
-
-#. PAGE BREAK 263
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-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 "
-"tied to the Internet could somehow be quashed. Just as RCA 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."
-msgstr ""
-"Det er ikke vanskelig å forstå hvorfor warriors ta denne visningen. Det er "
-"ikke vanskelig å se hvorfor det ville ha nytte dem. Hvis kunne noe ødela "
-"konkurransen av den offentlige sfæren knyttet til Internett. akkurat som rca "
-"fryktet konkurransen av fm, frykter de konkurransen av et offentlig-domene "
-"som er koblet til et offentlig som nå har mulighet til å opprette med det og "
-"dele sin egen etablering."
-
-#. type: Content of: <book><part><chapter><para>
-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 "
-"demands that their remote and useless property rights be respected, so that "
-"these remote and forgotten copyright holders might block the progress of "
-"others."
-msgstr ""
-"Det som er vanskelig å forstå er hvorfor folket innehar 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 "
-"eierrettigheter blir respektert, slik at disse fjerne og glemte "
-"opphavsrettsinnehaverne kan blokkere fremgangen til andre."
-
-#. type: Content of: <book><part><chapter><para>
-#, mtrans, fuzzy
-msgid ""
-"All this seems to follow easily from this untroubled acceptance of the "
-"\"property\" in intellectual property. Common sense supports it, and so long "
-"as it does, the assaults will rain down upon the technologies of the "
-"Internet. The consequence will be an increasing \"permission society.\" 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."
-msgstr ""
-"alt dette synes å følge lett fra denne untroubled aksept av \"eiendom\" i "
-"immaterielle. sunn fornuft støtter det, og så lenge den gjør det, assaults "
-"blir regn på teknologien av Internett. konsekvensen vil være et økende "
-"\"tillatelse samfunn.\" fortiden kan dyrkes bare hvis du kan identifisere "
-"eieren og få tillatelse til å bygge på hans arbeid. fremtiden vil bli "
-"kontrollert av denne døde (og ofte unfindable) hånden av fortiden."
-
-#. type: Content of: <book><chapter><title>
-msgid "CONCLUSION"
-msgstr "Konklusjon"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"There are more 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 million Africans is proportional percentage-wise to "
-"seven million Americans. More importantly, it is seventeen million Africans."
-msgstr ""
-"Det er mer enn trettifem millioner mennesker over hele verden med AIDS-"
-"viruset. Tjuefem millioner av dem bor i Afrika sør for Sahara. Sytten "
-"millioner har allerede dødd. Sytten millioner afrikanere er prosentvis "
-"proporsjonalt med syv millioner amerikanere. Viktigere er det at dette er "
-"17 millioner afrikanere."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"had a dramatic effect. In the United States, AIDS patients who regularly "
-"take a cocktail of these drugs increase their life expectancy by ten to "
-"twenty years. For some, the drugs make the disease almost invisible."
-msgstr ""
-"Det finnes ingen kur for AIDS, men det finnes medisiner som kan hemme "
-"sykdommens utvikling. Disse antiretrovirale terapiene er fortsatt "
-"eksperimentelle, men de har hatt en dramatisk effekt allerede. I USA øker "
-"AIDS-pasienter som regelmessig tar en cocktail av disse medisinene sin "
-"levealder med ti til tjue år. For noen gjøre medisinene sykdommen nesten "
-"usynlig."
-
-#. f1.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Commission on Intellectual Property Rights, \"Final Report: Integrating "
-"Intellectual Property Rights and Development Policy\" (London, 2002), "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #55</ulink>. "
-"According to a World Health Organization press 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."
-msgstr ""
-"Commission on Intellectual Property Rights, \"Final Report: Integrating "
-"Intellectual Property Rights and Development Policy\" (London, 2002), "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #55</"
-"ulink>. I følge en pressemelding fra verdens helseorganisasjon sendt ut 9. "
-"juli 2002, mottar kun 320 000 av de 6 millioner som trenger medisiner i "
-"utviklingsland dem de trenger—og halvparten av dem er i Brasil."
-
-#. type: Content of: <book><chapter><para>
-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, "
-"some cost $25,000 per year. At these prices, of course, no 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.<placeholder type=\"footnote\" id="
-"\"0\"/>"
-msgstr ""
-"Disse medisinene er dyre. Da de ble først introdusert i USA, kostet de "
-"mellom $10 000 og $15 000 pr. person hvert år. I dag koster noen "
-"av dem $25 000 pr. år. Med disse prisene har, selvfølgelig, ingen "
-"afrikansk stat råd til medisinen for det store flertall av sine innbyggere: "
-"$15 000 er tredve ganger brutto nasjonalprodukt pr. innbygger i "
-"Zimbabwe. Med slike priser er disse medisinene fullstendig utilgjengelig."
-"<placeholder type=\"footnote\" id=\"0\"/>"
-
-#. PAGE BREAK 265
-#. type: Content of: <book><chapter><para>
-msgid ""
-"These prices are not high because the ingredients of the drugs are "
-"expensive. These prices are high because the drugs are protected by patents. "
-"The drug companies that produced these life-saving mixes enjoy at least a "
-"twenty-year monopoly for their inventions. They use that monopoly power to "
-"extract the most they can from the market. That power is in turn used to "
-"keep the prices high."
-msgstr ""
-"Disse prisene er ikke høye fordi ingrediensene til medisinene er dyre. "
-"Disse prisene er høye fordi medisinene er beskyttet av patenter. "
-"Farmasiselskapene som produserer disse livreddende blandingene nyter minst "
-"tjue års monopol på sine oppfinnelser. De bruker denne monopolmakten til å "
-"hente ut så mye de kan fra markedet. Ved hjelp av denne makten holder de "
-"prisene høye."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"patents, drug research is, in my view, the clearest case where patents are "
-"needed. The patent gives the drug company some assurance that if it is "
-"successful in inventing a new drug to treat a disease, it will be able to "
-"earn back its investment and more. This is socially an extremely valuable "
-"incentive. I am the last person who would argue that the law should abolish "
-"it, at least without other changes."
-msgstr ""
-"Det er mange som er skeptiske til patenter, spesielt patenter på medisiner. "
-"Det er ikke jeg. Faktisk av alle forskningsområder som kan være støttet av "
-"patenter, er forskning på medisiner, etter min mening, det klareste tilfelle "
-"der patenter er nødvendig. Patenter gir et farmasøytiske firma en viss "
-"forsikring om at hvis det lykkes i å finne opp et nytt medikament som kan "
-"behandle en sykdom, vil det kunne tjene tilbake investeringen og mer til. "
-"Dette ber sosialt et ekstremt verdifullt insentiv. Jeg er den siste personen "
-"som vil argumentere for at loven skal avskaffe dette, i det minste uten "
-"andre endringer."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"began to recognize the devastation that AIDS was bringing, they started "
-"looking for ways to import HIV treatments at costs significantly below the "
-"market price."
-msgstr ""
-"Men det er én ting å støtte patenter, selv patenter på medisiner. Det er en "
-"annen ting å avgjøre hvordan en best skal håndtere en krise. Og i det "
-"afrikanske ledere begynte å erkjenne ødeleggelsen AIDS brakte, begynte de å "
-"se etter måter å importere HIV-medisiner til kostnader betydelig under "
-"markedspris."
-
-#. type: Content of: <book><chapter><indexterm><primary>
-msgid "Braithwaite, John"
-msgstr "Braithwaite, John"
-
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: "
-"Who Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), "
-"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm"
-"\" id=\"1\"/>"
-msgstr ""
-"Se Peter Drahos og John Braithwaite, Information Feudalism: <citetitle>Who "
-"Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), "
-"37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm"
-"\" id=\"1\"/>"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"nation's market with the consent of the patent owner. For example, if the "
-"drug was sold in India, it could be imported into Africa from India. This is "
-"called \"parallel importation,\" and it is generally permitted under "
-"international trade law and is specifically permitted within the European "
-"Union.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-"I 1997 forsøkte Sør-Afrika seg på en tilnærming. Landet vedtok en lov som "
-"tillot import av patenterte medisiner som hadde blitt produsert og solgt i "
-"en annen nasjons marked med godkjenning fra patenteieren. For eksempel, "
-"hvis medisinen var solgt i India, så kunne den bli importert inn til Afrika "
-"fra India. Dette kalles \"parallellimport\" og er generelt tillatt i "
-"internasjonal handelslovgivning, og spesifikt tillatt i den europeiske union."
-"<placeholder type=\"footnote\" id=\"0\"/>"
-
-#. f3.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"International Intellectual Property Institute (IIPI), <citetitle>Patent "
-"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
-"Report Prepared for the World Intellectual Property Organization</citetitle> "
-"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture."
-"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over "
-"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug "
-"Policy, and Human Resources, House Committee on Government Reform, H. Rep., "
-"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James "
-"Love)."
-msgstr ""
-
-#. f4.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"International Intellectual Property Institute (IIPI), <citetitle>Patent "
-"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a "
-"Report Prepared for the World Intellectual Property Organization</citetitle> "
-"(Washington, D.C., 2000), 15."
-msgstr ""
-"International Intellectual Property Institute (IIPI), <citetitle>Patent "
-"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en "
-"rapport forberedt for the World Intellectual Property Organization</"
-"citetitle> (Washington, D.C., 2000), 15."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"However, the United States government opposed the bill. Indeed, more than "
-"opposed. As the International Intellectual Property Association "
-"characterized it, \"The U.S. government pressured South Africa … not "
-"to permit compulsory licensing or parallel imports.\"<placeholder type="
-"\"footnote\" id=\"0\"/> 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 possible trade sanctions. That same year, more than forty "
-"pharmaceutical companies began proceedings in the South African courts to "
-"challenge the government's actions. The United States was then joined by "
-"other governments from the EU. Their claim, and the claim of the "
-"pharmaceutical companies, was that South Africa was violating its "
-"obligations under international law by discriminating against a particular "
-"kind of 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.<placeholder type="
-"\"footnote\" id=\"1\"/>"
-msgstr ""
-"Men USA var imot lovendringen. Og de nøyde seg ikke med å være imot. Som "
-"International Intellectual Property Association karakteriserte det, "
-"\"Myndighetene i USA presset Sør-Afrika … til å ikke tillate tvungen "
-"lisensiering eller parallellimport\"<placeholder type=\"footnote\" id=\"0\"/"
-"> Gjennom kontoret til USAs handelsrepresentant (USTR), ba myndighetene Sør-"
-"Afrika om å endre loven—og for å legge press bak den forespørselen, "
-"listet USTR i 1998 opp Sør-Afrika som et land som burde vurderes for "
-"handelsrestriksjoner. Samme år gikk mer enn førti farmasiselskaper til "
-"retten for å utfordre myndighetenes handlinger. USA fikk selskap av andre "
-"myndigheter fra EU. Deres påstand, og påstanden til farmasiselskapene, var "
-"at Sør-Afrika brøt sine internasjonale forpliktelser ved å diskriminere mot "
-"en bestemt type patenter—farmasøytiske 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.<placeholder type=\"footnote\" "
-"id=\"1\"/>"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"drugs. Poverty and the total absence of an effective health care "
-"infrastructure matter more. But whether patents are the most important "
-"reason or not, the price of drugs has an effect on their demand, and patents "
-"affect price. And so, whether massive or marginal, there was an effect from "
-"our government's intervention to stop the flow of medications into Africa."
-msgstr ""
-"Vi bør sette intervensjonen til USA i sammenheng. Det er ingen tvil om at "
-"patenter ikke er den viktigste årsaken til at Afrikanere ikke har tilgang "
-"til medisiner. Fattigdom og den totale mangel på effektivt helsevesen betyr "
-"mer. Men uansett om patenter er en viktigste grunnen eller ikke, så har "
-"prisen på medisiner en effekt på etterspørselen, og patenter påvirker "
-"prisen. Så uansett, massiv eller marginal, så var det en effekt av våre "
-"myndigheters intervensjon for å stoppe flyten av medisiner inn til Afrika."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"like wheat (if they eat it, we can't); instead, the flow that the United "
-"States intervened to stop was, in effect, a flow of knowledge: information "
-"about how to take chemicals that exist within Africa, and turn those "
-"chemicals into drugs that would save 15 to 30 million lives."
-msgstr ""
-"Ved å stoppe flyten av HIV-behandling til Afrika, sikret ikke myndighetene i "
-"USA medisiner til USA borgere. Dette er ikke som hvete (hvis de spise det så "
-"kan ikke vi spise det). Det som USA i effekt intervenerte for å stoppe, var "
-"flyten av kunnskap: Informasjon om hvordan en kan ta kjemikalier som finnes "
-"i Afrika og gjøre disse kjemikaliene om til medisiner som kan redde 15 til "
-"30 millioner liv."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"not as if these countries were in the position to buy the drugs for the "
-"prices the drug companies were charging. Again, the Africans are wildly too "
-"poor to afford these drugs at the offered prices. Stopping the parallel "
-"import of these drugs would not substantially increase the sales by U.S. "
-"companies."
-msgstr ""
-"Intervensjonen fra USA ville heller ikke beskytte fortjenesten til "
-"medisinselskapene i USA— i hvert fall ikke betydelig. Det var jo ikke "
-"slik at disse landene hadde mulighet til å kjøpe medisinene til de prisene "
-"som medisinselskapene forlangte. Igjen var afrikanerne for fattige til å ha "
-"råd til disse medisinene til de tilbudte prisene. Å blokkere for "
-"parallellimport av disse medisinene ville ikke øke salget til de amerikanske "
-"selskapene betydelig."
-
-#. f5.
-#. PAGE BREAK 333
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at "
-"Odds with Firms' Profit Motive,\" <citetitle>San Francisco Chronicle</"
-"citetitle>, 24 May 1999, A1, available at <ulink url=\"http://free-culture."
-"cc/notes/\">link #57</ulink> (\"compulsory licenses and gray markets pose a "
-"threat to the entire system of intellectual property protection\"); Robert "
-"Weissman, \"AIDS and Developing Countries: Democratizing Access to Essential "
-"Medicines,\" <citetitle>Foreign Policy in Focus</citetitle> 4:23 (August "
-"1999), available at <ulink url=\"http://free-culture.cc/notes/\">link #58</"
-"ulink> (describing U.S. policy); John A. Harrelson, \"TRIPS, Pharmaceutical "
-"Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between "
-"Intellectual Property Rights and Compassion, a Synopsis,\" "
-"<citetitle>Widener Law Symposium Journal</citetitle> (Spring 2001): 175."
-msgstr ""
-
-#. type: Content of: <book><chapter><para>
-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 "
-"sanctity of property.<placeholder type=\"footnote\" id=\"0\"/> It was "
-"because \"intellectual property\" would be violated that these drugs should "
-"not flow into Africa. It was a principle about the importance of "
-"\"intellectual property\" that led these government actors to intervene "
-"against the South African response to AIDS."
-msgstr ""
-"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.<placeholder type=\"footnote\" id=\"0\"/> Det var på "
-"grunn av at \"intellektuell eiendom\" ville bli krenket at disse medisinene "
-"ikke skulle flomme inn til Afrika. Det var prinsippet om viktigheten av "
-"\"intellektuell eiendom\" som fikk disse myndighetsaktørene til å "
-"intervenere mot Sør-Afrikas mottiltak mot AIDS."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"happen? How could we allow a policy to be pursued whose direct cost would be "
-"to speed the death of 15 to 30 million Africans, and whose only real benefit "
-"would be to uphold the \"sanctity\" of an idea? What possible justification "
-"could there ever be for a policy that results in so many deaths? What "
-"exactly is the insanity that would allow so many to die for such an "
-"abstraction?"
-msgstr ""
-"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 få 15 "
-"til 30 millioner afrikanere til å dø raskere, og hvis eneste virkelige "
-"fordel var å opprettholde \"ukrenkeligheten\" til en idé? Hva slags "
-"berettigelse kan noen sinne eksistere for en politikk som resulterer i så "
-"mange døde? Hva slags galskap er det egentlig som tillater at så mange dør "
-"for slik en abstraksjon?"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"certain patent policy not because of ideals, but because it is the policy "
-"that makes them the most money. And it only makes them the most money "
-"because of a certain corruption within our political system— a "
-"corruption the drug companies are certainly not responsible for."
-msgstr ""
-"Noen skylder på farmasiselskapene. Det gjør ikke jeg. De er selskaper, og "
-"deres ledere er lovpålagt å tjene penger for selskapene. De presser på for "
-"en bestemt patentpolitikk, ikke på grunn av idealer, men fordi det er dette "
-"som gjør at de tjener mest penger. Og dette gjør kun at de tjener mest "
-"penger på grunn av en slags korrupsjon i vårt politiske system— en "
-"korrupsjon som farmasiselskapene helt klart ikke er ansvarlige for."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"drugs as cheaply as they can to countries in Africa and elsewhere. There "
-"are issues they'd have to resolve to make sure the drugs didn't get back "
-"into the United States, but those are mere problems of technology. They "
-"could be overcome."
-msgstr ""
-"Denne korrupsjonen er våre egne politikeres manglende integritet. For "
-"medisinprodusentene ville elske—sier de selv, og jeg tror dem — "
-"å selge sine medisiner så billig som de kan til land i Afrika og andre "
-"steder. Det er utfordringer de må løse å sikre at medisinene ikke kommer "
-"tilbake til USA, men dette er bare teknologiske utfordring. De kan bli "
-"overvunnet."
-
-#. PAGE BREAK 268
-#. type: Content of: <book><chapter><para>
-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 "
-"before a Senate or House hearing, and ask, \"How is it you can sell this HIV "
-"drug in Africa for only $1 a pill, but the same drug would cost an American "
-"$1,500?\" Because there is no \"sound bite\" answer to that question, its "
-"effect would be to induce regulation of prices in America. The drug "
-"companies thus avoid this spiral by avoiding the first step. They reinforce "
-"the idea that property should be sacred. They adopt a rational strategy in "
-"an irrational context, with the unintended consequence that perhaps millions "
-"die. And that rational strategy thus becomes framed in terms of this "
-"ideal—the sanctity of an idea called \"intellectual property.\""
-msgstr ""
-"Et annet problem kan derimot ikke løses. Det er frykten for at en politiker "
-"som skal vise seg og kaller inn lederne hos medisinprodusentene til høring i "
-"senatet eller representantenes hus og spør, \"hvordan har det seg at du kan "
-"selge HIV-medisinen i Afrika for bare $1 pr. pille, mens samme pille koster "
-"en amerikansker $1 500?\" Da det ikke finnes et \"kjapt svar\" på det "
-"spørsmålet, ville effekten bli regulering av priser i Amerika. "
-"Medisinprodusentene unngår dermed denne spiralen ved å sikre at det første "
-"steget ikke tas. De forsterker idéen om at eierrettigheter skal være "
-"ukrenkelige. De legger seg på en rasjonell strategi i en irrasjonell "
-"omgivelse, med den utilsiktede konsekvens at kanskje millioner dør. Og den "
-"rasjonelle strategien rammes dermed inn ved hjel av dette ideal—"
-"helligheten til en idé som kalles \"immaterielle rettigheter\"."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"done, how will we justify what we have done? What is the argument?"
-msgstr ""
-"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?"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"A sensible patent policy could endorse and strongly support the patent "
-"system without having to reach everyone everywhere in exactly the same way. "
-"Just as a sensible copyright policy could endorse and strongly support a "
-"copyright system without having to regulate the spread of culture perfectly "
-"and forever, a sensible patent policy could endorse and strongly support a "
-"patent system without having to block the spread of drugs to a country not "
-"rich enough to afford market prices 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."
-msgstr ""
-"En fornuftig patentpolitikk kunne gå god for og gi sterk støtte til "
-"patentsystemet uten å måtte nå alle overalt på nøyaktig samme måte. På samme "
-"måte som en fornuftig opphavsrettspolitikk kunne gå god for og gi sterk "
-"støtte til et opphavsretts-system uten å måtte regulere spredningen av "
-"kultur perfekt og for alltid. En fornuftig patentpolitikk kunne gå god for "
-"og gi sterk støtte til et patentsystem uten å måtte blokkere spredning av "
-"medisiner til et land som uansett ikke er rikt nok til å ha råd til "
-"markedsprisen. En fornuftig politikk kan en dermed si kunne være en "
-"balansert politikk. For det meste av vår historie har både opphavsrett- og "
-"patentpolitikken i denne forstand vært balansert."
-
-#. PAGE BREAK 269
-#. type: Content of: <book><chapter><para>
-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. "
-"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. A simple idea 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 ideas "
-"that we don't even notice how monstrous it is to deny ideas to a people who "
-"are dying without them. So uncritically do we accept the idea of property in "
-"culture that we don't even question when the control of that property "
-"removes our ability, as a people, to develop our culture democratically. "
-"Blindness becomes our common sense. And the challenge for anyone who would "
-"reclaim the right to cultivate our culture is to find a way to make this "
-"common sense open its eyes."
-msgstr ""
-"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. En enkel idé blender oss, og "
-"under dekke av mørket skjer mye som de fleste av oss ville avvist hvis vi "
-"hadde fulgt med. Så ukritisk aksepterer vi idéen om eierskap til idéer at "
-"vi ikke engang legger merke til hvor uhyrlig det er å nekte tilgang til "
-"idéer for et folk som dør uten dem. Så ukritisk aksepterer vi idéen om "
-"eiendom til kulturen at vi ikke engang stiller spørsmål ved når kontrollen "
-"over denne eiendommen fjerner vår evne, som folk, til å utvikle vår kultur "
-"demokratisk. Blindhet blir vår sunne fornuft, og utfordringen for enhver "
-"som vil gjenvinne retten til å dyrke vår kultur er å finne en måte å få "
-"denne sunne fornuften til å åpne sine øyne."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"this debate fits with ideas that seem natural, and that fit is reinforced by "
-"the RCAs of our day. They wage a frantic war to fight \"piracy,\" and "
-"devastate a culture for creativity. They defend the idea of \"creative "
-"property,\" while transforming real creators into modern-day sharecroppers. "
-"They are insulted by the idea that rights should be balanced, even though "
-"each of the major players in this content war was itself a beneficiary of a "
-"more balanced ideal. The hypocrisy reeks. Yet in a city like Washington, "
-"hypocrisy is not even noticed. Powerful lobbies, complex issues, and MTV "
-"attention spans produce the \"perfect storm\" for free culture."
-msgstr ""
-"Så langt sover sunn fornuft. Det er intet opprør. Sunn fornuft ser ennå "
-"ikke hva det er å gjøre opprør mot. Ekstremismen som nå dominerer denne "
-"debatten resonerer med idéer som virker naturlige, og resonansen er "
-"forsterket av våre moderne RCA-ene. De fører en frenetisk krig for å "
-"bekjempe \"piratvirksomhet\" og knuser kreativitetskultur. De forsvarer "
-"idéen om \"kreativt eierskap\", mens de endrer ekte skapere til moderne "
-"leilendinger. De blir fornærmet av idéen om at rettigheter skulle være "
-"balanserte, selv om hver av hovedaktørene i denne innholdskrigen selv hadde "
-"fordeler av et mer balansert ideal. Hykleriet rår. Men i en by som "
-"Washington blir ikke hykleriet en gang lagt merke til. Mektige lobbyister, "
-"kompliserte problemer og MTV-oppmerksomhetsspenn gir en \"perfekt storm\" "
-"for fri kultur."
-
-#. f6.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington "
-"Post</citetitle>, August 2003, E1, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #59</ulink>; William New, \"Global Group's Shift on "
-"`Open Source' Meeting Spurs Stir,\" <citetitle>National Journal's Technology "
-"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #60</ulink>; William New, \"U.S. Official Opposes "
-"`Open Source' Talks at WIPO,\" <citetitle>National Journal's Technology "
-"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #61</ulink>."
-msgstr ""
-"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington "
-"Post</citetitle>, august 2003, E1, tilgjengelig fra <ulink url=\"http://free-"
-"culture.cc/notes/\">link #59</ulink>; William New, \"Global Group's Shift on "
-"`Open Source' Meeting Spurs Stir,\" <citetitle>National Journal's Technology "
-"Daily</citetitle>, 19. august 2003, tilgjengelig fra <ulink url=\"http://"
-"free-culture.cc/notes/\">link #60</ulink>; William New, \"U.S. Official "
-"Opposes `Open Source' Talks at WIPO,\" <citetitle>National Journal's "
-"Technology Daily</citetitle>, 19. august 2003, tilgjengelig fra <ulink url="
-"\"http://free-culture.cc/notes/\">link #61</ulink>."
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "academic journals"
-msgstr "akademiske tidsskrifter"
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "IBM"
-msgstr "IBM"
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "PLoS (Public Library of Science)"
-msgstr ""
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"In August 2003, a fight broke out in the United States about a decision by "
-"the World Intellectual Property Organization to cancel a meeting."
-"<placeholder type=\"footnote\" id=\"0\"/> At the request of a wide range of "
-"interests, WIPO had decided to hold a meeting to discuss \"open and "
-"collaborative projects to create public goods.\" These are projects that "
-"have been successful in producing public goods without relying exclusively "
-"upon a proprietary use of intellectual property. Examples include the "
-"Internet and the World Wide Web, both of which were developed on the basis "
-"of protocols in the public domain. It included an emerging trend to support "
-"open academic journals, including the Public Library of Science project that "
-"I describe in the Afterword. It included a project to develop single "
-"nucleotide polymorphisms (SNPs), which are thought to have great "
-"significance in biomedical research. (That nonprofit project comprised a "
-"consortium of the Wellcome Trust and pharmaceutical and technological "
-"companies, including Amersham Biosciences, AstraZeneca, Aventis, Bayer, "
-"Bristol-Myers Squibb, Hoffmann-La Roche, 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 \"open "
-"source and free software.\" <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
-"id=\"3\"/>"
-msgstr ""
-"I august 2003 brøt en kamp ut i USA om en avgjørelse fra World Intellectual "
-"Property Organiation om å avlyse et møte.<placeholder type=\"footnote\" id="
-"\"0\"/> På forespørsel fra en lang rekke med interressenter hadde WIPO "
-"bestemt å avholde et møte for å diskutere \"åpne og samarbeidende prosjekter "
-"for å skape goder for felleskapet\". Disse prosjektene som hadde lyktes i å "
-"produsere goder for fellesskapet uten å basere seg eksklusivt på bruken av "
-"proprietære immaterielle rettigheter. Eksempler inkluderer internettet og "
-"verdensveven, begge som ble 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 etterordet. Det inkluderte et prosjekt for a utvikle "
-"enkeltnukleotidforskjeller (SNPs), som er antatt å få stor betydning i "
-"biomedisinsk forskning. (Dette ideelle prosjektet besto av et konsortium av "
-"Wellcome Trust og farmasøytiske og teknologiske selskaper, inkludert "
-"Amersham Biosciences, AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, "
-"Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, og "
-"Searle.) Det inkluderte Globalt posisjonssystem (GPS) som Ronald Reagen "
-"frigjorde tidlig på 1980-tallet. Og det inkluderte \"åpen kildekode og fri "
-"programvare\". <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
-"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"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."
-msgstr ""
-"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 "
-"balansert med avtaler om å holde tilgang åpen, eller for å legge "
-"begrensninger på hvordan proprietære krav kan bli brukt."
-
-#. f7.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"I should disclose that I was one of the people who asked WIPO for the "
-"meeting."
-msgstr "Jeg bør nevne at jeg var en av folkene som ba WIPO om dette møtet."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"From the perspective of this book, then, the conference was ideal."
-"<placeholder type=\"footnote\" id=\"0\"/> 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 WIPO is the preeminent international body dealing with "
-"intellectual property issues."
-msgstr ""
-"Dermed var, fra perspektivet i denne boken, denne konferansen ideell."
-"<placeholder type=\"footnote\" id=\"0\"/> Prosjektene innenfor temaet var "
-"både kommersielle og ikkekommersielle verker. 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 "
-"drev med immaterielle rettighetsspørsmål."
-
-#. PAGE BREAK 271
-#. type: Content of: <book><chapter><para>
-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 "
-"conference for the World Summit on the Information Society (WSIS). At a "
-"press conference before the address, I was asked what I would say. I "
-"responded that I would be talking a little about the importance of balance "
-"in intellectual property for the development of an information society. The "
-"moderator for the event then promptly interrupted to inform me and the "
-"assembled reporters that no question about intellectual property would be "
-"discussed by WSIS, since those questions were the exclusive domain of WIPO. "
-"In the talk that I had prepared, I had actually made the issue of "
-"intellectual property relatively minor. But after this astonishing "
-"statement, I made intellectual property the sole focus of my talk. There was "
-"no way to talk about an \"Information Society\" unless one also talked about "
-"the range of information and culture that would be free. My talk did not "
-"make my immoderate moderator very happy. And she was no doubt correct that "
-"the scope of intellectual property protections was ordinarily the stuff of "
-"WIPO. But in my view, there couldn't be too much of a conversation about how "
-"much intellectual property is needed, since in my view, the very idea of "
-"balance in intellectual property had been lost."
-msgstr ""
-"Faktisk fikk jeg en gang offentlig kjeft for å ikke anerkjenne dette faktum "
-"om WIPO. I februar 2003 leverte jeg et hovedinnlegg på en forberedende "
-"konferanse for World Summit on the Information Society (WSIS). På en "
-"pressekonferanse før innlegget, ble jeg spurt hva jeg skulle snakke om. Jeg "
-"svarte at jeg skulle snakke litt om viktigheten av balanse rundt "
-"immaterielle verdier for utviklingen av informasjonssamfunnet. Ordstyreren "
-"på arrangementet avbrøt meg da brått for å informere meg og journalistene "
-"tilstede at ingen spørsmål rundt immaterielle verdier ville bli diskutert av "
-"WSIS, da slike spørsmål kun skulle diskuteres i WIPO. I innlegget jeg hadde "
-"forberedt var temaet om immaterielle verdier en forholdvis liten del av det "
-"hele. Men etter denne forbløffende uttalelsen, gjorde jeg immaterielle "
-"verdier til hovedfokus for mitt innlegg. Det var ikke mulig å snakke om et "
-"\"informasjonssamfunn\" uten at en også snakket om andelen av informasjon og "
-"kultur som ikke er vernet av opphavsretten. Mitt innlegg gjorde ikke min "
-"overivrige moderator veldig glad. Og hun hadde uten tvil rett i at omfanget "
-"til vern av immaterielle rettigheter normalt hørte inn under WIPO. Men "
-"etter mitt syn, kunne det ikke bli for mye diskusjon om hvor mye "
-"immaterielle rettigheter som trengs, siden etter mitt syn, hadde selve idéen "
-"om en balanse rundt immaterielle rettigheter hadde gått tapt."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"meeting about \"open and collaborative projects to create public goods\" "
-"seemed perfectly appropriate within the WIPO agenda."
-msgstr ""
-"Så uansett om WSIS kan diskutere balanse i intellektuell eiendom eller ikke, "
-"så hadde jeg trodd det var tatt for gitt at WIPO kunne og burde. Og dermed "
-"møtet om \"åpne og samarbeidende prosjekter for å skape fellesgoder\" virker "
-"å passe perfekt for WIPOs agenda."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"But there is one project within that list that is highly controversial, at "
-"least among lobbyists. That project is \"open source and free software.\" "
-"Microsoft in particular is wary of discussion of the subject. From its "
-"perspective, a conference to discuss open source and free software would be "
-"like a conference to discuss Apple's operating system. Both open source and "
-"free software compete with Microsoft's software. And internationally, many "
-"governments have begun to explore requirements that they use open source or "
-"free software, rather than \"proprietary software,\" for their own internal "
-"uses."
-msgstr ""
-"Men det er ett prosjekt i listen som er svært kontroversielt, i hvert fall "
-"blant lobbyister. Dette prosjektet er \"åpen kildekode og fri programvare\". "
-"Microsoft spesielt er skeptisk til diskusjon om emnet. Fra deres perspektiv, "
-"ville en konferanse for å diskutere åpen kildekode og fri programvare være "
-"som en konferanse for å diskutere Apples operativsystem. Både åpen "
-"kildekode og fri programvare konkurrerer med Microsofts programvare. Og "
-"internasjonalt har mange myndigheter begynt å utforske krav om at de skal "
-"bruke åpen kildekode eller fri programvare, i stedet for \"proprietær "
-"programvare,\" til sine egne interne behov."
-
-#. f8.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Microsoft's position about free and open source software is more "
-"sophisticated. As it has repeatedly asserted, it has no problem with \"open "
-"source\" software or software in the public domain. Microsoft's principal "
-"opposition is to \"free software\" licensed under a \"copyleft\" license, "
-"meaning a license that requires the licensee to adopt the same terms on any "
-"derivative work. See Bradford L. Smith, \"The Future of Software: Enabling "
-"the Marketplace to Decide,\" <citetitle>Government Policy Toward Open Source "
-"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for "
-"Regulatory Studies, American Enterprise Institute for Public Policy "
-"Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice president, "
-"<citetitle>The Commercial Software Model</citetitle>, discussion at New York "
-"University Stern School of Business (3 May 2001), available at <ulink url="
-"\"http://free-culture.cc/notes/\">link #63</ulink>."
-msgstr ""
-"Microsofts posisjon om åpen kildekode og fri programvare er mer "
-"sofistikert. De har flere ganger forklart at de har ikke noe problem med "
-"programvare som er \"åpen kildekode\" eller programvare som er "
-"allemannseie. Microsofts prinsipielle motstand er mot \"fri programvare\" "
-"lisensiert med en \"copyleft\"-lisens, som betyr at lisensen krever at de "
-"som lisensierer skal adoptere same vilkår for ethvert avledet verk. Se "
-"Bradford L. Smith, \"The Future of Software: Enabling the Marketplace to "
-"Decide,\" <citetitle>Government Policy Toward Open Source Software</"
-"citetitle> (Washington, D.C.: AEI-Brookings Joint Center for Regulatory "
-"Studies, American Enterprise Institute for Public Policy Research, 2002), "
-"69, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #62</"
-"ulink>. Se også Craig Mundie, Microsoft senior vice president, "
-"<citetitle>The Commercial Software Model</citetitle>, diskusjon ved New York "
-"University Stern School of Business (3. mai 2001), tilgjengelig fra <ulink "
-"url=\"http://free-culture.cc/notes/\">link #63</ulink>."
-
-#. type: Content of: <book><chapter><para><indexterm><primary>
-msgid "\"copyleft\" licenses"
-msgstr ""
-
-#. type: Content of: <book><chapter><para>
-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 software. "
-"There are many important companies that depend fundamentally upon open "
-"source and free software, IBM being the most prominent. IBM is increasingly "
-"shifting its focus to the GNU/Linux operating system, the most famous bit of "
-"\"free software\"—and IBM is emphatically a commercial entity. Thus, "
-"to support \"open source and free software\" is not to oppose commercial "
-"entities. It is, instead, to support a mode of software development that is "
-"different from Microsoft's.<placeholder type=\"footnote\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" "
-"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder type="
-"\"indexterm\" id=\"4\"/>"
-msgstr ""
-"Jeg mener ikke å gå inn i den debatten her. Det er viktig kun for å gjøre "
-"det klart at skillet ikke er mellom kommersiell og ikke-kommersiell "
-"programvare. Det er mange viktige selskaper som er fundamentalt avhengig av "
-"fri programvare, der IBM er den mest fremtredende. IBM har i stadig større "
-"grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest berømte "
-"biten av \"fri programvare\"—og IBM er helt klart en kommersiell "
-"aktør. Dermed er det å støtte \"fri programvare\" ikke å motsette seg "
-"kommersielle aktører. Det er i stedet å støtte en måte å drive "
-"programvareutvikling som er forskjellig fra Microsofts.<placeholder type="
-"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
-"id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/>"
-
-#. PAGE BREAK 272
-#. type: Content of: <book><chapter><para>
-msgid ""
-"More important for our purposes, to support \"open source and free software"
-"\" is not to oppose copyright. \"Open source and free software\" is not "
-"software in the public domain. Instead, like Microsoft's software, the "
-"copyright owners of free and open source software insist quite strongly that "
-"the terms of their software license be respected by adopters of free and "
-"open source software. The terms of that license are no doubt different from "
-"the terms of a proprietary software license. Free software licensed under "
-"the General Public License (GPL), for example, requires that the source code "
-"for the software be made available by anyone who modifies and redistributes "
-"the software. But that requirement is effective only if copyright governs "
-"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."
-msgstr ""
-"Mer viktig for våre formål, er at å støtte \"åpen kildekode og fri "
-"programvare\" ikke er å motsette seg opphavsrett. \"Åpen kildekode og fri "
-"programvare\" er ikke programvare uten opphavsrettslig vern. Istedet, på "
-"samme måte som programvare fra Microsoft, insisterer opphavsrettsinnehaverne "
-"av fri programvare ganske sterkt at vilkårene i deres programvarelisens blir "
-"respektert av de som tar i bruk fri programvare. Vilkårene i den lisensen "
-"er uten tvil forskjellig fra vilkårene i en proprietær programvarelisens. "
-"For eksempel krever fri programvare lisensiert med den generelle offentlige "
-"lisensen (GPL), at kildekoden for programvare gjøres tilgjengelig for alle "
-"som endrer og videredistribuerer programvaren. Men dette kravet er kun "
-"effektivt hvis opphavsrett råder over 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 "
-"opphavsrettsloven som Microsoft."
-
-#. f9.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Krim, \"The Quiet War over Open-Source,\" available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #64</ulink>."
-msgstr ""
-"Krim, \"The Quiet War over Open-Source,\" tilgjengelig fra <ulink url="
-"\"http://free-culture.cc/notes/\">link #64</ulink>."
-
-#. type: Content of: <book><chapter><para><indexterm><primary>
-msgid "Krim, Jonathan"
-msgstr "Krim, Jonathan"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"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 <citetitle>Washington Post</citetitle>, Microsoft's "
-"lobbyists succeeded in getting the United States government to veto the "
-"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, "
-"the meeting was canceled. <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"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 <citetitle>Washington Post</citetitle>, lyktes "
-"Microsofts lobbyister i å få USAs myndigheter til å legge ned veto mot et "
-"slikt møte.<placeholder type=\"footnote\" id=\"0\"/> Og uten støtte fra USA "
-"ble møtet avlyst. <placeholder type=\"indexterm\" id=\"1\"/>"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"the law. There was nothing surprising about its lobbying here, and nothing "
-"terribly surprising about the most powerful software producer in the United "
-"States having succeeded in its lobbying efforts."
-msgstr ""
-"Jeg klandrer ikke Microsoft for å gjøre det de kan for å fremme sine egne "
-"interesser i samsvar med loven. Og lobbyvirksomhet mot myndighetene er "
-"åpenbart i samsvar med loven. Det er ikke noe overraskende her med deres "
-"lobbyvirksomhet, og ikke veldig overraskende at den mektigste "
-"programvareprodusenten i USA har lyktes med sin lobbyvirksomhet."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"international relations for the U.S. Patent and Trademark Office, explained "
-"that \"open-source software runs counter to the mission of WIPO, which is to "
-"promote intellectual-property rights.\" She is quoted as saying, \"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.\""
-msgstr ""
-"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 "
-"\"programvare med åpen kildekode går imot til formålet til WIPO, som er å "
-"fremme immaterielle rettigheter.\". Hun skal i følge sitatet ha sagt, \"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.\""
-
-#. type: Content of: <book><chapter><para>
-msgid "These statements are astonishing on a number of levels."
-msgstr "Disse utsagnene er forbløffende på flere nivåer."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"First, they are just flat wrong. As I described, most open source and free "
-"software relies fundamentally upon the intellectual property right called "
-"\"copyright\". Without it, restrictions imposed by those licenses wouldn't "
-"work. Thus, to say it \"runs counter\" to the mission of promoting "
-"intellectual property rights reveals an extraordinary gap 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."
-msgstr ""
-"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 \"opphavsrett\". Uten den vil begrensningene "
-"definert av disse lisensene ikke fungere. Dermed er det å si at de \"går imot"
-"\" formålet om å fremme immaterielle rettigheter 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."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"Second, who ever said that WIPO's exclusive aim was to \"promote\" "
-"intellectual property maximally? As I had been scolded at the preparatory "
-"conference of WSIS, WIPO is to consider not only how best to protect "
-"intellectual property, but also what the best balance of intellectual "
-"property is. As every economist and lawyer knows, the hard question in "
-"intellectual property law is to find that balance. But that there should be "
-"limits is, I had thought, uncontested. One wants to ask Ms. Boland, are "
-"generic drugs (drugs 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?"
-msgstr ""
-"For det andre, hvem har noen gang hevdet at WIPOs eksklusive mål var å "
-"\"fremme\" immaterielle rettigheter maksimalt? Som jeg fikk kjeft om på den "
-"forberedende konferansen til WSIS, skal WIPO vurdere ikke bare hvordan best "
-"beskytte immaterielle rettigheter, men også hva som er den beste balansen "
-"rundt immaterielle rettigheter. Som enhver økonom og advokat vet, er det "
-"vanskelige spørsmålet i immaterielle rettighetsjuss å finne den balansen. "
-"Men at det skulle være en grense, trodde jeg, var ubestridt. Man ønsker å "
-"spørre Ms. Boland om generelle medisiner (medisiner basert på medisiner med "
-"patenter som er utløpt) i strid med WIPOs oppdrag? Svekker allemannseie "
-"immaterielle rettigheter? Ville det vært bedre om internettets protokoller "
-"hadde vært patentert?"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"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 what to do with "
-"those rights because, again, they are <emphasis>their</emphasis> rights. If "
-"they want to \"waive\" or \"disclaim\" their rights, that is, within our "
-"tradition, totally appropriate. When Bill Gates gives away more than $20 "
-"billion to do good in the world, that is not inconsistent with the "
-"objectives of the property system. That is, on the contrary, just what a "
-"property system is supposed to be about: giving individuals the right to "
-"decide what to do with <emphasis>their</emphasis> property. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"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 "
-"med disse rettighetene, igjen fordi det er <emphasis>de</emphasis> som eier "
-"rettighetene. Hvis de ønsker å \"frafalle\" eller \"frasi\" seg sine "
-"rettigheter, så er det helt etter boka i vår tradisjon. Når Bill Gates gir "
-"bort mer enn $20 milliarder til gode formål, så er ikke det uforenelig med "
-"målene til eiendomssystemet. Det er heller tvert i mot, akkurat hva "
-"eiendomssysstemet er ment å oppnå, at individer har retten til å bestemme "
-"hva de vil gjøre med <emphasis>sin</emphasis> eiendom. <placeholder type="
-"\"indexterm\" id=\"0\"/>"
-
-#. PAGE BREAK 274
-#. type: Content of: <book><chapter><para>
-msgid ""
-"When Ms. Boland says that there is something wrong with a meeting \"which "
-"has as its purpose to disclaim or waive such rights,\" she's saying that "
-"WIPO has an interest in interfering with the choices of the individuals who "
-"own intellectual property rights. That somehow, WIPO's objective should be "
-"to stop an individual from \"waiving\" or \"disclaiming\" an intellectual "
-"property right. That the interest of WIPO is not just that intellectual "
-"property rights be maximized, but that they also should be exercised in the "
-"most extreme and restrictive way possible."
-msgstr ""
-"Når Ms. Boland sier at det er noe galt med et møte \"som har som sitt formål "
-"å fraskrive eller frafalle slike rettigheter\", så sier hun at WIPO har en "
-"interesse i å påvirke valgene til enkeltpersoner som eier immaterielle "
-"rettigheter. At på en eller annen WIPOs oppdrag bør være å stoppe individer "
-"fra å \"fraskrive\" eller \"frafalle\" seg sine immaterielle rettigheter. "
-"At interessen til WIPO ikke bare er maksimale immaterielle rettigheter, men "
-"også at de skal utøves på den mest ekstreme og restriktive mulig måten."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"There is a history of just such a property system that is well known in the "
-"Anglo-American tradition. It is called \"feudalism.\" Under feudalism, not "
-"only was property held by a relatively small number of individuals and "
-"entities. And not only were the rights that ran with that property powerful "
-"and extensive. But the feudal system had a strong interest in assuring that "
-"property holders within that system not weaken feudalism by liberating "
-"people or property within their control to the free market. Feudalism "
-"depended upon maximum control and concentration. It fought any freedom that "
-"might interfere with that control."
-msgstr ""
-"Det er en historie om akkurat et slikt eierskapssystem som er velkjent i den "
-"anglo-amerikansk tradisjon. Det kalles \"føydalisme\". Under føydalismen "
-"var eiendommer ikke bare kontrollert av et relativt lite antall individer og "
-"aktører. Men det føydale systemet hadde en sterk interesse i å sikre at "
-"landeier i systemet ikke svekke føydalismen ved å frigjøre folkene og "
-"eiendomene som de kontrollerte til det frie markedet. Føydalismen var "
-"avhengig av maksimal kontroll og konsentrasjon. Det sloss mot enhver frihet "
-"som kunne forstyrre denne kontrollen."
-
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
-"210–20. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Se Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, "
-"210–20. <placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"As Peter Drahos and John Braithwaite relate, this is precisely the choice we "
-"are now making about intellectual property.<placeholder type=\"footnote\" id="
-"\"0\"/> We will have an information society. That much is certain. Our only "
-"choice now is whether that information society will be <emphasis>free</"
-"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal."
-msgstr ""
-"Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget "
-"vi nå gjør om immaterielle rettigheter.<placeholder type=\"footnote\" id="
-"\"0\"/> Vi kommer til å få et informasjonssamfunn. Så mye er sikkert. Vårt "
-"eneste valg nå er hvorvidt dette informasjonssamfunnet skal være "
-"<emphasis>fritt</emphasis> eller <emphasis>føydalt</emphasis>. Trenden er "
-"mot det føydale."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"her comments made sense. But there was one comment that was particularly "
-"depressing for me. An anonymous poster wrote,"
-msgstr ""
-"Da denne bataljen brøt ut, blogget jeg om dette. En heftig debatt brøt ut i "
-"kommentarfeltet. Ms. 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,"
-
-#. PAGE BREAK 275
-#. type: Content of: <book><chapter><blockquote><para>
-msgid ""
-"George, you misunderstand Lessig: He's only talking about the world as it "
-"should be (\"the goal of WIPO, and the goal of any government, should be to "
-"promote the right balance of intellectual property rights, not simply to "
-"promote intellectual property rights\"), not as it is. If we were talking "
-"about the world as it is, then of course Boland didn't say anything wrong. "
-"But in the world as Lessig would have it, then of course she did. Always pay "
-"attention to the distinction between Lessig's world and ours."
-msgstr ""
-"George, du misforstår Lessig: Han snakker bare om verden slik den burde være "
-"(\"målet til WIPO, og målet til enhver regjering, bør være å fremme den "
-"riktige balansen for immaterielle rettigheter, ikke bare å fremme "
-"immaterielle rettigheter\"), ikke som den er. Hvis vi snakket om verden "
-"slik den er, så har naturligvis Boland ikke sagt noe galt. Men i verden "
-"slik Lessig vil at den skal være, er det åpenbart at hun har sagt noe galt. "
-"En må alltid være oppmerksom på forskjellen mellom Lessigs og vår verden."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"government should be doing. (Of course, my criticism of Ms. Boland was not "
-"about whether she was seeking balance or not; my criticism was that her "
-"comments betrayed a first-year law student's 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.)"
-msgstr ""
-"Jeg gikk glipp av ironien først gangen jeg leste den. Jeg lese den raskt og "
-"trodde forfatteren støttet idéen om at det våre myndigheter burde gjøre var "
-"å søke balanse. (Min kritikk av Ms Boland, selvfølgelig, var ikke om "
-"hvorvidt hun søkte balanse eller ikke; min kritikk var at hennes kommentarer "
-"avslørte en feil kun en førsteårs jusstudent burde kunne gjøre. Jeg har noen "
-"illusjon om ekstremismen hos våre myndigheter, uansett om de er "
-"republikanere eller demokrater. Min eneste tilsynelatende illusjon er "
-"hvorvidt våre myndigheter bør snakke sant eller ikke.)"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"Obviously, however, the poster was not supporting that idea. Instead, the "
-"poster was ridiculing the very idea that in the real world, the \"goal\" of "
-"a government should be \"to promote the right balance\" of intellectual "
-"property. That was obviously silly to him. And it obviously betrayed, he "
-"believed, my own silly utopianism. \"Typical for an academic,\" the poster "
-"might well have continued."
-msgstr ""
-"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 \"målet\" til myndighetene være \"å fremme den riktige balanse\" for "
-"immaterielle rettigheter. Det var åpenbart tåpelig for ham. Og det "
-"avslørte åpenbart, trodde han, min egen tåpelige utopisme. \"Typisk for en "
-"akademiker\", kunne forfatteren like gjerne ha fortsatt."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"academics throughout history (and not just in our own country's history)."
-msgstr ""
-"Jeg forstår kritikken av akademisk utopisme. Jeg mener også at utopisme er "
-"tåpelig, og jeg vil være blant de første til å gjøre narr av de absurde "
-"urealistiske idealer til akademikere gjennom historien (og ikke bare i vårt "
-"eget lands historie)."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"But when it has become silly to suppose that the role of our government "
-"should be to \"seek balance,\" then count me with the silly, for that means "
-"that this has become quite serious indeed. If it should be obvious to "
-"everyone that the government does not seek balance, that the government is "
-"simply the tool of the most powerful lobbyists, that the idea of holding the "
-"government to a different standard is absurd, that the idea of demanding of "
-"the government that it speak truth and not lies is just naïve, then who "
-"have we, the most powerful democracy in the world, become?"
-msgstr ""
-"Men når det har blitt dumt å anta at rollen til våre myndigheter bør være å "
-"\"oppnå balanse\", da kan du regne meg blant de dumme, for det betyr at "
-"dette faktisk har blitt ganske seriøst. Hvis det bør være åpenbart for alle "
-"at myndighetene ikke søker å oppnå balanse, at myndighetene ganske enkelt et "
-"verktøy for de mektigste lobbyistene, at idéen om å forvente bedre av "
-"myndighetene er absurd, at idéen om å kreve at myndighetene snakker sant og "
-"ikke lyver bare er naiv, hva har da vi, det mektigste demokratiet i verden, "
-"blitt?"
-
-#. PAGE BREAK 276
-#. type: Content of: <book><chapter><para>
-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 more "
-"than the handmaiden of the most powerful interests. It might be crazy to "
-"argue that we should preserve a tradition that has been part of our "
-"tradition for most of our history—free culture."
-msgstr ""
-"Det kan være galskap å forvente at en mektig myndigshetsperson skal si "
-"sannheten. Det kan være galskap å tro at myndighetenes politikk skal gjøre "
-"mer enn å tjene de mektigste interesser. Det kan være galskap å argumentere "
-"for å bevare en tradisjon som har vært en del av vår tradisjon for "
-"mesteparten av vår historie—fri kultur."
-
-#. type: Content of: <book><chapter><para><indexterm><primary>
-msgid "Turner, Ted"
-msgstr "Turner, Ted"
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"If this is crazy, then let there be more crazies. Soon. There are moments "
-"of hope in this struggle. And moments that surprise. When the FCC was "
-"considering relaxing ownership rules, which would thereby further increase "
-"the concentration in media ownership, an extraordinary bipartisan coalition "
-"formed to fight this change. For perhaps the first time in history, "
-"interests as diverse as the NRA, the ACLU, Moveon.org, William Safire, Ted "
-"Turner, and CodePink Women for Peace organized to oppose this change in FCC "
-"policy. An astonishing 700,000 letters were sent to the FCC, demanding more "
-"hearings and a different result. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"Hvis dette er galskap, så la det være mer gærninger. Snart. Det finnes "
-"øyeblikk av håp i denne kampen. Og øyeblikk som overrasker. Da FCC vurderte "
-"mindre strenge eierskapsregler, som ville ytterligere konsentrere "
-"medieeierskap, dannet det seg en en ekstraordinær koalisjon på tvers av "
-"partiene for å bekjempe endringen. For kanskje første gang i historien "
-"organiserte interesser så forskjellige som NRA, ACLU, moveon.org, William "
-"Safire, Ted Turner og Codepink Women for Piece seg for å protestere på denne "
-"endringen i FCC-reglene. Så mange som 700 000 brev ble sendt til FCC med "
-"krav om flere høringer og et annet resultat. <placeholder type=\"indexterm"
-"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"that vote revealed just how powerful this movement had become. There was no "
-"substantial support for the FCC's decision, and there was broad and "
-"sustained support for fighting further concentration in the media."
-msgstr ""
-"Disse protestene stoppet ikke FCC, men like etter stemte en bred koalisjon i "
-"senatet for å reversere avgjørelsen i FCC. De fiendtlige høringene som ledet "
-"til avstemmingen avslørte hvor mektig denne bevegelsen hadde blitt. Det var "
-"ingen betydningsfull støtte for FCCs avgjørelse, mens det var bred og "
-"vedvarende støtte for å bekjempe ytterligere konsentrasjon i media."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"rich, or because there are only a handful of big players. The poor quality "
-"of Big Macs or Quarter Pounders does not mean that you can't get a good "
-"hamburger from somewhere else."
-msgstr ""
-"Men selv denne bevegelsen går glipp av en viktig brikke i puslespillet. Å "
-"være stor er ikke ille i seg selv. Frihet er ikke truet bare på grunn av at "
-"noen blir veldig rik, eller på grunn av at det bare er en håndfull store "
-"aktører. Den dårlige kvaliteten til Big Macs eller Quartar Punders betyr "
-"ikke at du ikke kan få en god hamburger andre steder."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"The danger in media concentration comes not from the concentration, but "
-"instead from the feudalism that this concentration, tied to the change in "
-"copyright, produces. It is not just that there are a few powerful companies "
-"that control an ever expanding slice of the media. It is that this "
-"concentration can call upon an equally bloated range of rights—"
-"property rights of a historically extreme form—that makes their "
-"bigness bad."
-msgstr ""
-"Faren med mediekonsentrasjon kommer ikke fra selve konsentrasjonen, men "
-"kommer fra føydalismen som denne konsentrasjonen fører til når den kobles "
-"til endringer i opphavsretten. Det er ikke kun at det er noen mektige "
-"selskaper som styrer en stadig voksende andel av mediene. Det er at denne "
-"konsentrasjonen kan påkalle en like oppsvulmet rekke rettigheter—"
-"eiendomsrettigheter i en historisk ekstrem form—som gjør størrelsen "
-"ille."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"bigness alone, it is not terribly surprising. We Americans have a long "
-"history of fighting \"big,\" wisely or not. That we could be motivated to "
-"fight \"big\" again is not something new."
-msgstr ""
-"Det er derfor betydningsfullt at så mange vil kjempe for å kreve konkurranse "
-"og økt mangfold. Likevel, hvis kampanjen blir forstått til å kun gjelde "
-"størrelse, så er ikke det veldig overraskende. Vi amerikanere har en lang "
-"historie med å slåss mot \"stort\", klokt eller ikke. At vi kan være "
-"motivert til å slåss mot \"store\" igjen ikke noe nytt."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"\"intellectual property.\" Not because balance is alien to our tradition; "
-"indeed, as I've argued, balance is our tradition. But because the muscle to "
-"think critically about the scope of anything called \"property\" is not well "
-"exercised within this tradition anymore."
-msgstr ""
-"Det ville vært noe nytt, og noe veldig viktig, hvis like mange kan være med "
-"på en kampanje for å bekjempe økende ekstremisme bygget inn i idéen om "
-"\"intellektuell eiendom\". Ikke fordi balanse er fremmed for vår tradisjon. "
-"Jeg argumenterer for at balanse er vår tradisjon. Men fordi evnen til å "
-"tenke kritisk på omfanget av alt som kalles \"eiendom\" ikke er lenger er "
-"godt trent i denne tradisjonen."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"If we were Achilles, this would be our heel. This would be the place of our "
-"tragedy."
-msgstr ""
-"Hvis vi var Akilles, så ville dette være vår hæl. Dette ville være stedet "
-"for våre tragedie."
-
-#. type: Content of: <book><chapter><indexterm><primary>
-msgid "Dylan, Bob"
-msgstr "Dylan, Bob"
-
-#. f11.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</"
-"ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 "
-"September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, "
-"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" "
-"<citetitle>New York Daily News</citetitle>, 9 September 2003, 3; Frank "
-"Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in Calif., "
-"12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington Post</"
-"citetitle>, 10 September 2003, E1; Katie Dean, \"Schoolgirl Settles with "
-"RIAA,\" <citetitle>Wired News</citetitle>, 10 September 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."
-msgstr ""
-"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, september "
-"2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
-"#65</ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, "
-"8 september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #66</ulink>; Soni Sangha og Phyllis Furman sammen med Robert Gearty, "
-"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" "
-"<citetitle>New York Daily News</citetitle>, 9. september 2003, 3; Frank "
-"Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in Calif., "
-"12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington Post</"
-"citetitle>, 10. september 2003, E1; Katie Dean, \"Schoolgirl Settles with "
-"RIAA,\" <citetitle>Wired News</citetitle>, 10. september 2003, tilgjengelig "
-"fra <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>."
-
-#. f12.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Jon Wiederhorn, \"Eminem Gets Sued … by a Little Old Lady,\" mtv.com, "
-"17 September 2003, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #68</ulink>."
-msgstr ""
-"Jon Wiederhorn, \"Eminem Gets Sued … by a Little Old Lady,\" mtv.com, "
-"17. september 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/"
-"notes/\">link #68</ulink>."
-
-#. f13.
-#. PAGE BREAK 334
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"Kenji Hall, Associated Press, \"Japanese Book May Be Inspiration for Dylan "
-"Songs,\" Kansascity.com, 9 July 2003, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #69</ulink>."
-msgstr ""
-"Kenji Hall, Associated Press, \"Japanese Book May Be Inspiration for Dylan "
-"Songs,\" Kansascity.com, 9. juli 2003, tilgjengelig fra <ulink url=\"http://"
-"free-culture.cc/notes/\">link #69</ulink>."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"As I write these final words, the news is filled with stories about the RIAA "
-"lawsuits against almost three hundred individuals.<placeholder type="
-"\"footnote\" id=\"0\"/> Eminem has just been sued for \"sampling\" someone "
-"else's music.<placeholder type=\"footnote\" id=\"1\"/> The story about Bob "
-"Dylan \"stealing\" from a Japanese author has just finished making the "
-"rounds.<placeholder type=\"footnote\" id=\"2\"/> An insider from "
-"Hollywood—who insists he must remain anonymous—reports \"an "
-"amazing conversation with these studio guys. They've got extraordinary [old] "
-"content that they'd love to use but can't because they can't begin to clear "
-"the rights. They've got scores of kids who could do amazing things with the "
-"content, but it would take scores of lawyers to clean it first.\" "
-"Congressmen are 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."
-msgstr ""
-"Mens jeg skriver disse avsluttende ordene, er nyhetene fylt med historier om "
-"at RIAA saksøker nesten tre hundre individer.<placeholder type=\"footnote\" "
-"id=\"0\"/> Eminem har nettopp blitt saksøkt for å ha \"samplet\" noen "
-"andres musikk.<placeholder type=\"footnote\" id=\"1\"/> Historien om "
-"hvordan Bob Dylan har \"stjålet\" fra en japansk forfatter har nettopp gått "
-"verden over.<placeholder type=\"footnote\" id=\"2\"/> En på innsiden i "
-"Hollywood—som insisterer på at han må forbli anonym—rapporterer "
-"\"en utrolig samtale med disse studiofolkene. De har fantastisk [gammelt] "
-"innhold som de ville elske å bruke, men det kan de ikke på grunn av at de "
-"først må klarere rettighetene. De har hauger med ungdommer som kunne gjøre "
-"fantastiske ting med innholdet, men det vil først kreve hauger med advokater "
-"for å klarere det først\". Kongressrepresentanter 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."
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "Creative Commons"
-msgstr "Creative Commons"
-
-#. type: Content of: <book><chapter><indexterm><primary>
-msgid "Gil, Gilberto"
-msgstr "Gil, Gilberto"
-
-#. f14.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"\"BBC Plans to Open Up Its Archive to the Public,\" BBC press release, 24 "
-"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#70</ulink>."
-msgstr ""
-"\"BBC Plans to Open Up Its Archive to the Public,\" pressemelding fra BBC, "
-"24. august 2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #70</ulink>."
-
-#. f15.
-#. type: Content of: <book><chapter><para><footnote><para>
-msgid ""
-"\"Creative Commons and Brazil,\" Creative Commons Weblog, 6 August 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #71</ulink>."
-msgstr ""
-"\"Creative Commons and Brazil,\" Creative Commons Weblog, 6. august 2003, "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #71</"
-"ulink>."
-
-#. PAGE BREAK 278
-#. type: Content of: <book><chapter><para>
-msgid ""
-"Yet on the other side of the Atlantic, the BBC has just announced that it "
-"will build a \"Creative Archive,\" from which British citizens can download "
-"BBC content, and rip, mix, and burn it.<placeholder type=\"footnote\" id="
-"\"0\"/> 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.<placeholder type=\"footnote"
-"\" id=\"1\"/> 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 "
-"freedom need not mean anarchy. We can carry a free culture into the twenty-"
-"first century, without artists losing and without the potential of digital "
-"technology being destroyed. It will take some thought, and more importantly, "
-"it will take some will to transform the RCAs of our day into the Causbys."
-msgstr ""
-"I mens på andre siden av Atlanteren har BBC nettopp annonsert at de vil "
-"bygge opp et \"kreativt arkiv\" som britiske borgere kan laste ned BBC-"
-"innhold fra, og rippe, mikse og brenne det ut.<placeholder type=\"footnote\" "
-"id=\"0\"/> Og i Brasil har kulturministeren, Gilberto Gil, i seg selv en "
-"folkehelt i brasiliansk musikk, slått seg sammen med Creative Commons for å "
-"gi ut innhold og frie lisenser i dette latinamerikanske landet.<placeholder "
-"type=\"footnote\" id=\"1\"/> Jeg har fortalt en mørk historie. Sannheten "
-"er mer blandet. En teknologi har gitt oss mer frihet. Sakte begynner noen "
-"å forstå at denne friheten trenger ikke å bety anarki. Vi kan få med oss "
-"fri kultur inn i det tjueførste århundre, uten at artister taper og uten at "
-"potensialet for digital teknologi blir knust. Det vil kreve omtanke, og "
-"viktigere, det vil kreve at noen omforme RCAene av i dag til Causbyere."
-
-#. PAGE BREAK 279
-#. type: Content of: <book><chapter><para>
-msgid ""
-"Common sense must revolt. It must act to free culture. Soon, if this "
-"potential is ever to be realized."
-msgstr ""
-"Sunn fornuft må gjøre opprør. Den må handle for å frigjøre kulturen. Og "
-"snart, hvis dette potensialet skal noen gang bli realisert."
-
-#. type: Content of: <book><chapter><title>
-msgid "AFTERWORD"
-msgstr "Etterord"
-
-#. PAGE BREAK 280
-#. type: Content of: <book><chapter><para>
-msgid ""
-"At least some who have read this far will agree with me that something must "
-"be done to change where we are heading. The balance of this book maps what "
-"might be done."
-msgstr ""
-"I hvert fall noen av de som har lest helt hit vil være enig med meg om at "
-"noe må gjøres for å endre retningen vi holder. Balansen i denne boken "
-"kartlegger hva som kan gjøres."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"draw from the history of remaking common sense, it is that it requires "
-"remaking how many people think about the very same issue."
-msgstr ""
-"Jeg deler dette kartet i to deler: det som enhver kan gjøre nå, og det som "
-"krever hjelp fra lovgiverne. Hvis det er en lærdom vi kan trekke fra "
-"historien om å endre på sunn fornuft, så er det at det krever å endre "
-"hvordan mange mennesker tenker på den aktuelle saken. "
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"That means this movement must begin in the streets. It must recruit a "
-"significant number of parents, teachers, librarians, creators, authors, "
-"musicians, filmmakers, scientists—all to tell this story in their own "
-"words, and to tell their neighbors why this battle is so important."
-msgstr ""
-"Det betyr at denne bevegelsen må starte i gatene. Det må rekrutteres et "
-"signifikant antall foreldre, lærere, bibliotekarer, skapere, forfattere, "
-"musikere, filmskapere, forskere—som alle må fortelle denne historien "
-"med sine egne ord, og som kan fortelle sine naboer hvorfor denne kampen er "
-"så viktig."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"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."
-msgstr ""
-"Når denne bevegelsen har hatt sin effekt i gatene, så er det et visst håp om "
-"at det kan ha effekt i Washington. Vi er fortsatt et demokrati. Hva folk "
-"mener betyr noe. Ikke så mye som det burde, i hvert fall når en RCA står "
-"imot, men likevel, det betyr noe. Og dermed vil jeg skissere, i den andre "
-"delen som følger, endringer som kongressen kunne gjøre for å bedre sikre en "
-"fri kultur."
-
-#. type: Content of: <book><chapter><section><title>
-msgid "US, NOW"
-msgstr "Oss, nå"
-
-#. type: Content of: <book><chapter><section><para>
-msgid ""
-"Common sense 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, either total control or artists won't be paid. If that really is "
-"the choice, then the warriors should win."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"believe in maximal copyright—\"All Rights Reserved\"— and those "
-"who reject copyright—\"No Rights Reserved.\" The \"All Rights Reserved"
-"\" sorts believe that you should ask permission before you \"use\" a "
-"copyrighted work in any way. The \"No Rights Reserved\" sorts believe you "
-"should be able to do with content as you wish, regardless of whether you "
-"have permission or not."
-msgstr ""
-"feil her er feil om den ekskluderte tredje. Det er ekstreme i denne "
-"debatten, men ekstreme er ikke alt som det er. Det er de som tror på "
-"maksimal copyright—\"all rights reserved\"— og de som avviser "
-"copyright—\"ingen rettigheter reservert\". \"all rights reserved\" "
-"sorterer mener at du bør spørre tillatelse før du \"Bruk\" en "
-"opphavsrettslig beskyttede verk som på noen måte. \"ingen rettigheter "
-"reservert\" sorterer tror du burde være i stand til å gjøre med innhold som "
-"du ønsker, uavhengig av om du har tillatelse eller ikke."
-
-#. PAGE BREAK 282
-#. type: Content of: <book><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"When the Internet was first born, its initial architecture effectively "
-"tilted in the \"no rights reserved\" direction. Content could be copied "
-"perfectly and cheaply; rights could not easily be controlled. Thus, "
-"regardless of anyone's desire, the effective regime of copyright under the "
-"original design of the Internet was \"no rights reserved.\" Content was "
-"\"taken\" regardless of the rights. Any rights were effectively unprotected."
-msgstr ""
-"da Internett ble født, skråstilt sin første arkitektur effektivt i retning "
-"\"ingen rettigheter reservert\". innholdet kan kopieres perfekt og billig; "
-"rettigheter kan ikke lett kontrolleres. Således, uavhengig av hvem som helst "
-"ønske, effektiv regimet av opphavsrett under den opprinnelige utformingen av "
-"Internett var \"ingen rettigheter reservert.\" innhold ble \"tatt\" "
-"uavhengig av rettighetene. alle rettigheter som var effektivt ubeskyttet."
-
-#. type: Content of: <book><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"legislation, litigation, and changes to the network's design, copyright "
-"holders have been able to change the essential character of the environment "
-"of the original Internet. If the original architecture made the effective "
-"default \"no rights reserved,\" the future architecture will make the "
-"effective default \"all rights reserved.\" The architecture and law that "
-"surround the Internet's design will increasingly produce an environment "
-"where all use of content requires permission. The \"cut and paste\" world "
-"that defines the Internet today will become a \"get permission to cut and "
-"paste\" world that is a creator's nightmare."
-msgstr ""
-"dette første tegnet produsert en reaksjon (motsatt, men ikke helt like) av "
-"eiere av opphavsretter. som reaksjon har vært tema for denne boken. gjennom "
-"lovgivning, søksmål og endringer til nettverkets design, har innehaver av "
-"opphavsrett vært i stand til å endre det avgjørende tegnet av det "
-"opprinnelige Internett-miljøet. Hvis den originale arkitekturen gjort "
-"effektiv standard \"ingen rettigheter reservert\", vil den fremtidige "
-"arkitekturen gjøre effektiv standard \"all rights reserved.\" arkitektur og "
-"lov som omgir Internetts design vil stadig produsere et miljø der alle bruk "
-"av innhold som krever tillatelse. \"klippe og lime\" verden som definerer "
-"Internett i dag vil bli en \"få tillatelse til å klippe og lime\" verden som "
-"er en creator mareritt."
-
-#. type: Content of: <book><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"What's needed is a way to say something in the middle—neither \"all "
-"rights reserved\" nor \"no rights reserved\" but \"some rights reserved"
-"\"— 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."
-msgstr ""
-"Hva trenger er en måte å si noe i midten—verken \"all rights reserved"
-"\" eller \"ingen rettigheter reservert\" men \"noen rettigheter reservert\"- "
-"og dermed en måte å Respekter opphavsrettigheter, men aktivere skaperne til "
-"gratis innhold som de ønsker. med andre ord, trenger vi en måte å "
-"gjenopprette et sett med andre friheter som vi bare kunne ta for gitt før."
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "Rebuilding Freedoms Previously Presumed: Examples"
-msgstr "Gjenoppbygging av friheter som tidligere var antatt: Eksempler"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"Internet, most of us didn't have to worry much about data about our lives "
-"that we broadcast to the world. If you walked into a bookstore and browsed "
-"through some of the works of Karl Marx, you didn't need to worry about "
-"explaining your browsing habits to your neighbors or boss. The \"privacy\" "
-"of your browsing habits was assured."
-msgstr ""
-"Hvis du går tilbake fra slaget som jeg har vært beskriver her, vil du "
-"gjenkjenne dette problemet fra andre sammenhenger. Tenk om personvern. før "
-"Internett måtte de fleste av oss ikke bekymre deg mye om data om våre liv at "
-"vi broadcast til world. Hvis du gikk inn i en bokhandel og bladde gjennom "
-"noen av verk av karl marx, du ikke trenger å bekymre deg om å forklare "
-"Internett-vanene dine naboer eller sjefen. du surfer vaner \"personvern\" "
-"var trygg på."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid "What made it assured?"
-msgstr "Hva gjorde at det var sikret?"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Well, if we think in terms of the modalities I described in chapter <xref "
-"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, 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 Korea, working for the CIA, no doubt your "
-"privacy would not be assured. But that's because the CIA would (we hope) "
-"find it valuable enough to spend the thousands required to track you. But "
-"for most of us (again, we can hope), spying doesn't pay. The highly "
-"inefficient architecture of real space means we all enjoy a fairly robust "
-"amount of privacy. That privacy is guaranteed to us by friction. Not by law "
-"(there is no law protecting \"privacy\" 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."
-msgstr ""
-"Vel, hvis vi tror når det gjelder metoder jeg beskrevet i kapittel 10, "
-"personvernet var forsikret på grunn av en ineffektiv arkitektur for å samle "
-"data og dermed betingelsen markedet (kostnader) på alle som ønsket å samle "
-"inn disse dataene. Hvis du var en mistenkt spion for Nord-korea, ville "
-"arbeider for cia, ingen tvil om personvernet ikke være trygg. men det er "
-"fordi vil cia (håper vi) finne det verdifullt nok til å bruke tusenvis som "
-"er nødvendig for å spore deg. men for de fleste av oss (igjen, vi kan "
-"håper), spionere ikke betaler. svært ineffektiv arkitektur virkelige rommet "
-"betyr at vi alle nyte en ganske robust mengden personvern. at personvern er "
-"garantert til oss ved hjelp av friksjon. ikke ved loven (det er ingen lov "
-"som beskytter \"personvern\" i offentlige steder), og mange steder, ikke av "
-"normer (snooping og sladder er bare morsomt), men i stedet av kostnader som "
-"friksjon pålegger på alle som ønsker å spy."
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "Amazon"
-msgstr "Amazon"
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "cookies, Internet"
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"pages, Amazon collects the data about what you've looked at. You know this "
-"because at the side of the page, there's a list of \"recently viewed\" "
-"pages. Now, because of the architecture of the Net and the function of "
-"cookies on the Net, it is easier to collect the data than not. The friction "
-"has disappeared, and hence any \"privacy\" protected by the friction "
-"disappears, too. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Angi Internett, der kostnaden for sporing av surfing spesielt har blitt "
-"ganske liten. Hvis du er en kunde på amazon, deretter samler som du blar "
-"gjennom sidene, amazon data om hva du har sett på. du vet dette fordi på "
-"side av siden, er det en liste over \"sist sett\" sider. nå, på grunn av "
-"arkitekturen på nettet og funksjon av informasjonskapsler på nettet, er det "
-"enklere å samle inn data enn ikke. friksjonen har forsvunnet, og dermed alle "
-"\"personvern\" beskyttet av friksjonen forsvinner, også."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"should have the \"right\" to browse in a library without the government "
-"knowing which books you look at (I'm one of those lefties, too), then this "
-"change in the technology of monitoring might concern you. If it becomes "
-"simple to gather and sort who does what in electronic spaces, then the "
-"friction-induced privacy of yesterday disappears."
-msgstr ""
-"Amazon, selvfølgelig, er ikke problemet. men vi kan begynne å bekymre deg om "
-"biblioteker. Hvis du er en av de sprø lefties som mener at folk skal ha "
-"\"rett\" til å bla i et bibliotek uten regjeringen å vite hvilke bøker du "
-"ser på (jeg er en av disse lefties også), og deretter denne endringen i "
-"teknologien for overvåking kan angår deg. Hvis det blir enkelt å samle og "
-"sortere hvem gjør hva i elektronisk mellomrom, forsvinner personvern "
-"friksjon i går."
-
-#. f1.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"See, for example, Marc Rotenberg, \"Fair Information Practices and the "
-"Architecture of Privacy (What Larry Doesn't Get),\" <citetitle>Stanford "
-"Technology Law Review</citetitle> 1 (2001): par. 6–18, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing "
-"examples in which technology defines privacy policy). See also Jeffrey "
-"Rosen, <citetitle>The Naked Crowd: Reclaiming Security and Freedom in an "
-"Anxious Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs "
-"between technology and privacy)."
-msgstr ""
-
-#. PAGE BREAK 284
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"It is this reality that explains the push of many to define \"privacy\" 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."
-"<placeholder type=\"footnote\" id=\"0\"/> 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."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 binaries— was free. You "
-"couldn't run a program written for a Data General machine on an IBM machine, "
-"so Data General and IBM didn't care much about controlling their software. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"en liknende historie kan fortelles om fødselen av fri programvare-"
-"bevegelsen. Når datamaskiner med programvare ble først gjort tilgjengelig "
-"kommersielt, var programvaren—både kildekoden og binærfiler—"
-"gratis. Du kan ikke kjøre et program som er skrevet for en generell data-"
-"maskinen på en ibm-maskin, slik at data Generelt og ibm ikke vare mye om "
-"hvordan du styrer deres programvare."
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "Stallman, Richard"
-msgstr "Stallman, Richard"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"free to explore and tinker with the software that ran on machines. Being a "
-"smart sort himself, and a talented programmer, Stallman grew to depend upon "
-"the freedom to add to or modify other people's work."
-msgstr ""
-"Dette var verden Richard Stallman ble født inn i, og mens han var forsker "
-"ved MIT, lærte han til å elske samfunnet som utviklet seg når en var fri til "
-"å utforske og fikle med programvaren som kjørte på datamaskiner. Av den "
-"smarte sorten selv, og en talentfull programmerer, begynte Stallman å basere "
-"seg frihet til å legge til eller endre på andre personers arbeid."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"offered. If you thought you had a better way to prove a theorem, you could "
-"take what someone else did and change it. In a classics department, if you "
-"believed a colleague's translation of a recently discovered text was flawed, "
-"you were free to improve it. Thus, to Stallman, it seemed obvious that you "
-"should be free to tinker with and improve the code that ran a machine. This, "
-"too, was knowledge. Why shouldn't it be open for criticism like anything "
-"else?"
-msgstr ""
-"i akademiske omgivelser, minst, er det ikke en veldig radikale idé. noen "
-"ville være gratis å tinker med et bevis på at noen tilbys i en matematikk-"
-"avdeling. Hvis du trodde du hadde en bedre måte å bevise en teorem, kan du "
-"ta hva noen andre gjorde, og endre den. i en klassikere avdeling, hvis du "
-"trodde en kollega oversettelse av en nylig oppdagede tekst var feil, var du "
-"fri til å forbedre den. dermed til stallman syntes det åpenbart at du bør "
-"være gratis å tinker med og forbedre koden som kjørte en maskin. Dette, "
-"også, var kunnskap. Hvorfor bør ikke være åpen for kritikk som noe annet?"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"No one answered that question. Instead, the architecture of revenue for "
-"computing changed. As it became possible to import programs from one system "
-"to another, it became economically attractive (at least in the view of some) "
-"to hide the code of your program. So, too, as companies started selling "
-"peripherals for mainframe systems. If I could just take your printer driver "
-"and copy it, then that would make it easier for me to sell a printer to the "
-"market than it was for you."
-msgstr ""
-"Ingen har besvart dette spørsmålet. i stedet endret arkitekturen i inntekter "
-"for databehandling. som det ble mulig å importere programmer fra ett system "
-"til et annet, det ble økonomisk attraktive (minst i visningen av noen) å "
-"skjule koden av programmet. så, også, som selskaper som begynte å selge "
-"eksterne enheter for stormaskinsystemer. Hvis jeg kunne bare ta "
-"skriverdriveren og kopiere den, og deretter som ville gjøre det enklere for "
-"meg å selge en skriver til markedet enn det var for deg."
-
-#. PAGE BREAK 285
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"free software had been erased by a change in 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."
-msgstr ""
-"dermed praksisen med proprietære koden begynte å spre seg, og 1980-tallet, "
-"stallman fant seg selv omringet av proprietære koden. verden av fri "
-"programvare hadde blitt slettet av en endring i økonomien i databehandling. "
-"og som han mente, hvis han gjorde ikke noe om det, og frihet til å endre og "
-"dele programvare ville være grundig svekket."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"the birth of the GNU project, into which Linus Torvalds's \"Linux\" kernel "
-"was added to produce the GNU/Linux operating system. <placeholder type="
-"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-"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 \"Linux\"-kjernen til "
-"Linus Torvalds senere ble lagt til i for å produsere GNU/Linux-"
-"operativsystemet. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
-"type=\"indexterm\" id=\"1\"/>"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"Foundation's GPL cannot be modified and distributed unless the source code "
-"for that software is made available as well. Thus, anyone building upon "
-"GPL'd software would have to make their buildings free as well. This would "
-"assure, Stallman believed, that an ecology of code would develop that "
-"remained free for others to build upon. His fundamental goal was freedom; "
-"innovative creative code was a byproduct."
-msgstr ""
-"Stallmans teknikken var å bruke lov om opphavsrett til å bygge en verden av "
-"programvare som må holdes gratis. programvare lisensiert under gpl av free "
-"software foundation kan ikke endres og distribuert med mindre kildekoden for "
-"denne programvaren gjøres tilgjengelig også. Dermed noen bygger på gpl ville "
-"programvare ville ha å gjøre sine bygninger gratis også. Dette vil forsikre, "
-"stallman trodd at en økologi av koden ville utvikle som forble gratis for "
-"andre å bygge på. hans grunnleggende målet var frihet; nyskapende, kreative "
-"koden var en byproduct."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"for granted before. Through the affirmative use of licenses 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."
-msgstr ""
-"Stallman var dermed gjøre for programvare og hvilke personvernkontroller "
-"talsmenn nå har for personvern. Han var søker en måte å gjenoppbygge et "
-"slags friheten som ble tatt for gitt før. gjennom bekreftende bruk av "
-"lisenser som binder opphavsrettsbeskyttet kode, var stallman affirmatively "
-"gjenerobring et mellomrom der fri programvare ville overleve. Han var aktivt "
-"beskytter hva før hadde vært passivt garantert."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"journals are produced."
-msgstr ""
-"til slutt, vurdere en svært nylig eksempel mer direkte resonates med "
-"historien om denne boken. Dette er skiftet i måten faglige og vitenskapelige "
-"journaler er produsert."
-
-#. PAGE BREAK 286
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 knowledge. "
-"Instead, journals are increasingly becoming electronic, and libraries and "
-"their users are given access to these electronic journals through password-"
-"protected sites. Something similar to this has been happening in law for "
-"almost thirty years: Lexis and Westlaw have had electronic versions of case "
-"reports available to subscribers to their service. Although a Supreme Court "
-"opinion is not copyrighted, and anyone is free to go to a library and read "
-"it, Lexis and Westlaw are also free to charge users for the privilege of "
-"gaining access to that Supreme Court opinion through their respective "
-"services."
-msgstr ""
-"som digitale teknologien blir bedre, blir det åpenbart for mange som skriver "
-"ut tusenvis av kopier av journaler hver måned og sende dem til biblioteker "
-"ikke er kanskje den mest effektive måten å distribuere kunnskap. i stedet, "
-"journaler er stadig å bli elektronisk, og biblioteker og deres brukere gis "
-"tilgang til disse elektroniske journaler gjennom passordbeskyttede områder. "
-"noe som ligner på dette har foregått i loven for nesten tretti år: lexis og "
-"westlaw har hatt elektroniske versjoner av Saksrapporter som er tilgjengelig "
-"for abonnenter til deres tjeneste. Selv om en Høyesterett mening ikke er "
-"beskyttet av opphavsretten, og noen er fri til å gå til et bibliotek og lese "
-"den, er lexis og westlaw også gjerne Belast brukerne for privilegiet av å få "
-"tilgang til at Høyesterett mening gjennom sine respektive tjenester."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"people to develop new and innovative ways to spread knowledge. The law has "
-"agreed, which is why Lexis and Westlaw have been allowed 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."
-msgstr ""
-"Det er ingenting galt med dette Generelt, og muligheten til å ta betalt for "
-"tilgang til selv allemannseie materialet er faktisk en god insentiv for folk "
-"å utvikle nye og innovative måter å spre kunnskap. loven har avtalt, som er "
-"grunnen til at lexis og westlaw har fått lov til å blomstre. og hvis det er "
-"ingenting galt med å selge allemannseie, det kan være noe galt i prinsippet "
-"med selger tilgang til materiale som ikke er allemannseie."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"data except by paying for a subscription?"
-msgstr ""
-"men hva om du bare kan få tilgang til sosiale og vitenskapelige data var "
-"gjennom proprietære tjenester? Hva om ingen hadde muligheten til å bla "
-"gjennom denne data unntatt ved å betale for et abonnement?"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"As many are beginning to notice, this is increasingly the reality with "
-"scientific journals. When these journals were distributed in paper form, "
-"libraries could make the journals available to anyone who had access to the "
-"library. Thus, patients with cancer could become cancer experts because the "
-"library gave them access. Or patients trying to understand the risks of a "
-"certain treatment could research those risks by reading all available "
-"articles about that treatment. This freedom was therefore a function of the "
-"institution of libraries (norms) and the technology of paper journals "
-"(architecture)—namely, that it was very hard to control access to a "
-"paper journal."
-msgstr ""
-"som mange begynner å legge merke til, er dette stadig virkeligheten med "
-"vitenskapelige journaler. Når disse kladdene ble distribuert i papirskjema, "
-"kan biblioteker gjøre journalene tilgjengelig for alle som hadde tilgang til "
-"biblioteket. pasienter med kreft kan derfor bli kreft eksperter fordi "
-"biblioteket ga dem tilgang. eller pasienter prøver å forstå risikoen for en "
-"bestemt behandling kunne forskning disse risikoene ved å lese alle "
-"tilgjengelige artikler om at behandling. denne friheten ble derfor en "
-"funksjon av institusjonen av biblioteker (normer) og teknologi i papir "
-"journaler (arkitektur)—nemlig at det var svært vanskelig å kontrollere "
-"tilgangen til en papir-journal."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"As journals become electronic, however, the publishers are demanding that "
-"libraries not give the general public access to the journals. This means "
-"that the freedoms provided by print journals in public libraries begin to "
-"disappear. Thus, as with privacy and with software, a changing technology "
-"and market shrink a freedom taken for granted before."
-msgstr ""
-"Når journaler blir elektronisk, men er utgivere krevende at biblioteker ikke "
-"gir generell offentlig tilgang til journalene. Dette betyr at frihetene som "
-"er levert av Skriv ut journaler i offentlige bibliotek begynner å forsvinne. "
-"Således, som med personvern og med programvare, en skiftende teknologi og "
-"markedet forminske en frihet tatt for gitt før."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"example, is a nonprofit corporation dedicated to making scientific research "
-"available to anyone with a Web connection. Authors of scientific work submit "
-"that work to the Public Library of Science. That work is then subject to "
-"peer review. If accepted, the work is then deposited in a public, electronic "
-"archive and made permanently 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. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Denne krympende friheten har ført mange å ta bekreftende trinnene for å "
-"gjenopprette frihet som har gått tapt. public library of science (plos), for "
-"eksempel er en nonprofit aksjeselskap som er dedikert til å gjøre "
-"vitenskapelig forskning tilgjengelig for alle som har en Webtilkobling. "
-"forfatterne av vitenskapelig arbeid sende det fungerer til public library of "
-"science. Dette arbeidet er deretter gjenstand for peer review. Dersom de "
-"blir akseptert, er arbeidet deretter oppbevart i et offentlig, elektronisk "
-"arkiv og gjort permanent tilgjengelig gratis. PLOs selger også en "
-"utskriftsversjon av sitt arbeid, men opphavsretten for utskrift journal "
-"forhindre ikke høyre for noen til å videredistribuere arbeidet gratis."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"doubt that this alternative competes with the traditional publishers and "
-"their efforts to make money from the exclusive distribution of content. But "
-"competition in our tradition is presumptively a good—especially when "
-"it helps spread knowledge and science."
-msgstr ""
-"Dette er ett av mange slike anstrengelser til å gjenopprette en frihet tatt "
-"for gitt før, men nå truet av skiftende teknologi og markeder. Det er ingen "
-"tvil om at denne alternative konkurrerer med tradisjonelle utgivere og deres "
-"innsats for å tjene penger fra den eksklusive distribusjonen av innhold. men "
-"konkurransen i vår tradisjon er presumptively en god—spesielt når det "
-"bidrar til å spre kunnskap og vitenskap."
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "Rebuilding Free Culture: One Idea"
-msgstr "Gjenoppbygging av fri kultur: En idé"
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"The same strategy could be applied to culture, as a response to the "
-"increasing control effected through law and technology."
-msgstr ""
-"Den samme strategien kan brukes på kultur, som et svar på den økende "
-"kontrollen som gjennomføres gjennom lov og teknologi."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 <emphasis>reasonable</emphasis> copyright on top "
-"of the extremes that now reign. It does this by making it easy for people to "
-"build upon other people's work, by making it simple for creators to express "
-"the freedom for others to take and build upon their work. Simple tags, tied "
-"to human-readable descriptions, tied to bulletproof licenses, make this "
-"possible."
-msgstr ""
-"Angi creative commons. creative commons er et nonprofit selskap etablert i "
-"massachusetts, men med sitt hjem ved stanford university. Målet er å bygge "
-"et lag av rimelig opphavsrett på toppen av den ekstreme som nå regjere. "
-"Dette gjøres ved å gjøre det lett for folk å bygge på andres arbeid, ved å "
-"gjøre det enkelt for skaperne å uttrykke frihet for andre å ta, og bygge på "
-"sitt arbeid. Simple tags, knyttet til lesbar beskrivelser, knyttet til "
-"vanntett lisenser, gjør dette mulig."
-
-#. PAGE BREAK 288
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"<emphasis>Simple</emphasis>—which means without a middleman, or "
-"without a lawyer. By developing a free set of licenses that people can "
-"attach to their content, Creative Commons aims to mark a range of content "
-"that can easily, and reliably, be built upon. These tags are then linked to "
-"machine-readable versions of the license that enable computers automatically "
-"to identify content that can easily be shared. These three expressions "
-"together—a legal license, a human-readable description, and machine-"
-"readable tags—constitute a Creative Commons license. A Creative "
-"Commons license constitutes a grant of freedom to anyone who accesses the "
-"license, and more importantly, an expression of the ideal that the person "
-"associated with the license believes in something different than the \"All\" "
-"or \"No\" extremes. Content is marked with the CC mark, which does not mean "
-"that copyright is waived, but that certain freedoms are given."
-msgstr ""
-"enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved å "
-"utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, "
-"creative commons har som mål å markere et utvalg av innhold som kan enkelt "
-"og pålitelig, være bygget på. disse kodene er deretter koblet til "
-"maskinlesbar versjoner av lisensen som gjør at datamaskiner automatisk å "
-"identifisere innhold som kan lett deles. disse tre uttrykkene sammen—"
-"en juridisk lisens, en lesbar beskrivelse og maskinlesbar koder—utgjør "
-"en creative commons-lisens. en creative commons-lisens utgjør en bevilgning "
-"av frihet til alle som har tilgang til lisensen, og enda viktigere, et "
-"uttrykk for ideelt som personen som er knyttet til lisensen tror på noe "
-"annet enn \"all\" eller \"Nei\" ekstreme. innholdet er merket med kopi-"
-"merket, som ikke betyr at copyright fratres, men at visse friheter er gitt."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"license that permits any use, so long as attribution is given. She can "
-"choose a license that permits only noncommercial use. She can choose a "
-"license that permits any use so long as the same freedoms are given to other "
-"uses (\"share and share alike\"). Or any use so long as no derivative use is "
-"made. Or any use at all within developing nations. Or any sampling use, so "
-"long as full copies are not made. Or lastly, any educational use."
-msgstr ""
-"Disse frihetene er utenfor friheter lovet av fair use. deres presis "
-"konturer, avhenger av valgene skaperen gjør. skaperen kan velge en lisens "
-"som tillater enhver bruk, så lenge henvisning er gitt. hun kan velge en "
-"lisens som tillater bare ikke-kommersiell bruk. hun kan velge en lisens som "
-"tillater enhver bruk så lenge de samme frihetene er gitt til andre bruker "
-"(\"del og share alike\"). eller enhver bruk så lenge ingen avledede bruk er "
-"gjort. eller noen bruke overhodet i utviklingsland. eller noen prøvetaking "
-"bruk, så lenge alle kopiene ikke er laget. eller til slutt, noen pedagogisk "
-"bruk."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"These choices thus establish a range of freedoms beyond the default of "
-"copyright law. They also enable freedoms that go beyond traditional fair "
-"use. And most importantly, they express these freedoms in a way that "
-"subsequent users can use and rely upon without the need to hire a lawyer. "
-"Creative Commons thus aims to build a layer of content, governed by a layer "
-"of reasonable copyright law, that others can build 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."
-msgstr ""
-"disse valgene dermed etablere en rekke friheter utover standard om "
-"opphavsrett. de har også aktivere friheter som går utover tradisjonelle fair "
-"use. og viktigst, de uttrykker disse frihetene på en måte at etterfølgende "
-"brukere kan bruke og stole på uten å måtte ansette en advokat. Creative "
-"commons dermed tar sikte på å bygge et lag med innhold, styrt av et lag med "
-"rimelig lov om opphavsrett, som andre kan bygge på. frivillig valg av "
-"enkeltpersoner og skaperne vil gjøre dette innholdet tilgjengelig. og at "
-"innholdet i sin tur kan vi bygge et offentlig-domene."
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "Garlick, Mia"
-msgstr "Garlick, Mia"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 many is "
-"that we are not interested only in talking about a public domain or in "
-"getting legislators to help build a public domain. Our aim is to build a "
-"movement of consumers and producers of content (\"content conducers,\" 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. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Dette er bare ett prosjekt blant mange innenfor creative commons. og "
-"selvfølgelig, creative commons er ikke den eneste organisasjonen å forfølge "
-"slike friheter. men poenget som skiller creative commons fra mange er at vi "
-"ikke er interessert i å få lovgivere til å bygge et frivare eller bare i "
-"snakker om et frivare. vårt mål er å bygge en bevegelse av forbrukere og "
-"produsenter av innhold (\"innhold conducers,\" som advokat mia garlick "
-"kaller dem) hvem hjelpe bygge allemannseie, og ved deres arbeid, demonstrere "
-"viktigheten av public domain til andre kreativitet."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The aim is not to fight the \"All Rights Reserved\" 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 centuries "
-"ago, applied to a technology that only Jefferson could have imagined. The "
-"rules may well have made sense against a background of technologies from "
-"centuries ago, but they do not make sense against the background of digital "
-"technologies. New rules—with different freedoms, expressed in ways so "
-"that humans without lawyers can use them—are needed. Creative Commons "
-"gives people a way effectively to begin to build those rules."
-msgstr ""
-"Målet er ikke å kjempe \"med enerett\"-sorteringer. Målet er å utfylle dem. "
-"problemene som loven oppretter for oss som en kultur er produsert av galskap "
-"og utilsiktede konsekvenser av lover skrevet århundrer siden, brukt til en "
-"teknologi som bare jefferson kunne ha forestilt meg. reglene kan godt ha "
-"gjort følelse mot et bakteppe av teknologi fra århundrer siden, men de gjør "
-"ikke fornuftig på bakgrunn av digitale teknologier. nye regler—med "
-"forskjellige friheter, uttrykt i måter slik at mennesker uten advokater kan "
-"bruke dem – er nødvendig. Creative commons gir folk en måte for effektivt å "
-"begynne å bygge disse reglene."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Why would creators participate in giving up total control? Some participate "
-"to better spread their content. Cory Doctorow, for example, is a science "
-"fiction author. His first novel, <citetitle>Down and Out in the Magic "
-"Kingdom</citetitle>, was released on-line and for free, under a Creative "
-"Commons license, on the same day that it went on sale in bookstores."
-msgstr ""
-"Hvorfor ville skaperne delta i å gi opp full kontroll? noen delta for å "
-"bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-"
-"forfatter. hans første novelle, ned og ut i magiske riket, ble utgitt på "
-"nettet og gratis, under en creative commons-lisens på samme dag som det gikk "
-"på salg i bokhandler."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"Cory's book whether or not it's on the Internet, and (2) those who may never "
-"hear of Cory's book, if it isn't made available for free on the Internet. "
-"Some part of (1) will download Cory's book instead of buying it. Call them "
-"bad-(1)s. Some part of (2) will download Cory's book, like it, and then "
-"decide to buy it. Call them (2)-goods. If there are more (2)-goods than bad-"
-"(1)s, the strategy of releasing Cory's book free on-line will probably "
-"<emphasis>increase</emphasis> sales of Cory's book."
-msgstr ""
-"Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at "
-"hans publisher begrunnet som dette: det finnes to grupper av mennesker der "
-"ute: (1) de som vil kjøpe cory bok om det er på Internett, og (2) de som kan "
-"aldri høre av cory's bok, hvis det ikke er gjort tilgjengelig gratis på "
-"Internett. noen del av (1) laster ned cory bok i stedet for å kjøpe den. "
-"ringe dem dårlig-(1) s. noen del av (2) lastet ned cory's bok, liker det, og "
-"deretter bestemmer deg for å kjøpe den. kalle dem (2)-varer. Hvis det er mer "
-"(2)-varer enn dårlig-(1) s, strategien for lanserer cory bok gratis on-line "
-"trolig vil øke salg av cory's bok."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Indeed, the experience of his publisher clearly supports that 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."
-msgstr ""
-"opplevelsen av hans publisher støtter faktisk klart at konklusjonen. bokens "
-"første utskrift er oppbrukt måneder før utgiveren hadde forventet. denne "
-"første romanen av en science fiction-forfatteren var en total suksess."
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "Free for All (Wayner)"
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "Wayner, Peter"
-msgstr "Wayner, Peter"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"book about the free software movement titled <citetitle>Free for All</"
-"citetitle>, made an electronic version of his book free on-line under a "
-"Creative Commons license after the book went out of print. He then monitored "
-"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. "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/>"
-msgstr ""
-"idéen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av "
-"opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri "
-"programvare-bevegelsen med tittelen gratis for alle, en elektronisk versjon "
-"av sin bok gratis on-line under en creative commons-lisens etter at boken "
-"gikk ut av print. han overvåket deretter brukt boka store priser for boken. "
-"som spådd, som antall nedlastinger økt, brukte boken-pris for sin bok øker "
-"også."
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "Public Enemy"
-msgstr "Public Enemy"
-
-#. type: Content of: <book><chapter><section><section><indexterm><primary>
-msgid "rap music"
-msgstr ""
-
-#. f2.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"<citetitle>Willful Infringement: A Report from the Front Lines of the Real "
-"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg "
-"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #72</ulink>."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "Leaphart, Walter"
-msgstr "Leaphart, Walter"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"are others who use Creative Commons licenses for other reasons. Many who use "
-"the \"sampling license\" do so because anything else would be hypocritical. "
-"The sampling license says that others are free, for commercial or "
-"noncommercial purposes, to sample content from the licensed work; they are "
-"just not free to make full copies of the licensed work available to others. "
-"This is consistent with their own art—they, too, sample from others. "
-"Because the <emphasis>legal</emphasis> costs of sampling are so high (Walter "
-"Leaphart, manager of the rap group Public Enemy, which was born sampling the "
-"music of others, has stated that he does not \"allow\" Public Enemy to "
-"sample anymore, because the legal costs are so high<placeholder type="
-"\"footnote\" id=\"0\"/>), these artists release into the creative "
-"environment content that others can build upon, so that their form of "
-"creativity might grow. <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"balance in this debate. If you just go along with the system as it is, you "
-"are effectively saying you believe in the \"All Rights Reserved\" model. "
-"Good for you, but many do not. Many believe that however appropriate that "
-"rule is for Hollywood and freaks, it is not an appropriate description of "
-"how most creators view the rights associated with their content. The "
-"Creative Commons license expresses this notion of \"Some Rights Reserved,\" "
-"and gives many the chance to say it to others."
-msgstr ""
-"Endelig er det mange som merker innholdet med en creative commons-lisens, "
-"bare fordi de ønsker å uttrykke til andre betydningen av saldoen i denne "
-"debatten. Hvis du bare gå sammen med systemet som det er, sier du effektivt "
-"du tror på \"all rights reserved\"-modellen. bra for deg, men mange gjør det "
-"ikke. mange tror at men passer denne regelen er for hollywood og freaks, det "
-"ikke er en passende beskrivelse av hvordan de fleste skaperne vise "
-"rettigheter knyttet til deres innhold. creative commons-lisens uttrykker "
-"dette begrepet \"noen rettigheter reservert\", og gir mange sjansen til å si "
-"det til andre."
-
-#. PAGE BREAK 291
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"partnerships with middleware content providers to help them build into their "
-"technologies simple ways for users to mark their content with Creative "
-"Commons freedoms. Then the next step is to watch and celebrate creators who "
-"build content based upon content set free."
-msgstr ""
-"i de første seks månedene av creative commons-eksperimentet, ble over 1 "
-"million objekter lisensiert med disse gratis-kultur-lisenser. det neste "
-"trinnet er partnerskap med mellomvare innholdsleverandører å hjelpe dem å "
-"bygge inn i deres teknologier enkle måter for brukere å merke innholdet sitt "
-"med creative commons-friheter. så er neste trinn å se på og feire skaperne "
-"som bygger innhold basert på innhold satt fri."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"showing people how important that domain is to creativity and innovation. "
-"Creative Commons relies upon voluntary steps to achieve this rebuilding. "
-"They will lead to a world in which more than voluntary steps are possible."
-msgstr ""
-"Dette er første trinn å gjenoppbygge et frivare. de er ikke bare argumenter; "
-"de er handlingen. bygge et offentlig-domene er det første skrittet til viser "
-"folk hvor viktig dette domenet er til kreativitet og innovasjon. Creative "
-"commons, avhengig av frivillig tiltak for å oppnå dette å gjenoppbygge. de "
-"vil føre til en verden der flere frivillige trinnene er mulig."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"project does not compete with copyright; it complements it. Its aim is not "
-"to defeat the rights of authors, but to 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."
-msgstr ""
-"Creative commons er bare ett eksempel på frivillig innsats av enkeltpersoner "
-"og skaperne å endre blanding av rettigheter som nå styrer feltet kreative. "
-"prosjektet ikke stiller til Start med copyright; det utfyller det. Målet er "
-"ikke å beseire rettighetene til forfattere, men å gjøre det enklere for "
-"forfattere og skaperne å utøve sine rettigheter, mer fleksibelt og billig. "
-"at vi tror forskjellen, aktiverer kreativitet å spre lettere."
-
-#. type: Content of: <book><chapter><section><title>
-msgid "THEM, SOON"
-msgstr "Dem, snart"
-
-#. type: Content of: <book><chapter><section><para>
-#, mtrans, fuzzy
-msgid ""
-"We will 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 these ideas and implement these reforms. But "
-"that also means that we have time to build awareness around the changes that "
-"we need."
-msgstr ""
-"Vi vil ikke gjenvinne en fri kultur av handling alene. det vil også ta "
-"viktige reformer av lover. Vi har en lang vei å gå før politikerne vil lytte "
-"til disse idéene og implementere disse reformene. men det betyr også at vi "
-"har tid til å bygge opp bevisstheten rundt endringene som vi trenger."
-
-#. type: Content of: <book><chapter><section><para>
-#, mtrans, fuzzy
-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 "
-"step, not an end. But any of these steps would carry us a long way to our "
-"end."
-msgstr ""
-"i dette kapitlet, jeg skissere fem typer endringer: fire som er generelt, og "
-"som er spesifikk for den mest opphetede kampen på dagen, musikk. hver er et "
-"skritt, ikke en slutt. men noen av disse trinnene vil bære oss en lang vei "
-"til vår side."
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "1. More Formalities"
-msgstr "1. Flere formaliteter"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"you buy a car, you get a bill of sale and register the car. If you buy an "
-"airplane ticket, it has your name on it."
-msgstr ""
-"Hvis du kjøper et hus, må du registrere salg i en gjerning. Hvis du kjøper "
-"land som å bygge et hus, må du registrere kjøp i en gjerning. Hvis du kjøper "
-"en bil, kan du få en regning for salg og registrere bilen. Hvis du kjøper en "
-"flybillett, har navnet ditt på den."
-
-#. PAGE BREAK 293
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 ""
-"disse er alle formaliteter knyttet til egenskapen. de er krav som vi alle må "
-"bære hvis vi ønsker vår eiendom skal beskyttes."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"register. You don't even have to mark your content. The default is control, "
-"and \"formalities\" are banished."
-msgstr ""
-"derimot under gjeldende lov om opphavsrett få du automatisk en opphavsrett, "
-"uavhengig av om du overholder eventuelle formalitet. du trenger ikke å "
-"registrere deg. du trenger ikke engang å merke innholdet. standard er "
-"kontrollen, og \"formaliteter\" er kastet ut."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid "Why?"
-msgstr "hvorfor?"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"As I suggested in chapter <xref xrefstyle=\"select: labelnumber\" linkend="
-"\"property-i\"/>, 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 copyright owner must bear to protect "
-"and secure his work. Those formalities were getting in the way."
-msgstr ""
-"som jeg antydet i kapittel 10, var motivasjon til å avskaffe formaliteter en "
-"god en. i verden før digital teknologi pålagt formaliteter en byrde på "
-"innehaver av opphavsrett uten mye fordel. dermed var det fremdriften når "
-"loven avslappet formelle krav som en opphavsrettsinnehaveren må bære å "
-"beskytte og sikre hans arbeid. disse formaliteter var komme i veien."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"But the Internet changes all this. Formalities today need not be a burden. "
-"Rather, the world without formalities is the world that burdens creativity. "
-"Today, there is no simple way to know who owns what, or with whom one must "
-"deal in order to use or build upon the creative work of others. There are no "
-"records, there is no system to trace— there is no simple way to know "
-"how to get permission. Yet given the massive increase in the scope of "
-"copyright's rule, getting permission is a necessary step for any work that "
-"builds upon our past. And thus, the <emphasis>lack</emphasis> of formalities "
-"forces many into silence where they otherwise could speak."
-msgstr ""
-"men Internett endrer alt dette. formaliteter trenger i dag ikke være en "
-"byrde. verden uten formaliteter er heller verden som byrder kreativitet. i "
-"dag, det er ingen enkel måte å vite hvem som eier hva eller hvem må en "
-"avtale for å kunne bruke eller bygge på kreative arbeidet til andre. Det "
-"finnes ingen poster, er det ingen systemer til spor—det er ingen enkel "
-"måte å vite hvordan du får tillatelse. men gitt den massive økningen i "
-"omfanget av copyright's regelen, få tillatelse er et nødvendig skritt for "
-"alt arbeid som bygger på vår fortid. og dermed mangel på formaliteter "
-"styrker mange i stillhet der de ellers kunne snakke."
-
-#. f1.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#, mtrans, fuzzy
-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 "
-"by other countries as well."
-msgstr ""
-"forslaget jeg er fremme her ville gjelde american Works bare. Selvfølgelig, "
-"jeg tror det vil være fordelaktig for samme idéen om å bli vedtatt av andre "
-"land også."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"The law should therefore change this requirement<placeholder type=\"footnote"
-"\" id=\"0\"/>—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."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The important formalities are three: marking copyrighted work, registering "
-"copyrights, and renewing the claim to copyright. Traditionally, the first of "
-"these three was something the copyright owner did; the second two were "
-"something the government 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."
-msgstr ""
-"viktig formaliteter er tre: merking opphavsrettsbeskyttede, registrerer "
-"opphavsrett og fornye kravet til copyright. tradisjonelt, var først av disse "
-"tre noe eieren av opphavsretten gjorde; de andre to var noe regjeringen "
-"gjorde. men et revidert system av formaliteter ville forvise regjeringen fra "
-"prosessen, unntatt for formålet å godkjenne standarder utviklet av andre."
-
-#. type: Content of: <book><chapter><section><section><section><title>
-msgid "REGISTRATION AND RENEWAL"
-msgstr "Registrering og fornying"
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"registration, the copyright owner paid a fee. As with most government "
-"agencies, the Copyright Office had little incentive to minimize the burden "
-"of registration; it also had little incentive to minimize the fee. And as "
-"the Copyright Office is not a main target of government policymaking, the "
-"office has historically been terribly underfunded. Thus, when people who "
-"know something about the process hear this idea about formalities, their "
-"first reaction is panic—nothing could be worse than forcing people to "
-"deal with the mess that is the Copyright Office."
-msgstr ""
-"under det gamle systemet hadde en opphavsrettighetene til filen en "
-"registrering med opphavsrett office registrere eller fornye opphavsretten. "
-"Når innlevering at registrering, betales eieren av opphavsretten en avgift. "
-"som med de fleste myndigheter hadde opphavsrett kontoret få insentiver til å "
-"minimere byrden av registrering; det hadde også få insentiver til å minimere "
-"gebyret. og så opphavsrett kontoret ikke er hovedmålet for regjeringen "
-"policymaking, kontoret har historisk sett vært veldig underfunded. Således, "
-"når folk som vet noe om prosessen hører denne idéen om formaliteter, deres "
-"første reaksjon er panikk—ingenting kunne være verre enn tvinge folk "
-"til å håndtere rotet som er copyright kontoret."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"innovatively about how governmental functions can be designed. Just because "
-"there is a public purpose to a government role, it doesn't follow that the "
-"government must actually administer the role. Instead, we should be creating "
-"incentives for private parties to serve the public, subject to standards "
-"that the government sets."
-msgstr ""
-"Likevel er det alltid utrolig for meg at vi, som kommer fra en tradisjon av "
-"ekstraordinære innovasjon i statlige design, kan ikke lenger tror innovativt "
-"om hvordan statlige funksjoner kan være utformet. bare fordi det er et "
-"offentlig formål til en regjering-rolle, følger ikke det at regjeringen må "
-"faktisk administrere rollen. i stedet, vi bør være å skape insentiver til "
-"private selskaper å tjene allmennheten, underlagt standarder som regjeringen "
-"angir."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"owners for these Web sites have to pay a fee to keep their registration "
-"alive. In the main top-level domains (.com, .org, .net), there is a central "
-"registry. The actual registrations are, however, performed by many competing "
-"registrars. That competition drives the cost of registering down, and more "
-"importantly, it drives the ease with which registration occurs up."
-msgstr ""
-"i sammenheng med registrering er en opplagt modell Internett. Det finnes "
-"minst 32 millioner web-områder som er registrert i verden. domeneeiere navn "
-"for disse web-områder må betale en avgift for å holde sine registrering "
-"Live. Det er et sentralt register i de viktigste domenene (.com, .org, ."
-"net). de faktiske registreringene utføres imidlertid av mange konkurrerende "
-"registrarer. at konkurransen stasjoner kostnadene for å registrere ned, og "
-"enda viktigere, det stasjoner brukervennligheten som registrering oppstår "
-"opp."
-
-#. PAGE BREAK 295
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"it should not be in the registrar business. Instead, it should establish a "
-"database, and a set of standards for registrars. It should approve "
-"registrars that meet its standards. Those registrars would then compete with "
-"one another to deliver the cheapest and simplest systems for registering and "
-"renewing copyrights. That competition would substantially lower the burden "
-"of this formality—while producing a database of registrations that "
-"would facilitate the licensing of content."
-msgstr ""
-"vi alle bør vedtas en lignende modell for registrering og fornying av "
-"opphavsretten. opphavsrett kontoret kan også tjene som sentrale registret, "
-"men det bør ikke være i virksomhet registrar. Det bør i stedet opprette en "
-"database, og et sett med standarder for registrarer. det skal godkjenne "
-"registrarer som oppfyller sine standarder. disse registrarer vil så "
-"konkurrere med hverandre for å levere de billigste og enkleste systemene for "
-"registrering og fornying av opphavsrett. at konkurransen ville vesentlig "
-"lavere byrden av denne formalitet—mens en database med registreringer "
-"som ville forenkler lisensiering av innhold."
-
-#. type: Content of: <book><chapter><section><section><section><title>
-msgid "MARKING"
-msgstr "Merking"
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"failing to comply with a regulatory rule—akin to imposing the death "
-"penalty for a parking ticket in the world of creative rights. Here again, "
-"there is no reason that a marking requirement needs to be enforced in this "
-"way. And more importantly, there is no reason a marking requirement needs to "
-"be enforced uniformly across all media."
-msgstr ""
-"Det pleide å være at å inkludere en opphavsrett på en skapende arbeid "
-"betydde at opphavsretten ble forkastet. Det var en streng straff for ikke å "
-"overholde en regulatoriske regel—sammenlignes med imponerende "
-"dødsstraff for en parkeringsbilletten i verden av kreative rettigheter. Her "
-"igjen, er det ingen grunn som et merking krav må håndheves på denne måten. "
-"og enda viktigere, det er ingen grunn et merking krav må håndheves jevnt på "
-"tvers av alle medier."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"to locate a copyright owner to secure permission to use the work."
-msgstr ""
-"Målet med merking er med signal til publikum at dette arbeidet er "
-"opphavsrettsbeskyttet, og at forfatteren ønsker å håndheve sine rettigheter. "
-"mark gjør det også enkelt å finne en som har opphavsrettighetene for å sikre "
-"tillatelse til å bruke arbeidet."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"how or where a statue was to be marked, or a record, or a film. A new "
-"marking requirement could solve these problems by recognizing the "
-"differences in media, and by allowing the system of marking to evolve as "
-"technologies enable it to. The system could enable a special signal from the "
-"failure to mark—not the loss of the copyright, but the loss of the "
-"right to punish someone for failing to get permission first."
-msgstr ""
-"ett av problemene opphavsretten til systemet konfrontert tidlig var at ulike "
-"opphavsrettslig beskyttet verk måtte være annerledes merket. Det var ikke "
-"klart hvordan eller hvor en statue var å bli merket, eller en oppføring, "
-"eller en film. en nye merking kravet kunne løse disse problemene ved å "
-"gjenkjenne forskjellene i media, og tillater systemet av merking å utvikle "
-"seg som teknologier gir det til. systemet kan gjøre det mulig for en "
-"spesiell signalet fra å merke—ikke tap av opphavsretten, men tap av "
-"retten til å straffe noen for ikke å få tillatelse først."
-
-#. f2.
-#. type: Content of: <book><chapter><section><section><section><para><footnote><para>
-#, mtrans, fuzzy
-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 "
-"than is justified by the marginal incentive it creates."
-msgstr ""
-"det ville være en complication med avledede produkter som jeg ikke har løst "
-"her. etter mitt syn er oppretter loven av derivater et mer komplisert system "
-"enn er rettferdiggjort av marginale incitament opprettes."
-
-#. PAGE BREAK 296
-#. type: Content of: <book><chapter><section><section><section><para>
-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 "
-"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."
-"<placeholder type=\"footnote\" id=\"0\"/> The meaning of an unmarked work "
-"would therefore be \"use unless someone complains.\" If someone does "
-"complain, then the obligation would be to stop using the work in any new "
-"work from then on though no penalty would attach for existing uses. This "
-"would create a strong incentive for copyright owners to mark their work."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"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."
-msgstr ""
-"som i sin tur reiser spørsmålet om hvordan arbeidet best bør være merket. "
-"Her igjen, må systemet justere som teknologien utvikler seg. den beste måten "
-"å sikre at systemet utvikler seg er å begrense opphavsrett kontorets rolle "
-"for å godkjenne standarder for å merke innhold som har vært laget andre "
-"steder."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"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 be made. The "
-"Copyright Office would then select the proposal that it judged preferable, "
-"and it would base that choice <emphasis>solely</emphasis> upon the "
-"consideration of which method could best be integrated into the registration "
-"and renewal system. We would not count on the government to innovate; but we "
-"would count on the government to keep the product of innovation in line with "
-"its other important functions."
-msgstr ""
-"for eksempel hvis en recording industry association devises en metode for å "
-"merke CDer, ville det foreslå som til opphavsrett kontoret. opphavsrett "
-"kontoret ville holde en høring, som andre forslag kan gjøres. opphavsrett "
-"kontoret deretter velger forslaget at det dømt foretrekke, og det vil basere "
-"det valget utelukkende på vurdering som kan best metoden integreres i "
-"systemet registrering og fornyelse. Vi ville ikke stole på regjeringen til å "
-"skape noe nytt; men vi vil stole på regjeringen for å holde produktet av "
-"innovasjon i tråd med sin andre viktige funksjoner."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Finally, marking content clearly would simplify registration requirements. "
-"If photographs were marked by author and year, there would be little reason "
-"not to allow a photographer to reregister, for example, all photographs "
-"taken in a particular year in one quick step. The aim of the formality is "
-"not to burden the creator; the system itself should be kept as simple as "
-"possible."
-msgstr ""
-"til slutt, markerer innholdet klart vil forenkle krav til registrering. Hvis "
-"fotografier var preget av forfatteren og år, ville det være liten grunn til "
-"ikke å tillate en fotograf å registrere på nytt, for eksempel alle bildene "
-"som er tatt i et bestemt år i ett trinn. Målet med formalitet er å unngå "
-"unødige belastninger skaperen; selve systemet bør holdes så enkelt som mulig."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-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 "
-"unclear."
-msgstr ""
-"Målet med formaliteter er å gjøre ting klart. eksisterende systemet gjør "
-"ingenting for å gjøre ting klart. Ja, det synes designet for å gjøre ting "
-"som er uklart."
-
-#. type: Content of: <book><chapter><section><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"If formalities such as registration were reinstated, one of the most "
-"difficult aspects of relying upon the public domain would be removed. It "
-"would be simple to identify what content is presumptively free; it 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."
-msgstr ""
-"Hvis formaliteter for eksempel registrering er gjenopprettet, en av de "
-"vanskeligste sidene av stole på allemannseie ville bli fjernet. det ville "
-"være enkelt å identifisere hvilket innhold er presumptively gratis; det "
-"ville være enkelt å identifisere hvem styrer rettighetene for en bestemt "
-"type innhold; det ville være enkelt å hevde de rettighetene og å fornye at "
-"påstanden på riktig tidspunkt."
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "2. Shorter Terms"
-msgstr "2. Kortere vernetid"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"authors."
-msgstr ""
-"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."
-
-#. f3.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"\"A Radical Rethink,\" <citetitle>Economist</citetitle>, 366:8308 (25 "
-"January 2003): 15, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #74</ulink>."
-msgstr ""
-"\"A Radical Rethink,\" <citetitle>Economist</citetitle>, 366:8308 (25. "
-"januar 2003): 15, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #74</ulink>."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-"
-"year term, granted in five-year increments with a requirement of renewal "
-"every five years. That seemed radical enough at the time. But after we lost "
-"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the "
-"proposals became even more radical. <citetitle>The Economist</citetitle> "
-"endorsed a proposal for a fourteen-year copyright term.<placeholder type="
-"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for "
-"patents."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"that are important to keep in mind about copyright terms."
-msgstr ""
-"Jeg er enig med de som tror at vi trenger en radikal endring i copyright's "
-"sikt. men om fjorten år eller sytti-fem, finnes det fire prinsipper som er "
-"viktig å huske på om opphavsrett terms."
-
-#. (1)
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-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 "
-"protections for authors (so authors were able to reclaim rights from "
-"publishers), rights to the same work (not derivative works) might be "
-"extended further. The key is not to tie the work up with legal regulations "
-"when it no longer benefits an author."
-msgstr ""
-"holde det kort: begrepet skal være så lenge som nødvendig for å gi "
-"insentiver til å opprette, men ikke lenger. Hvis det var knyttet til veldig "
-"sterk beskyttelse for forfattere (slik at forfattere klarte å gjenvinne "
-"rettigheter fra utgivere), kan rettighetene til frembringelsen som samme "
-"(ikke avledede) utvides ytterligere. nøkkelen er ikke å knytte arbeidet opp "
-"med forskrifter når det ikke lenger fordeler en forfatter."
-
-#. (2)
-#. PAGE BREAK 298
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-msgid ""
-"<emphasis>Keep it simple:</emphasis> The line between the public domain and "
-"protected content must be kept clear. Lawyers like the fuzziness of \"fair "
-"use,\" and the distinction between \"ideas\" and \"expression.\" That kind "
-"of law gives them lots of work. But our framers had a simpler idea in mind: "
-"protected versus unprotected. The value of short terms is that there is "
-"little need to build exceptions into copyright when the term itself is kept "
-"short. A clear and active \"lawyer-free zone\" makes the complexities of "
-"\"fair use\" and \"idea/expression\" less necessary to navigate."
-msgstr ""
-"<emphasis>Gjør det enkelt:</emphasis> Skillelinjen mellom verker uten "
-"opphavsrettslig vern og innhold som er beskyttet må forbli klart. Advokater "
-"liker uklarheten som \"rimelig bruk\" og forskjellen mellom \"idéer\" og "
-"\"uttrykk\" har. Denne type lovverk gir dem en masse arbeid. Men de som "
-"skrev grunnloven hadde en enklere idé: vernet versus ikke vernet. Verdien av "
-"korte vernetider er at det er lite behov for å bygge inn unntak i "
-"opphavsretten når vernetiden holdes kort. En klar og aktiv \"advokat-fri "
-"sone\" gjør komplesiteten av \"rimelig bruk\" og \"idé/uttrykk\" mindre "
-"nødvendig å håndtere."
-
-#. f4.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><footnote><para>
-msgid ""
-"Department of Veterans Affairs, Veteran's Application for Compensation and/"
-"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #75</ulink>."
-msgstr ""
-"Department of Veterans Affairs, Veteran's Application for Compensation and/"
-"or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra "
-"<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>."
-
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><indexterm><primary>
-msgid "veterans' pensions"
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-msgid ""
-"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. "
-"Especially if the maximum term is long, the copyright owner should be "
-"required to signal periodically that he wants the protection 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.<placeholder type=\"footnote\" id=\"0\"/"
-"> 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. <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. (4)
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-msgid ""
-"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright "
-"should be, the clearest lesson that economists teach is that a term once "
-"given should not be extended. It might have been a mistake in 1923 for the "
-"law to offer authors only a fifty-six-year term. I don't think so, but it's "
-"possible. If it was a mistake, then the consequence was that we got fewer "
-"authors to create in 1923 than we otherwise would have. But we can't correct "
-"that mistake today by increasing the term. No matter what we do today, we "
-"will not increase the number of authors who wrote in 1923. Of course, we can "
-"increase the reward that those who write now get (or alternatively, increase "
-"the copyright burden that smothers many works that are today invisible). But "
-"increasing their reward will not increase their creativity in 1923. What's "
-"not done is not done, and there's nothing we can do about that now."
-msgstr ""
-"holde det potensielle: hva begrepet av opphavsrett skal være, klareste "
-"lærdommen om at økonomer lære er at en term når gitt ikke bør utvides. Det "
-"kan ha vært en feil i 1923 for lov å tilby forfattere bare en femti-seks års "
-"sikt. Jeg tror ikke det, men det er mulig. Hvis det var en feil, da var "
-"konsekvensen at vi fikk færre forfattere å opprette i 1923 enn vi ellers "
-"ville ha. men vi kan ikke korrigere at feil i dag ved å øke begrepet. "
-"Uansett hva vi gjør i dag, vil vi ikke øke antall forfattere som skrev i "
-"1923. Selvfølgelig, kan vi øke belønning som dem som skriver nå få (eller "
-"eventuelt øke opphavsrett byrden som smothers mange fungerer som i dag er "
-"usynlig). men øke deres belønning vil ikke øke sin kreativitet i 1923. Hva "
-"er ikke gjort er ikke gjort, og det er ingenting vi kan gjøre med det nå."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"These changes together should produce an <emphasis>average</emphasis> "
-"copyright term that is much shorter than the current term. Until 1976, the "
-"average term was just 32.2 years. We should be aiming for the same."
-msgstr ""
-"Disse endringene vil sammen gi en <emphasis>gjennomsnittlig</emphasis> "
-"opphavsrettslig vernetid som er mye kortere enn den gjeldende vernetiden. "
-"Frem til 1976 var gjennomsnittlig vernetid kun 32.2 år. Vårt mål bør være "
-"det samme."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"No doubt the extremists will call these ideas \"radical.\" (After all, I "
-"call them \"extremists.\") But again, the term I recommended was longer than "
-"the term under Richard Nixon. How \"radical\" can it be to ask for a more "
-"generous copyright law than Richard Nixon presided over?"
-msgstr ""
-"Uten tvil vil ekstremistene kalle disse idéene \"radikale\". (Tross alt, så "
-"kaller jeg dem \"ekstremister\".) Men igjen, vernetiden jeg anbefalte var "
-"lengre enn vernetiden under Richard Nixon. hvor \"radikalt\" kan det være å "
-"be om en mer sjenerøs opphavsrettighet enn da Richard Nixon var president?"
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "3. Free Use Vs. Fair Use"
-msgstr "3. Fri Bruk vs. rimelig bruk"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"heavens. The airplane came along. The scope of property rights quickly "
-"changed. There was no fuss, no constitutional challenge. It made no sense "
-"anymore to grant that much control, given the emergence of that new "
-"technology."
-msgstr ""
-"som jeg observert i begynnelsen av denne boken, gitt "
-"opphavsrettslovgivningen opprinnelig bolig retten til å kontrollere deres "
-"eiendom fra bakken til himmelen. flyet kom. omfanget av eiendomsrettigheter "
-"endres raskt. Det var ingen oppstyr, ingen konstitusjonelle utfordring. det "
-"gjorde ingen sans lenger for å gi så mye kontroll, gitt fremveksten av den "
-"nye teknologien."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Our Constitution gives Congress the power to give authors \"exclusive right"
-"\" to \"their writings.\" Congress has given authors an exclusive right to "
-"\"their writings\" plus any derivative writings (made by others) that are "
-"sufficiently close to the author's original 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 \"my writing.\""
-msgstr ""
-"vår grunnlov gir Kongressen makt til å gi forfattere \"eksklusiv rett\" til "
-"\"deres skrifter.\" Kongressen har gitt forfatterne en eksklusiv rett til å "
-"\"deres skrifter\" pluss eventuelle avledede skrifter (laget av andre) som "
-"er tilstrekkelig nær forfatterens opprinnelige arbeid. Dermed, hvis jeg "
-"skrive en bok og en film basert på boken, jeg har makt til å nekte deg rett "
-"til å frigi den filmen, selv om filmen ikke er \"min skrive.\""
-
-#. f5.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New "
-"York: Columbia University Press, 1967), 32."
-msgstr ""
-"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New "
-"York: Columbia University Press, 1967), 32."
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "Kaplan, Benjamin"
-msgstr "Kaplan, Benjamin"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"dramatizations of a work.<placeholder type=\"footnote\" id=\"0\"/> 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. <placeholder type=\"indexterm\" id=\"1\"/>"
-msgstr ""
-
-#. f6.
-#. type: Content of: <book><chapter><section><section><blockquote><para><footnote><para>
-#, mtrans, fuzzy
-msgid "Ibid., 56."
-msgstr "ibid., 56."
-
-#. type: Content of: <book><chapter><section><section><blockquote><para>
-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 "
-"accepting such an enlargement of copyright while yet intoning the "
-"abracadabra of idea and expression.<placeholder type=\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 sense. "
-"More precisely, they don't make sense for the period of time that a "
-"copyright runs. And they don't make sense as an amorphous grant. Consider "
-"each limitation in turn."
-msgstr ""
-"Jeg tror det er på tide å anerkjenne at det er fly i dette feltet og "
-"expansiveness av disse rettigheter til avledede bruk ikke lenger fornuftig. "
-"mer presist, fornuftig de ikke for hvor lang tid som en copyright kjører. og "
-"de har ikke noen mening som en formløse grant. vurdere hver begrensning "
-"igjen."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"John Grisham's right to sell the movie rights to his latest novel (or at "
-"least I'm willing to assume it does); but it does not make sense for that "
-"right 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. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for "
-"en mye kortere sikt. Det er fornuftig å beskytte john grisham's rett til å "
-"selge film rettighetene til hans siste roman (eller minst er jeg villig til "
-"å påta seg det gjør); men det gjør ikke sans for det riktig å kjøre på samme "
-"ordet som underliggende opphavsretten. avledede høyre kan være viktig i "
-"inducing kreativitet; Det er ikke viktig lenge etter skapende arbeid er "
-"gjort."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights "
-"be narrowed. Again, there are some cases in which derivative rights are "
-"important. Those should be specified. But the law should draw clear lines "
-"around regulated and unregulated uses of copyrighted material. When all "
-"\"reuse\" of creative material was within the control of businesses, perhaps "
-"it made sense to require lawyers to negotiate the lines. It no longer makes "
-"sense for lawyers to negotiate the lines. Think about all the creative "
-"possibilities that digital technologies enable; now imagine pouring molasses "
-"into the machines. That's what this general requirement of permission does "
-"to the creative process. Smothers it."
-msgstr ""
-"område: på samme måte bør omfanget av avledede rettigheter bli innsnevret. "
-"igjen, det er noen tilfeller der avledede rettigheter er viktig. de skal "
-"angis. men loven skal tegne klare linjer rundt regulert og unregulated bruk "
-"av opphavsrettsbeskyttet materiale. Når alle \"gjenbruk\" av kreative "
-"materiale var har kontroll over bedrifter, kanskje gjort det fornuftig å "
-"kreve advokater å forhandle linjene. Det er ikke lenger fornuftig for "
-"jurister å forhandle linjene. Tenk alle de kreative mulighetene som digital "
-"teknologi aktivere; Nå forestille pouring molasses til maskinene. Det er hva "
-"denne generelle krav om tillatelse betyr for den kreative prosessen. "
-"Smothers det."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"derivative rights—turning a book into a movie, or a poem into a "
-"musical score—it doesn't make sense to require negotiation for the "
-"unforeseeable. Here, a statutory right would make much more sense."
-msgstr ""
-"Dette var poenget som alben gjort når beskriver inngåelse av clint eastwood-"
-"cd. mens det er fornuftig å kreve forhandling for overskuelig avledede "
-"rettigheter—snu en bok i en film eller et dikt i en musikalsk "
-"poengsum—det ikke fornuftig å kreve forhandling for den unforeseeable. "
-"her, ville en lovfestet rett gjøre mye mer fornuftig."
-
-#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-msgid "Goldstein, Paul"
-msgstr "Goldstein, Paul"
-
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the "
-"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), "
-"187–216. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the "
-"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), "
-"187–216. <placeholder type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"reverse of the recommendation of my colleague Paul Goldstein.<placeholder "
-"type=\"footnote\" id=\"0\"/> His view is that the law should be written so "
-"that expanded protections follow expanded uses."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"Internet, the uncertainty about the scope of protection, and the incentives "
-"to protect existing architectures of revenue, combined with a strong "
-"copyright, weaken the process of innovation."
-msgstr ""
-"goldstein's analyse ville gjøre perfekt forstand Hvis kostnaden for juridisk "
-"system var små. men som vi nå ser i sammenheng med Internett, usikkerhet om "
-"omfanget av beskyttelse og insentiver for å beskytte eksisterende "
-"arkitekturer av inntekt, kombinert med en sterk copyright svekke prosessen "
-"med innovasjon."
-
-#. PAGE BREAK 301
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The law could remedy this problem either by removing protection beyond the "
-"part explicitly drawn or by granting reuse rights upon 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."
-msgstr ""
-"loven kan rette opp dette problemet ved å fjerne beskyttelsen utover delen "
-"som er eksplisitt tegnede eller ved å gi gjenbruk rettigheter på visse "
-"lovbestemte betingelser. Uansett hva effekten ville være å frigjøre mye "
-"kultur for andre å dyrke. og under en lovbestemte rettigheter-regimet at "
-"gjenbruk ville tjene artister mer inntekter."
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "4. Liberate the Music—Again"
-msgstr "4. Frigjør musikken—igjen"
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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, "
-"most pressing—music. There is no other policy issue that better "
-"teaches the lessons of this book than the battles around the sharing of "
-"music."
-msgstr ""
-"Slaget som fikk dette hele krigen går var om musikk, så det ikke ville være "
-"rettferdig å avslutte denne boken uten å ta opp problemet som er, for "
-"fleste, de fleste presserende—musikk. Det er ingen andre spørsmål som "
-"bedre lærer erfaringene fra denne boken enn slagene rundt deling av musikk."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"other single application. It was the Internet's killer app—possibly in "
-"two senses of that word. It no doubt was the application that drove demand "
-"for bandwidth. It may well be the application that drives demand for "
-"regulations that in the end kill innovation on the network."
-msgstr ""
-"Anken av fildelings-musikken var crack-kokain av internetts vekst. den "
-"kjørte behov for tilgang til Internett mer kraftfullt enn andre enkelt "
-"program. Det var Internetts killer app—muligens i to sanser i "
-"beskrivelsen av ordet. Det var ingen tvil om programmet som kjørte "
-"etterspørselen etter båndbredde. Det kan godt være programmet som driver "
-"etterspørselen etter forskrifter som til slutt drepe innovasjon på "
-"nettverket."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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, "
-"and, most importantly, spread. The law does this by giving an exclusive "
-"right to a composer to control public performances of his work, and to a "
-"performing artist to control copies of her performance."
-msgstr ""
-"Målet med opphavsrett, med hensyn til innhold Generelt og musikk er spesielt "
-"å skape insentiver for musikk komponert, utført, og, viktigst, spre. loven "
-"gjør dette ved å gi en eksklusiv rett til en komponisten å kontrollere "
-"offentlig fremføring av sitt arbeid, og til en profesjonell artist å "
-"kontrollere kopier av hennes ytelse."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"all the file-sharing networks do. As I described in chapter <xref xrefstyle="
-"\"select: labelnumber\" linkend=\"piracy\"/>, they enable four different "
-"kinds of sharing:"
-msgstr ""
-"fildeling nettverk komplisere denne modellen ved å aktivere spredning av "
-"innhold som utøveren ikke er blitt betalt. men selvfølgelig, det er ikke "
-"alle fildeling nettverk gjør. som jeg beskrevet i kapittel 5, aktivere de "
-"fire forskjellige typer deling:"
-
-#. A.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-msgid ""
-"There are some who are using sharing networks as substitutes for purchasing "
-"CDs."
-msgstr ""
-"Det er noen som bruker delingsnettverk som erstatninger for å kjøpe CDer."
-
-#. B.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#, mtrans, fuzzy
-msgid ""
-"There are also some who are using sharing networks to sample, on the way to "
-"purchasing CDs."
-msgstr ""
-"Det er også noen som bruker delingsnettverk for å prøvelytte, på vei mot å "
-"kjøpe CDer."
-
-#. PAGE BREAK 302
-#. C.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-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 "
-"too cumbersome to buy off the Net."
-msgstr ""
-"Det er mange som bruker fildelingsnettverk til å få tilgang til innhold som "
-"ikke lenger er i salg, men fortsatt er vernet av opphavsrett eller som ville "
-"ha vært altfor vanskelig å få kjøpt via nettet."
-
-#. D.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-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 "
-"endorses."
-msgstr ""
-"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."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"with which the law aims to eliminate type A, moreover, should depend upon "
-"the magnitude of type B. As with VCRs, if the net effect of sharing is "
-"actually not very harmful, the need for regulation is significantly weakened."
-msgstr ""
-"noen reform av loven behov for å holde disse ulike bruksområder i fokus. den "
-"må unngå bebyrde type d selv om formålet er å eliminere type a. den iver "
-"etter med som loven sikte på å eliminere type a, videre bør avhenger "
-"omfanget av typen b. som med videospillere, hvis netto effekt av en deling "
-"er faktisk ikke svært skadelige, behovet for regulering er betydelig svekket."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"As I said in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"piracy"
-"\"/>, 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 networks."
-msgstr ""
-"som jeg sa i kapittel 5, er den faktiske skaden forårsaket av deling "
-"kontroversielt. i hensikt av dette kapitlet, men antar jeg skaden er reell. "
-"Jeg antar, med andre ord, denne typen en deling er betydelig større enn type "
-"b, og er dominerende bruk av deling av nettverk."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 respond."
-msgstr ""
-"Uansett, det er et avgjørende faktum om den gjeldende teknologiske "
-"omgivelsen som vi må huske på hvis vi skal forstå hvordan loven bør reagere."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"content. It won't be the easiest way to get access to a broad range of "
-"content in ten years. Today, access to the Internet is cumbersome and "
-"slow—we in the United States are lucky to have broadband service at "
-"1.5 MBs, and very rarely do we get service at that speed both up and down. "
-"Although wireless access is growing, most of us still get access across "
-"wires. Most only gain access through a machine with a keyboard. The idea of "
-"the always on, always connected Internet is mainly just an idea."
-msgstr ""
-"i dag, er fildeling addictive. i ti år, vil ikke det være. Det er addictive "
-"i dag fordi det er den enkleste måten å få tilgang til et bredt spekter av "
-"innhold. det vil ikke være den enkleste måten å få tilgang til et bredt "
-"spekter av innhold i ti år. i dag, tilgang til Internett er tunge og "
-"sakte—vi i USA er heldig å ha bredbåndstjeneste på 1,5 mbs og svært "
-"sjelden får vi service på den hastigheten som er både opp og ned. Selv om "
-"trådløs tilgang er økende, få de fleste av oss fortsatt tilgang på tvers av "
-"ledninger. de fleste bare få tilgang gjennom en maskin med et tastatur. "
-"idéen om den alltid på, alltid tilkoblet Internett er hovedsakelig bare en "
-"idé."
-
-#. PAGE BREAK 303
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"policy on the basis of technology in transition. They should make policy on "
-"the basis of where the technology is going. The question should not be, how "
-"should the law regulate sharing in this world? The question should be, what "
-"law will we require when the network becomes the network it is clearly "
-"becoming? That network is one in which every machine with electricity is "
-"essentially on the Net; where everywhere you are—except maybe the "
-"desert or the 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."
-msgstr ""
-"men det vil bli en realitet, og det betyr at måten vi får tilgang til "
-"Internett i dag er en teknologi i overgangen. beslutningstakere må ikke "
-"policyen på grunnlag av teknologi i overgangen. de bør gjøre policyen på "
-"grunnlag av hvor teknologien går. spørsmålet bør ikke være, og hvordan bør "
-"loven regulere deling i denne verden? spørsmålet bør være, hva loven vil vi "
-"krever når nettverket blir nettverket blir det klart? Dette nettverket er en "
-"der hver enkelt maskin med elektrisitet er egentlig på nettet; der overalt "
-"du er—unntatt kanskje ørkenen eller rockies—du kan umiddelbart "
-"kobles til Internett. Tenk deg så allestedsnærværende som beste "
-"mobiltelefonen tjenesten, der med flippen på en enhet, du er tilkoblet "
-"Internett."
-
-#. f8.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April "
-"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #76</"
-"ulink>."
-msgstr ""
-"For eksempel, se, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April "
-"2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link "
-"#76</ulink>."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"is streamed to the user when the user demands. Here, then, is the critical "
-"point: When it is <emphasis>extremely</emphasis> easy to connect to services "
-"that give access to content, it will be <emphasis>easier</emphasis> to "
-"connect to services that give you access to content than it will be to "
-"download and store content <emphasis>on the many devices you will have for "
-"playing content</emphasis>. It will be easier, in other words, to subscribe "
-"than it will be to be a database manager, as everyone in the download-"
-"sharing world of Napster-like technologies essentially is. Content services "
-"will compete with content sharing, even if the services charge money for the "
-"content they give access to. Already 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 \"free\" "
-"content is available in the form of MP3s across the Web.<placeholder type="
-"\"footnote\" id=\"0\"/>"
-msgstr ""
-
-#. PAGE BREAK 304
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This point about the future is meant to suggest a perspective on the "
-"present: It is emphatically temporary. The \"problem\" with file "
-"sharing—to the extent there is a real problem—is a problem that "
-"will increasingly disappear as it becomes easier to connect to the "
-"Internet. And thus it is an extraordinary mistake for policy makers today "
-"to be \"solving\" this problem in light of a technology that will be gone "
-"tomorrow. The question should not be how to regulate the Internet to "
-"eliminate file sharing (the Net will evolve that problem away). The question "
-"instead should be how to assure that artists get paid, during this "
-"transition between twentieth-century models for doing business and twenty-"
-"first-century technologies."
-msgstr ""
-"dette punktet om fremtiden er ment å foreslå et perspektiv på stede: det er "
-"spesielt midlertidig. \"problemet\" med fildeling—i den grad det er et "
-"reelt problem—er et problem som i økende grad vil forsvinne som det "
-"blir enklere å koble til Internett. og således det er en ekstraordinære feil "
-"for beslutningstakere i dag til å være \"løse\" dette problemet i lys av en "
-"teknologi som vil være borte i morgen. spørsmålet bør ikke hvordan å "
-"regulere Internett til å eliminere fildeling (nettet vil utvikle seg det "
-"problemet unna). spørsmålet bør i stedet hvor å forsikre at artister får "
-"betalt, under denne overgangen mellom 1900-tallet modeller for å gjøre "
-"forretnings- og tyve-første-tallet teknologier."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"The answer begins with recognizing that there are different \"problems\" "
-"here to solve. Let's start with type D content—uncopyrighted content "
-"or copyrighted content that the artist wants shared. The \"problem\" with "
-"this content is to make sure that the technology that would enable this kind "
-"of sharing is not rendered illegal. You can think of it this way: Pay phones "
-"are used to deliver ransom demands, no doubt. But there are many who need "
-"to use pay phones who have nothing to do with ransoms. It would be wrong to "
-"ban pay phones in order to eliminate kidnapping."
-msgstr ""
-"svaret begynner med erkjenner at det er ulike \"problemer\" her å løse. La "
-"oss starte med typen d innhold—uncopyrighted innhold eller "
-"opphavsrettslig beskyttet innhold som kunstneren ønsker delt. \"problemet\" "
-"med dette innholdet er å sørge for at teknologien som ville gjøre det mulig "
-"for denne type deling ikke gjengis ulovlig. Du kan tenke på det på denne "
-"måten: betal telefoner brukes til å levere løsepenger krav, ingen tvil. men "
-"det er mange som trenger å bruke betale telefoner som har ingenting å gjøre "
-"med ransoms. det ville være feil å utestenge betale telefoner for å "
-"eliminere kidnapping."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Type C content raises a different \"problem.\" This is content that was, at "
-"one time, published and is no longer available. It may be unavailable "
-"because the artist is no longer valuable enough for the record label he "
-"signed with to carry his work. Or it may be 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."
-msgstr ""
-"c-innhold av typen reiser et annet \"problem.\" Dette er innhold som ble, "
-"samtidig, publisert og er ikke lenger tilgjengelig. Det kan være "
-"utilgjengelig fordi kunstneren er ikke lenger nok kostbar for plateselskap "
-"han signert med å bære sitt arbeid. eller det kan være utilgjengelig fordi "
-"arbeidet er glemt. Uansett bør sikte på loven å forenkle tilgang til dette "
-"innholdet, ideelt på en måte som returnerer noe til kunstneren."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"and used book stores don't pay the copyright owner when someone reads or "
-"buys an out-of-print book. That makes total sense, of course, since any "
-"other system would be so burdensome as to eliminate the possibility of used "
-"book stores' existing. But from the author's perspective, this \"sharing\" "
-"of his content without his being compensated is less than ideal."
-msgstr ""
-"igjen er modellen her brukt boka store. Når en bok går ut av Skriv ut, det "
-"kan fortsatt være tilgjengelig i biblioteker og brukte bokhandlere. men "
-"biblioteker og brukte bokhandlere betaler ikke eieren av opphavsretten når "
-"noen leser eller kjøper en ut-av-print-bok. Det er totalt fornuftig, "
-"selvfølgelig, siden andre systemet ville være så tunge som å eliminere "
-"muligheten for brukte boken butikker eksisterende. men fra forfatterens "
-"perspektiv, denne \"deling\" av hans innhold uten hans blir kompensert er "
-"mindre enn ideell."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 music "
-"available for sale, then commercial and noncommercial providers would be "
-"free, under this rule, to \"share\" that content, even though the sharing "
-"involved making a copy. The copy here would be incidental to the trade; in a "
-"context where commercial publishing has ended, trading music should be as "
-"free as trading books."
-msgstr ""
-"modell for brukte boken butikker tyder på at loven kan bare anser-print "
-"musikk rettferdig spill. Hvis utgiveren ikke gjør kopier av musikken "
-"tilgjengelig for salg, vil og kommersielle og ikke-kommersiell leverandører "
-"være gratis, under denne regelen, å \"dele\" innholdet, selv om deling "
-"involvert gjør en kopi. Kopier hit ville være tilfeldige for handel; i en "
-"sammenheng der kommersielle publisering er avsluttet, bør handel musikk være "
-"gratis som handel bøker."
-
-#. PAGE BREAK 305
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"law set a low statutory rate for the commercial sharing of content that was "
-"not offered for sale by a commercial publisher, and if that rate were "
-"automatically transferred to a trust for the benefit of the artist, then "
-"businesses could develop around the idea of trading this content, and "
-"artists would benefit from this trade."
-msgstr ""
-"loven kan eventuelt opprette en lovbestemte lisens som vil sørge for at "
-"artister får noe fra handel av sitt arbeid. for eksempel hvis loven satt en "
-"lav lovbestemte sats for kommersielle deling av innhold som ikke ble tilbudt "
-"for salg av en kommersiell utgiver, og hvis den hastigheten ble automatisk "
-"overført til en tillit til fordel for kunstneren, deretter bedrifter kan "
-"utvikle rundt idéen om handel dette innholdet, og kunstnere vil dra nytte av "
-"denne handelen."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This system would also create an incentive for publishers to keep works "
-"available commercially. Works that are available commercially would not be "
-"subject to this license. Thus, publishers could protect the right to charge "
-"whatever they want for content if they kept the work commercially available. "
-"But if they don't keep it available, and instead, the computer hard disks of "
-"fans around the world keep it alive, then any royalty owed for such copying "
-"should be much less than the amount owed a commercial publisher."
-msgstr ""
-"Dette systemet vil også skape et insentiv for utgivere å holde works "
-"tilgjengelig kommersielt. verk som er kommersielt tilgjengelige ville ikke "
-"være underlagt denne lisensen. utgivere kan derfor beskytte retten til å "
-"belaste hva de vil for innhold hvis de holdt arbeidet som er kommersielt "
-"tilgjengelig. men hvis de ikke holde det tilgjengelig, og i stedet, "
-"datamaskin harddisk av fans over hele verden holde det Live, deretter alle "
-"royalty skyldte for slike kopiering bør være mye mindre enn beløpet skyldte "
-"en kommersiell utgiver."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"for gaining access to content change. The law's solution should be as "
-"flexible as the problem is, understanding that we are in the middle of a "
-"radical transformation in the technology for delivering and accessing "
-"content."
-msgstr ""
-"vanskelig saken er innhold av typer en og b, og igjen, denne saken er "
-"vanskelig fordi omfanget av problemet vil endres over tid, som teknologiene "
-"for å få tilgang til innhold endres. lovens løsning skal være så fleksibelt "
-"som problemet er, forstå at vi er midt i en radikal endring i teknologien "
-"for å levere og tilgang til innhold."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 ""
-"Så her er en løsning som i første omgang kan virke veldig undelig for begge "
-"sider i denne krigen, men som jeg tror vil gi mer mening når en får tenkt "
-"seg om."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"set of rights that secure copyright. If those rights are to be protected, "
-"then the content industry should be compensated for that harm. Just as the "
-"technology of tobacco harmed the health of millions of Americans, or the "
-"technology of asbestos caused grave illness to thousands of miners, so, too, "
-"has the technology of digital networks harmed the interests of the content "
-"industry."
-msgstr ""
-"frastjålet retorikken om sanctity av egenskapen, grunnleggende kravet av "
-"innhold industrien er dette: en ny teknologi (Internett) har skadet et sett "
-"med rettigheter som sikre copyright. Hvis disse rettighetene er å bli "
-"beskyttet, så innhold industrien skal kompenseres for at skade. akkurat som "
-"teknologien av tobakk skadet helsen til millioner av amerikanere, eller "
-"teknologien for asbest forårsaket en alvorlig sykdom til tusenvis av miners, "
-"så har også, teknologien for digitale nettverk skadet interessene til "
-"innhold industrien."
-
-#. PAGE BREAK 306
-#. type: Content of: <book><chapter><section><section><para>
-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. "
-"And it suggests a fair response: Rather than seeking to destroy the "
-"Internet, or the p2p technologies that are currently harming content "
-"providers on the Internet, we should find a relatively simple way to "
-"compensate those who are harmed."
-msgstr ""
-"Jeg elsker internett, så jeg liker ikke å sammenligne det med tobakk eller "
-"asbest. Men analogien er rimelig når en ser det fra lovens perspektiv. Og "
-"det foreslår en rimelig respons: I stedet for å forsøke å ødelegge internett "
-"eller p2p-teknologien som i dag skader innholdsleverandører på internett, så "
-"bør vi finne en relativt enkel måte å kompensere de som blir skadelidende."
-
-#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-msgid "Fisher, William"
-msgstr "Fisher, William"
-
-#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-msgid "Promises to Keep (Fisher)"
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"William Fisher, <citetitle>Digital Music: Problems and Possibilities</"
-"citetitle> (last revised: 10 October 2000), available at <ulink url=\"http://"
-"free-culture.cc/notes/\">link #77</ulink>; William Fisher, "
-"<citetitle>Promises to Keep: Technology, Law, and the Future of "
-"Entertainment</citetitle> (forthcoming) (Stanford: Stanford University "
-"Press, 2004), ch. 6, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #78</ulink>. Professor Netanel has proposed a related idea that "
-"would exempt noncommercial sharing from the reach of copyright and would "
-"establish compensation to artists to balance any loss. See Neil Weinstock "
-"Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. "
-"For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" "
-"<citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip S. "
-"Corwin on behalf of Sharman Networks, A Letter to Senator Joseph R. Biden, "
-"Jr., Chairman of the Senate Foreign Relations Committee, 26 February 2002, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #80</ulink>; "
-"Serguei Osokine, <citetitle>A Quick Case for Intellectual Property Use Fee "
-"(IPUF)</citetitle>, 3 March 2002, available at <ulink url=\"http://free-"
-"culture.cc/notes/\">link #81</ulink>; Jefferson Graham, \"Kazaa, Verizon "
-"Propose to Pay Artists Directly,\" <citetitle>USA Today</citetitle>, 13 May "
-"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</"
-"ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum Online, "
-"1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" CNET News."
-"com, 27 August 2002, available at <ulink url=\"http://free-culture.cc/notes/"
-"\">link #84</ulink>. Fisher's proposal is very similar to Richard "
-"Stallman's proposal for DAT. Unlike Fisher's, Stallman's proposal would not "
-"pay artists directly proportionally, though more popular artists would get "
-"more than the less popular. As is typical with Stallman, his proposal "
-"predates the current debate by about a decade. See <ulink url=\"http://free-"
-"culture.cc/notes/\">link #85</ulink>. <placeholder type=\"indexterm\" id="
-"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type="
-"\"indexterm\" id=\"2\"/>"
-msgstr ""
-"William Fisher, <citetitle>Digital Music: Problems and Possibilities</"
-"citetitle> (sist revidert: 10. oktober 2000), tilgjengelig fra <ulink url="
-"\"http://free-culture.cc/notes/\">link #77</ulink>; William Fisher, "
-"<citetitle>Promises to Keep: Technology, Law, and the Future of "
-"Entertainment</citetitle> (kommer) (Stanford: Stanford University Press, "
-"2004), kap. 6, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #78</ulink>. Professor Netanel har foreslått en relatert idé som "
-"ville gjøre at opphavsretten ikke gjelder ikke-kommersiell deling fra og "
-"ville etablere kompenasjon til kunstnere for å balansere eventuelle tap. Se "
-"Neil Weinstock Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P "
-"File Sharing,\" tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #79</ulink>. For andre forslag, se Lawrence Lessig, \"Who's Holding "
-"Back Broadband?\" <citetitle>Washington Post</citetitle>, 8. january 2002, "
-"A17; Philip S. Corwin på vegne av Sharman Networks, Et brev til Senator "
-"Joseph R. Biden, Jr., leder i the Senate Foreign Relations Committee, 26. "
-"februar. 2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/"
-"\">link #80</ulink>; Serguei Osokine, <citetitle>A Quick Case for "
-"Intellectual Property Use Fee (IPUF)</citetitle>, 3. mars 2002, tilgjengelig "
-"fra <ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson "
-"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" <citetitle>USA "
-"Today</citetitle>, 13. mai 2002, tilgjengelig fra <ulink url=\"http://free-"
-"culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, \"Getting Copyright "
-"Right,\" IEEE Spectrum Online, 1. juli 2002, tilgjengelig fra <ulink url="
-"\"http://free-culture.cc/notes/\">link #83</ulink>; Declan McCullagh, "
-"\"Verizon's Copyright Campaign,\" CNET News.com, 27. august 2002, "
-"tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #84</"
-"ulink>. Forslaget fra Fisher er ganske likt forslaget til Richard Stallman "
-"når det gjelder DAT. I motsetning til Fishers forslag, ville Stallmanns "
-"forslag ikke betale kunstnere proposjonalt, 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 <ulink url="
-"\"http://free-culture.cc/notes/\">link #85</ulink>. <placeholder type="
-"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"2\"/>"
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"The idea would be a modification of a proposal that has been floated by "
-"Harvard law professor William Fisher.<placeholder type=\"footnote\" id=\"0\"/"
-"> 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 easy it is to "
-"evade these marks; as you'll see, there's no incentive to evade them). Once "
-"the content is marked, then entrepreneurs would develop (2) systems to "
-"monitor how many items of each content were distributed. On the basis of "
-"those numbers, then (3) artists would be compensated. The compensation would "
-"be paid for by (4) an appropriate tax."
-msgstr ""
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"Fisher's proposal is careful and comprehensive. It raises a million "
-"questions, most of which he answers well in his upcoming book, "
-"<citetitle>Promises to Keep</citetitle>. The modification that I would make "
-"is relatively simple: Fisher imagines his proposal replacing the existing "
-"copyright system. I imagine it complementing the existing system. The aim "
-"of the proposal would be to facilitate compensation to the extent that harm "
-"could be shown. This compensation would be temporary, aimed at facilitating "
-"a transition between regimes. And it would require renewal after a period of "
-"years. If it continues to make sense to facilitate free exchange of content, "
-"supported through a taxation 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. <placeholder type=\"indexterm\" id=\"0\"/>"
-msgstr ""
-"fisher's forslag er grundige og omfattende. det reiser en million "
-"spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. "
-"endring som jeg ville gjøre er relativt enkel: fisher bilder hans forslag "
-"erstatte eksisterende opphavsretten til systemet. Jeg antar det utfyller det "
-"eksisterende systemet. Målet med forslaget vil være å forenkle kompensasjon "
-"i den grad at skade kan bli vist. Denne kompensasjon skulle være "
-"midlertidig, som tar sikte på å lette en overgang mellom regimer. og det "
-"ville kreve fornyelse etter en periode med årene. Hvis den fortsetter å gi "
-"mening å forenkle gratis utveksling av innhold, støttet gjennom en "
-"skattesystemet, så det kan fortsettes. Hvis denne typen beskyttelse ikke "
-"lenger er nødvendig, kan systemet lapse i det gamle systemet å kontrollere "
-"tilgangen."
-
-#. PAGE BREAK 307
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-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 "
-"supports the widest range of \"semiotic democracy\" possible. But the aims "
-"of semiotic democracy would be satisfied if the other changes I described "
-"were accomplished—in particular, the limits on derivative 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."
-msgstr ""
-"Fisher vil balk på idéen om å la systemet synker. hans mål er ikke bare for "
-"å sikre at kunstnere er betalt, men også å sikre at systemet støtter en "
-"rekke ulike \"semiotic demokrati\" mulig. men målene for semiotic demokrati "
-"ville være fornøyd hvis endringene jeg beskrevet ble oppnådd—spesielt "
-"begrensninger på derivat bruker. et system som belaster bare for tilgang "
-"ville ikke sterkt belaster semiotic demokrati Hvis det var noen "
-"begrensninger på hva en var tillatt å gjøre med selve innholdet."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"No doubt it would be difficult to calculate the proper measure of \"harm\" "
-"to an industry. But the difficulty of making that calculation would be "
-"outweighed by the benefit of facilitating innovation. This background system "
-"to compensate would also not need to interfere with innovative proposals "
-"such as Apple's MusicStore. As experts predicted when Apple launched the "
-"MusicStore, it could beat \"free\" by being easier than free is. This has "
-"proven correct: Apple has sold millions of songs at even the very high price "
-"of 99 cents a song. (At 99 cents, the cost is the equivalent of a per-song "
-"CD price, though the labels have none of the costs of a CD to pay.) Apple's "
-"move was countered by 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."
-msgstr ""
-"ingen tvil om ville det være vanskelig å beregne riktig mål for \"skade\" "
-"til en industri. men vanskeligheten av å gjøre multiplikasjonene ville være "
-"oppveies av fordel for tilrettelegging innovasjon. Dette bakgrunn-systemet "
-"for å kompensere ville ikke må også forstyrre nyskapende forslag for "
-"eksempel Apples musicstore. som eksperter spådd når apple lanserte "
-"musicstore, vil det kunne slå \"gratis\" ved å være enklere enn er gratis. "
-"Dette har vist riktig: apple har solgt flere millioner sanger på selv svært "
-"høy pris på 99 cents en sang. (på 99 cents, kostnaden tilsvarer en per sang "
-"cd pris, men etikettene har ingen av kostnadene for en cd for å betale.) "
-"Apple nå går ble motvirket av real networks, tilbyr musikk på bare 79 cents "
-"en sang. og ingen tvil om det vil være mye konkurranse å tilby og selge "
-"musikk på nettet."
-
-#. type: Content of: <book><chapter><section><section><para>
-#, mtrans, fuzzy
-msgid ""
-"This competition has already occurred against the background of \"free\" "
-"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 that, "
-"there is nothing impossible at all about \"competing with free.\" Indeed, if "
-"anything, the competition spurs the competitors to offer new and better "
-"products. This is precisely what the competitive market was to be about. "
-"Thus in Singapore, though piracy is rampant, movie theaters are often "
-"luxurious—with \"first class\" seats, and meals served while you watch "
-"a movie—as they struggle and succeed in finding ways to compete with "
-"\"free.\""
-msgstr ""
-"Denne konkurransen har allerede skjedd på bakgrunn av \"gratis\" musikk fra "
-"p2p-systemer. som selgere av kabel-TV har kjent for tretti år og selgere av "
-"flaskevann for mye mer enn det, det er ingenting umulig overhodet om "
-"\"konkurrerer med gratis.\" faktisk, om noe, inspirerer konkurransen "
-"konkurrenter å tilby nye og bedre produkter. Dette er nettopp hva "
-"konkurransedyktige markedet var å være om. dermed i singapore er selv om "
-"piratkopiering er frodig, kinoer ofte luksuriøse—med \"første klasse\" "
-"seter og måltider servert mens du ser en film—er de kampen og lykkes i "
-"å finne måter å konkurrere med \"gratis\"."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"content. That competition would continue to shrink type A sharing. It would "
-"inspire an extraordinary range of new innovators—ones who would have a "
-"right to the content, and would no longer fear the uncertain and "
-"barbarically severe punishments of the law."
-msgstr ""
-"Dette konkurranseregimet, med en sikringsmekanisme for å sikre at kunstnere "
-"ikke taper, ville bidra mye til nyskapning innen levering av innhold. "
-"Konkurransen ville fortsette å redusere type-A-deling. Det ville inspirere "
-"en ekstraordinær rekke av nye innovatører—som ville ha retten til a "
-"bruke innhold, og ikke lenger frykte usikre og barbarisk strenge straffer "
-"fra loven."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid "In summary, then, my proposal is this:"
-msgstr "Oppsummert, så er dette mitt forslag:"
-
-#. PAGE BREAK 308
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"interests affected by this technological change, while enabling, and "
-"encouraging, the most efficient technology we can create."
-msgstr ""
-"Internett er i endring. Vi bør ikke regulere en teknologi i endring. Vi bør "
-"i stedet regulere for å minimere skaden påført interesser som er berørt av "
-"denne teknologiske endringen, samtidig vi muliggjør, og oppmuntrer, den mest "
-"effektive teknologien vi kan lage."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid "We can minimize that harm while maximizing the benefit to innovation by"
-msgstr ""
-"Vi kan minimere skaden og samtidig maksimere fordelen med innovasjon ved å"
-
-#. 1.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-msgid "guaranteeing the right to engage in type D sharing;"
-msgstr "garantere retten til å engasjere seg i type-D-deling;"
-
-#. 2.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-msgid ""
-"permitting noncommercial type C sharing without liability, and commercial "
-"type C sharing at a low and fixed rate set by statute;"
-msgstr ""
-"tillate ikke-kommersiell type-C-deling uten erstatningsansvar, og "
-"kommersiell type-C-deling med en lav og fast rate fastsatt ved lov."
-
-#. 3.
-#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-msgid ""
-"while in this transition, taxing and compensating for type A sharing, to the "
-"extent actual harm is demonstrated."
-msgstr ""
-"mens denne overgangen pågår, skattlegge og kompensere for type-A-deling, i "
-"den grad faktiske skade kan påvises."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"But what if \"piracy\" doesn't disappear? What if there is a competitive "
-"market providing content at a low cost, but a significant number of "
-"consumers continue to \"take\" content for nothing? Should the law do "
-"something then?"
-msgstr ""
-"Men hva om \"piratvirksomheten\" ikke forsvinner? Hva om det finnes et "
-"konkurranseutsatt marked som tilbyr innhold til en lav kostnad, men et "
-"signifikant antall av forbrukere fortsetter å \"ta\" innhold uten å betale? "
-"Burde loven gjøre noe da?"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"is not whether it eliminates sharing in the abstract. The real issue is its "
-"effect on the market. Is it better (a) to have a technology that is 95 "
-"percent secure and produces a market of size <citetitle>x</citetitle>, or "
-"(b) to have a technology that is 50 percent secure but produces a market of "
-"five times <citetitle>x</citetitle>? Less secure might produce more "
-"unauthorized sharing, but it is likely to also produce a much bigger market "
-"in authorized sharing. The most important thing is to assure artists' "
-"compensation without breaking the Internet. Once that's assured, then it may "
-"well be appropriate to find ways to track down the petty pirates."
-msgstr ""
-"Ja, det bør den. Men, nok en gang, hva den bør gjøre avhenger hvordan "
-"realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-"
-"deling. Men det virkelige spørmålet er ikke om de eliminerer deling i "
-"abstrakt betydning. Det virkelige spørsmålet er hvilken effekt det har på "
-"markedet. Er det bedre (a) å ha en teknologi som er 95 prosent sikker og "
-"gir et marked av størrelse <citetitle>x</citetitle>, eller (b) å ha en "
-"teknologi som er 50 prosent sikker, og som gir et marked som er fem ganger "
-"større enn <citetitle>x</citetitle>? Mindre sikker kan gi mer uautorisert "
-"deling, men det vil sannsynligvis også gi et mye større marked for "
-"autorisert deling. Det viktigste er å sikre kunstneres kompensasjon uten å "
-"ødelegge internettet. Når det er på plass, kan det hende det er riktig å "
-"finne måter å spore opp de smålige piratene."
-
-#. PAGE BREAK 309
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"ways to break the Internet. Our focus until we're there should be on how to "
-"make sure the artists are paid, while protecting the space for innovation "
-"and creativity that the Internet is."
-msgstr ""
-"Men vi er langt unna å spikke problemet ned til dette delsettet av type-A-"
-"delere. Og vårt fokus inntil er der bør ikke være å finne måter å ødelegge "
-"internettet. Var fokus inntil vi er der bør være hvordan sikre at artister "
-"får betalt, mens vi beskytter rommet for nyskapning og kreativitet som "
-"internettet er."
-
-#. type: Content of: <book><chapter><section><section><title>
-msgid "5. Fire Lots of Lawyers"
-msgstr "5. Spark en masse advokater"
-
-#. type: Content of: <book><chapter><section><section><para>
-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, "
-"not because there are big bucks at the end but because there are ideals at "
-"the end that I would love to live."
-msgstr ""
-"Jeg er en advokat. Jeg lever av å utdanne advokater. Jeg tror på loven. Jeg "
-"tror på opphavsrettsloven. Jeg har faktisk viet livet til å jobbe med loven, "
-"ikke fordi det er mye penger å tjene, men fordi det innebærer idealer som "
-"jeg elsker å leve opp til."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"our profession has become too attuned to the 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."
-msgstr ""
-"Likevel har mye av denne boken vært kritikk av advokater, eller rollen "
-"advokater har spilt i denne debatten. Loven taler om idealer, mens det er "
-"min oppfatning av vår yrkesgruppe er blitt for knyttet til klienten. Og i "
-"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."
-
-#. f10.
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-msgid ""
-"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
-"Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, "
-"1069–70."
-msgstr ""
-"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
-"Memorial Lecture), <citetitle>UCLA law Review</citetitle> 48 (2001): 1057, "
-"1069–70."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"The evidence of this bending is compelling. I'm attacked as a \"radical\" by "
-"many within the profession, yet the positions that I am advocating are "
-"precisely the positions of some of the most moderate and significant figures "
-"in the history of this branch of the 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.<placeholder type=\"footnote"
-"\" id=\"0\"/>"
-msgstr ""
-"Indisiene for slik bøyning er overbevisene. Jeg er angrepet som en \"radikal"
-"\" av mange innenfor yrket, og likevel er meningene jeg argumenterer for "
-"nøyaktig de meningene til mange av de mest moderate og betydningsfulle "
-"personene i historien til denne delen av loven. Mange trodde for eksempel at "
-"vår utfordring til lovforslaget om å utvide opphavsrettens vernetid var "
-"galskap. Mens bare tredve år siden mente den dominerende foreleser og "
-"utøver i opphavsrettsfeltet, Melville Nimmer, at den var åpenbar."
-"<placeholder type=\"footnote\" id=\"0\"/>"
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"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 "
-"to actually reckon the costs of the law."
-msgstr ""
-"Min kritikk av rollen som advokater har spilt i denne debatten handler "
-"imidlertid ikke bare om en profesjonell skjevhet. Det handler enda viktigere "
-"om vår manglende evne til å faktisk ta inn over oss hva loven koster."
-
-#. type: Content of: <book><chapter><section><section><para><footnote><para>
-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 "
-"question his own publicly stated position—twice. He initially "
-"predicted that downloading would substantially harm the industry. He then "
-"revised his view in light of the data, and he has since revised his view "
-"again. Compare Stan J. Liebowitz, <citetitle>Rethinking the Network "
-"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New "
-"York: Amacom, 2002), (reviewing his original view but expressing skepticism) "
-"with Stan J. Liebowitz, \"Will MP3s Annihilate the Record Industry?\" "
-"working paper, June 2003, available at <ulink url=\"http://free-culture.cc/"
-"notes/\">link #86</ulink>. Liebowitz's careful analysis is extremely "
-"valuable in estimating the effect of file-sharing technology. In my view, "
-"however, he underestimates the costs of the legal system. See, for example, "
-"<citetitle>Rethinking</citetitle>, 174–76. <placeholder type="
-"\"indexterm\" id=\"0\"/>"
-msgstr ""
-"Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør få "
-"ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til "
-"å stille spørsmål med sin egen uttalte posisjon—to ganger. I starten "
-"predicated han at nedlasting ville påføre industrien vesentlig skade. Han "
-"endret så sitt syn etter i lys av dataene, og han har siden endret sitt syn "
-"på nytt. Sammenlign Stan J. Liebowitz, <citetitle>Rethinking the Network "
-"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New "
-"York: Amacom, 2002), (gikk igjennom hans originale syn men uttrykte skepsis) "
-"med Stan J. Liebowitz, \"Will MP3s Annihilate the Record Industry?\" "
-"artikkelutkast, juni 2003, tilgjengelig fra <ulink url=\"http://free-culture."
-"cc/notes/\">link #86</ulink>. Den nøye analysen 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, <citetitle>Rethinking</citetitle>, 174–76. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"actually functions, simply assume that the transaction costs of the legal "
-"system are slight.<placeholder type=\"footnote\" id=\"0\"/> 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."
-msgstr ""
-"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."
-"<placeholder type=\"footnote\" id=\"0\"/> De ser et system som har "
-"eksistert i hundrevis av år, og de antar at det fungerer slik grunnskolens "
-"samfunnsfagsundervisning lærte dem at det fungerer."
-
-#. PAGE BREAK 310
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"corrupt. I don't think our legal system (at the federal level, at least) is "
-"at all corrupt. I mean simply because the costs of our legal system are so "
-"astonishingly high that justice can practically never be done."
-msgstr ""
-"Men det juridiske systemet fungerer ikke. Eller for å være mer nøyaktig, det "
-"fungerer kun for de med mest ressurser. Det er ikke fordi systemet er "
-"korrupt. Jeg tror overhodet ikke vårt juridisk system (på føderalt nivå, i "
-"hvert fall) er korrupt. Jeg mener ganske enkelt at på grunn av at kostnadene "
-"med vårt juridiske systemet er så hårreisende høyt vil en praktisk talt "
-"aldri oppnå rettferdighet."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"lawyer spend reading cases carefully, or researching obscure strands of "
-"authority? The answer is the increasing reality: very little. The law "
-"depended upon the careful articulation and development of doctrine, but the "
-"careful articulation and development of legal doctrine depends upon careful "
-"work. Yet that careful work costs too much, except in the most high-profile "
-"and costly cases."
-msgstr ""
-"Disse kostnadene forstyrrer fri kultur på mange vis. En advokats tid "
-"faktureres hos de største firmaene for mer enn $400 pr. time. Hvor mye tid "
-"bør en slik advokat bruke på å lese sakene nøye, eller undersøke obskure "
-"rettskilder. Svaret er i økende grad: svært lite. Jussen er avhengig av "
-"nøye formulering og utvikling av doktrine, men nøye formulering og utvikling "
-"av doktrine er avhengig av nøyaktig arbeid. Men nøyaktig arbeid koster for "
-"mye, bortsett fra i de mest høyprofilerte og kostbare sakene."
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"The costliness and clumsiness and randomness of this system mock our "
-"tradition. And lawyers, as well as academics, should consider it their duty "
-"to change the way the law works—or better, to change the law so that "
-"it works. It is wrong that the system works well only for the top 1 percent "
-"of the clients. It could be made radically more efficient, and inexpensive, "
-"and hence radically more just."
-msgstr ""
-"Kostbarheten, klomsetheten og tilfeldigheten til dette systemet håner vår "
-"tradisjon. Og advokater, såvel som akademikere, bør se det som sin plikt å "
-"endre hvordan loven praktiseres— eller bedre, endre loven slik at den "
-"fungerer. Det er galt at systemet fungerer godt bare for den øverste 1-"
-"prosenten av klientene. Det kan gjøres radikalt mer effektivt, og billig, "
-"og dermed radikalt mer rettferdig."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"law will too often do if too much of our culture is left to its review."
-msgstr ""
-"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."
-
-#. type: Content of: <book><chapter><section><section><para>
-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 "
-"the amazing things your community could facilitate with digital "
-"technology—a wiki, a barn raising, activism to change something. "
-"Think about all those creative things, and then imagine cold molasses poured "
-"onto the machines. This is what any regime that requires permission "
-"produces. Again, this is the reality of Brezhnev's Russia."
-msgstr ""
-"Tenk på de fantastiske tingene ditt barn kan gjøre eller lage med digital "
-"teknologi—filmen, musikken, web-siden, bloggen. Eller tenk på de "
-"fantastiske tingene ditt fellesskap kunne få til med digital teknologi—"
-"en wiki, oppsetting av låve, kampanje til å endre noe. Tenk på alle de "
-"kreative tingene, og tenk deretter på kald sirup helt inn i maskinene. Dette "
-"er hva et hvert regime som krever tillatelser fører til. Dette er "
-"virkeligheten slik den var i Brezhnevs Russland."
-
-#. PAGE BREAK 311
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"The law should regulate in certain areas of culture—but it should "
-"regulate culture only where that regulation does good. Yet lawyers rarely "
-"test their power, or the power they promote, against this simple pragmatic "
-"question: \"Will it do good?\" When challenged about the expanding reach of "
-"the law, the lawyer answers, \"Why not?\""
-msgstr ""
-"Loven bør regulere i visse områder av kulturen—men det bør regulere "
-"kultur bare der reguleringen bidrar positivt. Likevel tester advokater "
-"sjeldent sin kraft, eller kraften som de fremmer, mot dette enkle pragmatisk "
-"spørsmålet: \"vil det bidra positivt?\". Når de blir utfordret om det "
-"utvidede rekkevidden til loven, er advokat-svaret, \"Hvorfor ikke?\""
-
-#. type: Content of: <book><chapter><section><section><para>
-msgid ""
-"We should ask, \"Why?\" 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."
-msgstr ""
-"Vi burde spørre: \"Hvorfor?\". 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."
-
-#. type: Content of: <book><chapter><title>
-msgid "NOTES"
-msgstr "Notater"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"unstable. I have tried to remedy the instability by redirecting readers to "
-"the original source through the Web site associated with this book. For each "
-"link below, you can go to http://free-culture.cc/notes and locate the "
-"original source by clicking on the number after the # sign. If the original "
-"link remains alive, you will be redirected to that link. If the original "
-"link has disappeared, you will be redirected to an appropriate reference for "
-"the material."
-msgstr ""
-"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 "
-"ustabile. Jeg har forsøkt å motvirke denne ustabiliteten ved å omdirigere "
-"lesere til den originale kilden gjennom en nettside som hører til denne "
-"boken. For hver lenke under, så kan du gå til http://free-culture.cc/notes "
-"og finne den originale kilden ved å klikke på nummeret etter #-tegnet. Hvis "
-"den originale lenken fortsatt er i live, så vil du bli omdirigert til den "
-"lenken. Hvis den originale lenken har forsvunnet, så vil du bli omdirigert "
-"til en passende referanse til materialet."
-
-#. type: Content of: <book><chapter><title>
-msgid "ACKNOWLEDGMENTS"
-msgstr "Takk til"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"helped launch a movement, the free culture movement, and it is to him that "
-"this book is dedicated."
-msgstr ""
-"Denne boken er produktet av en lang og så langt mislykket kamp som begynte "
-"da jeg leste om Eric Eldreds krig for å sørge for at bøker forble frie. "
-"Eldreds innsats bidro til å lansere en bevegelse, fri kultur-bevegelsen, og "
-"denne boken er tilegnet ham."
-
-#. type: Content of: <book><chapter><para>
-msgid ""
-"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 guidance from many amazing "
-"students at Stanford Law School and Stanford University. They included "
-"Andrew B. Coan, John Eden, James P. Fellers, Christopher Guzelian, Erica "
-"Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian Link, Ohad "
-"Mayblum, Alina Ng, and Erica Platt. I am particularly grateful to Catherine "
-"Crump and Harry Surden, who helped direct their research, and to Laura "
-"Lynch, who brilliantly managed the army that they assembled, and provided "
-"her own critical eye on much of this."
-msgstr ""
-"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 "
-"fantastiske studenter ved Stanford Law School og Stanford University. Det "
-"inkluderer Andrew B. Coan, John Eden, James P. Fellers, Christopher "
-"Guzelian, Erica Goldberg, Robert Hallman, Andrew Harris, Matthew Kahn, Brian-"
-"Link, Ohad Mayblum, Alina Ng og Erica Platt. Jeg er særlig takknemlig "
-"overfor Catherine Crump og Harry Surden, som hjalp til med å styre deres "
-"forskning og til Laura Lynch, som briljant håndterte hæren de samlet, samt "
-"bidro med sitt egen kritisk blikk på mye av dette."
-
-#. PAGE BREAK 337
-#. type: Content of: <book><chapter><para>
-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 "
-"prepare this book: Joi Ito, Takayuki Matsutani, Naoto Misaki, Michihiro "
-"Sasaki, Hiromichi Tanaka, Hiroo Yamagata, and Yoshihiro Yonezawa. I am "
-"thankful as well as to Professor Nobuhiro Nakayama, and the Tokyo University "
-"Business Law Center, for giving me the chance to spend time in Japan, and to "
-"Tadashi Shiraishi and Kiyokazu Yamagami for their generous help while I was "
-"there."
-msgstr ""
-"Yuko Noguchi hjalp meg å forstå lovene i Japan, så vel som Japans kultur. "
-"Jeg er henne takknemlig, og til de mange i Japan som hjalp meg med "
-"forundersøkelsene til denne boken: Joi Ito, Takayuki Matsutani, Naoto "
-"Misaki, Michihiro Sasaki, Hiromichi Tanaka, Hiroo Yamagata og Yoshihiro "
-"Yonezawa. Jeg er også takknemlig til professor Nobuhiro Nakayama og Tokyo "
-"University Business Law Center, som ga meg muligheten til å bruke tid i "
-"Japan, og Tadashi Shiraishi og Kiyokazu Yamagami for deres generøse hjelp "
-"mens jeg var der."
-
-#. type: Content of: <book><chapter><para>
-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 advice "
-"and correction from many whom I have never even met. Among those who have "
-"responded with extremely helpful advice to requests on my blog about the "
-"book are Dr. Mohammad Al-Ubaydli, David Gerstein, and Peter DiMauro, as well "
-"as a long list of those who had specific ideas about ways to develop my "
-"argument. They included Richard Bondi, Steven Cherry, David Coe, Nik "
-"Cubrilovic, Bob Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, "
-"Jeremy Hunsinger, Vaughn Iverson, John Karabaic, Jeff Keltner, James "
-"Lindenschmidt, K. L. Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan "
-"McMullen, Fred Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, "
-"Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, "
-"Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko "
-"Williams, \"Wink,\" Roger Wood, \"Ximmbo da Jazz,\" and Richard Yanco. (I "
-"apologize if I have missed anyone; with computers come glitches, and a crash "
-"of my e-mail system meant I lost a bunch of great replies.)"
-msgstr ""
-"Dette er de tradisjonelle former for hjelp som akademikere regelmessig "
-"trekker på. Men i tillegg til dem, har Internett gjort det mulig å motta råd "
-"og korrigering fra mange som jeg har aldri møtt. Blant de som har svart med "
-"svært nyttig råd etter forespørsler om boken på bloggen min er Dr. Muhammed "
-"Al-Ubaydli, David Gerstein og Peter Dimauro, I tillegg en lang liste med de "
-"som hadde spesifikke idéer om måter å utvikle mine argumenter på. De "
-"inkluderte Richard Bondi, Steven Cherry, David Coe, Nik Cubrilovic, Bob "
-"Devine, Charles Eicher, Thomas Guida, Elihu M. Gerson, Jeremy Hunsinger, "
-"Vaughn Iverson, John Karabaic, Jeff Keltner, James Lindenschmidt, K. L. "
-"Mann, Mark Manning, Nora McCauley, Jeffrey McHugh, Evan McMullen, Fred "
-"Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, Saul Schleimer, "
-"Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, Bruce Steinberg, "
-"Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko Williams, \"Wink,"
-"\" Roger Wood, \"Ximmbo da Jazz,\" og Richard Yanco. (jeg beklager hvis jeg "
-"gikk glipp av noen, med datamaskiner kommer feil og en krasj i e-"
-"postsystemet mitt gjorde at jeg mistet en haug med flotte svar.)"
-
-#. type: Content of: <book><chapter><para>
-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 "
-"see more clearly the significance of the regulation of derivitive works. And "
-"Richard corrected an embarrassingly large number of errors. While my work is "
-"in part inspired by Stallman's, he does not agree with me in important "
-"places throughout this book."
-msgstr ""
-"Richard Stallman og Michael Carroll har begge lest hele boken i utkast, og "
-"hver av dem har bidratt med svært nyttige korreksjoner og råd. Michael hjalp "
-"meg å se mer tydelig betydningen av regulering for avledede verker . Og "
-"Richard korrigerte en pinlig stor mengde feil. Selv om mitt arbeid er "
-"delvis inspirert av Stallmans, er han ikke enig med meg på vesentlige steder "
-"i denne boken."
-
-#. type: Content of: <book><chapter><para>
-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 "
-"always been right. This slow learner is, as ever, grateful for her perpetual "
-"patience and love."
-msgstr ""
-"Til slutt, og for evig, er jeg Bettina takknemlig, som alltid har insistert "
-"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."
+#. type: Content of: <book><part><chapter><secti
\ No newline at end of file
msgid ""
msgstr ""
"Project-Id-Version: PACKAGE VERSION\n"
-"POT-Creation-Date: 2012-08-10 09:11+0300\n"
+"POT-Creation-Date: 2012-08-10 12:50+0300\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"
"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."
+"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."
msgstr ""
#. testing different ways to tag the cover page
#. type: Content of: <book><colophon><para>
#: freeculture.xml:199
msgid ""
-"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" "
-"<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright "
-"© 2003 by The New York Times Co. Reprinted with permission."
+"Excerpt from an editorial titled <quote>The Coming of Copyright "
+"Perpetuity,</quote> <citetitle>The New York Times</citetitle>, January 16, "
+"2003. Copyright © 2003 by The New York Times Co. Reprinted with "
+"permission."
msgstr ""
#. type: Content of: <book><colophon><para>
#. type: Content of: <book><preface><blockquote><para><footnote><para>
#: freeculture.xml:364
msgid ""
-"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York "
-"Times</citetitle>, 30 January 2000."
+"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:369
msgid ""
"Pogue was skeptical of the core argument of the book—that software, or "
-"\"code,\" functioned as a kind of law—and his review suggested the "
-"happy thought that if life in cyberspace got bad, we could always \"drizzle, "
-"drazzle, druzzle, drome\"-like simply flip a switch and be back home. Turn "
-"off the modem, unplug the computer, and any troubles that exist in "
-"<emphasis>that</emphasis> space wouldn't \"affect\" us anymore."
+"<quote>code,</quote> functioned as a kind of law—and his review "
+"suggested the happy thought that if life in cyberspace got bad, we could "
+"always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a "
+"switch and be back home. Turn off the modem, unplug the computer, and any "
+"troubles that exist in <emphasis>that</emphasis> space wouldn't "
+"<quote>affect</quote> us anymore."
msgstr ""
#. PAGE BREAK 12
"even if he was right then, the point is not right now: <citetitle>Free "
"Culture</citetitle> is about the troubles the Internet causes even after the "
"modem is turned off. It is an argument about how the battles that now rage "
-"regarding life on-line have fundamentally affected \"people who aren't "
-"online.\" There is no switch that will insulate us from the Internet's "
+"regarding life on-line have fundamentally affected <quote>people who aren't "
+"online.</quote> There is no switch that will insulate us from the Internet's "
"effect."
msgstr ""
#: freeculture.xml:396
msgid ""
"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 free "
-"software movement<placeholder type=\"footnote\" id=\"0\"/>), 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 "
-"<emphasis>as free as possible</emphasis> 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."
+"that follow, we come from a tradition of <quote>free "
+"culture</quote>—not <quote>free</quote> as in <quote>free beer</quote> "
+"(to borrow a phrase from the founder of the free software "
+"movement<placeholder type=\"footnote\" id=\"0\"/>), but <quote>free</quote> "
+"as in <quote>free speech,</quote> <quote>free markets,</quote> <quote>free "
+"trade,</quote> <quote>free enterprise,</quote> <quote>free will,</quote> and "
+"<quote>free elections.</quote> 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 <emphasis>as free as "
+"possible</emphasis> 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 <quote>permission "
+"culture</quote>—a culture in which creators get to create only with "
+"the permission of the powerful, or of creators from the past."
msgstr ""
#. type: Content of: <book><preface><para>
#: freeculture.xml:416
msgid ""
-"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."
+"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 "
+"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."
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:424 freeculture.xml:12896
+#: freeculture.xml:424 freeculture.xml:12899
msgid "CodePink Women in Peace"
msgstr ""
#. type: Content of: <book><chapter><para><indexterm><primary>
-#: freeculture.xml:435 freeculture.xml:445 freeculture.xml:12909
+#: freeculture.xml:435 freeculture.xml:445 freeculture.xml:12912
msgid "Safire, William"
msgstr ""
"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, <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"marching <quote>uncomfortably alongside CodePink Women for Peace and the "
+"National Rifle Association, between liberal Olympia Snowe and conservative "
+"Ted Stevens,</quote> he formulated perhaps most simply just what was at "
+"stake: the concentration of power. And as he asked, <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><preface><blockquote><para><footnote><para>
#: freeculture.xml:443
msgid ""
-"William Safire, \"The Great Media Gulp,\" <citetitle>New York "
+"William Safire, <quote>The Great Media Gulp,</quote> <citetitle>New York "
"Times</citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
"especially the essays in <citetitle>Free Software, Free Society</citetitle>, "
"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."
+"<quote>merely</quote> derivative."
msgstr ""
#. PAGE BREAK 14
"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 \"an indefinite extent, upwards.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> 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?"
+"above, to <quote>an indefinite extent, upwards.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> 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?"
msgstr ""
#. type: Content of: <book><chapter><para>
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:530 freeculture.xml:543 freeculture.xml:574 freeculture.xml:593 freeculture.xml:996 freeculture.xml:1013 freeculture.xml:1059 freeculture.xml:8896 freeculture.xml:12291 freeculture.xml:13000
+#: freeculture.xml:530 freeculture.xml:543 freeculture.xml:574 freeculture.xml:593 freeculture.xml:996 freeculture.xml:1013 freeculture.xml:1059 freeculture.xml:8899 freeculture.xml:12294 freeculture.xml:13003
msgid "Causby, Thomas Lee"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:531 freeculture.xml:544 freeculture.xml:575 freeculture.xml:594 freeculture.xml:997 freeculture.xml:1014 freeculture.xml:1060 freeculture.xml:8897 freeculture.xml:12292 freeculture.xml:13001
+#: freeculture.xml:531 freeculture.xml:544 freeculture.xml:575 freeculture.xml:594 freeculture.xml:997 freeculture.xml:1014 freeculture.xml:1060 freeculture.xml:8900 freeculture.xml:12295 freeculture.xml:13004
msgid "Causby, Tinie"
msgstr ""
"walls and died), the Causbys filed a lawsuit saying that the government was "
"trespassing on their land. The airplanes, of course, never touched the "
"surface of the Causbys' land. But if, as Blackstone, Kent, and Coke had "
-"said, their land reached to \"an indefinite extent, upwards,\" then the "
-"government was trespassing on their property, and the Causbys wanted it to "
-"stop."
+"said, their land reached to <quote>an indefinite extent, upwards,</quote> "
+"then the government was trespassing on their property, and the Causbys "
+"wanted it to stop."
msgstr ""
#. type: Content of: <book><chapter><para>
"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 "
-"\"taking\" of property without compensation. The Court acknowledged that "
-"\"it is ancient doctrine that common law ownership of the land extended to "
-"the periphery of the universe.\" But Justice Douglas had no patience for "
-"ancient doctrine. In a single paragraph, hundreds of years of property law "
-"were erased. As he wrote for the Court,"
+"<quote>taking</quote> of property without compensation. The Court "
+"acknowledged that <quote>it is ancient doctrine that common law ownership of "
+"the land extended to the periphery of the universe.</quote> But Justice "
+"Douglas had no patience for ancient doctrine. In a single paragraph, "
+"hundreds of years of property law were erased. As he wrote for the Court,"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#: freeculture.xml:566
msgid ""
"United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
-"there could be a \"taking\" if the government's use of its land effectively "
-"destroyed the value of the Causbys' land. This example was suggested to me "
-"by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: "
-"Notes Toward a Cultural Geography of Authorship,\" <citetitle>Stanford Law "
-"Review</citetitle> 48 (1996): 1293, 1333. See also Paul Goldstein, "
-"<citetitle>Real Property</citetitle> (Mineola, N.Y.: Foundation Press, "
-"1984), 1112–13. <placeholder type=\"indexterm\" id=\"0\"/> "
-"<placeholder type=\"indexterm\" id=\"1\"/>"
+"there could be a <quote>taking</quote> if the government's use of its land "
+"effectively destroyed the value of the Causbys' land. This example was "
+"suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual) "
+"Property and Sovereignty: Notes Toward a Cultural Geography of "
+"Authorship,</quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): "
+"1293, 1333. See also Paul Goldstein, <citetitle>Real Property</citetitle> "
+"(Mineola, N.Y.: Foundation Press, 1984), 1112–13. <placeholder "
+"
type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
#. type: Content of: <book><chapter><para>
#: freeculture.xml:580
-msgid "\"Common sense revolts at the idea.\""
+msgid "<quote>Common sense revolts at the idea.</quote>"
msgstr ""
#. PAGE BREAK 18
"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 "
-"conclusion that Douglas holds in a single line: \"Common sense revolts at "
-"the idea.\" But whether it takes pages or a few words, it is the special "
-"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."
+"conclusion that Douglas holds in a single line: <quote>Common sense revolts "
+"at the idea.</quote> But whether it takes pages or a few words, it is the "
+"special 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."
msgstr ""
#. type: Content of: <book><chapter><para>
"the technology, that the Wright brothers had birthed. The Wright brothers "
"spat airplanes into the technological meme pool; the idea then spread like a "
"virus in a chicken coop; farmers like the Causbys found themselves "
-"surrounded by \"what seemed reasonable\" given the technology that the "
-"Wrights had produced. They could stand on their farms, dead chickens in "
-"hand, and shake their fists at these newfangled technologies all they "
-"wanted. They could call their representatives or even file a lawsuit. But "
-"in the end, the force of what seems \"obvious\" to everyone else—the "
-"power of \"common sense\"—would prevail. Their \"private interest\" "
-"would not be allowed to defeat an obvious public gain."
+"surrounded by <quote>what seemed reasonable</quote> given the technology "
+"that the Wrights had produced. They could stand on their farms, dead "
+"chickens in hand, and shake their fists at these newfangled technologies all "
+"they wanted. They could call their representatives or even file a "
+"lawsuit. But in the end, the force of what seems <quote>obvious</quote> to "
+"everyone else—the power of <quote>common sense</quote>—would "
+"prevail. Their <quote>private interest</quote> would not be allowed to "
+"defeat an obvious public gain."
msgstr ""
#. type: Content of: <book><chapter><para><indexterm><primary>
"locked on a broadcast that he had arranged from seventeen miles away. The "
"radio fell totally silent, as if dead, and then with a clarity no one else "
"in that room had ever heard from an electrical device, it produced the sound "
-"of an announcer's voice: \"This is amateur station W2AG at Yonkers, New "
-"York, operating on frequency modulation at two and a half meters.\""
+"of an announcer's voice: <quote>This is amateur station W2AG at Yonkers, New "
+"York, operating on frequency modulation at two and a half meters.</quote>"
msgstr ""
#. type: Content of: <book><chapter><para>
"it sounded like paper and not like a crackling forest 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 \"music box.\"<placeholder type=\"footnote\" "
-"id=\"0\"/>"
+"heard before from a radio <quote>music box.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 20
"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 that removed static "
-"from \"radio.\" But when Armstrong demonstrated his invention, Sarnoff was "
-"not pleased. <placeholder type=\"indexterm\" id=\"0\"/>"
+"from <quote>radio.</quote> But when Armstrong demonstrated his invention, "
+"
Sarnoff was not pleased. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><blockquote><para><footnote><para>
#: freeculture.xml:689
msgid ""
-"See \"Saints: The Heroes and Geniuses of the Electronic Era,\" First "
-"Electronic Church of America, at www.webstationone.com/fecha, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
+"See <quote>Saints: The Heroes and Geniuses of the Electronic Era,</quote> "
+"First Electronic Church of America, at www.webstationone.com/fecha, "
+"
available at <ulink url=\"http://free-culture.cc/notes/\">link #1</ulink>."
msgstr ""
#. type: Content of: <book><chapter><blockquote><para>
#. type: Content of: <book><chapter><para><footnote><para>
#: freeculture.xml:785
msgid ""
-"Amanda Lenhart, \"The Ever-Shifting Internet Population: A New Look at "
-"Internet Access and the Digital Divide,\" Pew Internet and American Life "
-"Project, 15 April 2003: 6, available at <ulink "
+"Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at "
+"Internet Access and the Digital Divide,</quote> Pew Internet and American "
+"
Life Project, 15 April 2003: 6, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #2</ulink>."
msgstr ""
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 "
-"\"commercial culture\" I mean that part of our culture that is produced and "
-"sold or produced to be sold. By \"noncommercial culture\" I mean all the "
-"rest. When old men sat around parks or on street corners telling stories "
-"that kids and others consumed, that was noncommercial culture. When Noah "
-"Webster published his \"Reader,\" or Joel Barlow his poetry, that was "
-"commercial culture. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
+"<quote>commercial culture</quote> I mean that part of our culture that is "
+"produced and sold or produced to be sold. By <quote>noncommercial "
+"culture</quote> I mean all the rest. When old men sat around parks or on "
+"street corners telling stories that kids and others consumed, that was "
+"noncommercial culture. When Noah Webster published his "
+"<quote>Reader,</quote> or Joel Barlow his poetry, that was commercial "
+"culture. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
"tradition, noncommercial culture was essentially unregulated. Of course, if "
"your stories were lewd, or if your song disturbed the peace, then the law "
"might intervene. But the law was never directly concerned with the creation "
-"or spread of this form of culture, and it left this culture \"free.\" The "
-"ordinary ways in which ordinary individuals shared and transformed their "
-"culture—telling stories, reenacting scenes from plays or TV, "
-"participating in fan clubs, sharing music, making tapes—were left "
-"alone by the law."
+"or spread of this form of culture, and it left this culture "
+"<quote>free.</quote> The ordinary ways in which ordinary individuals shared "
+"and transformed their culture—telling stories, reenacting scenes from "
+"plays or TV, participating in fan clubs, sharing music, making "
+"tapes—were left alone by the law."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
"in publication, but also a privacy interest. By granting authors the "
"exclusive right to first publication, state copyright law gave authors the "
"power to control the spread of facts about them. See Samuel D. Warren and "
-"Louis D. Brandeis, \"The Right to Privacy,\" Harvard Law Review 4 (1890): "
-"193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Louis D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 "
+"
(1890): 193, 198–200. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><para>
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:865 freeculture.xml:9438
+#: freeculture.xml:865 freeculture.xml:9441
msgid "Litman, Jessica"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
#: freeculture.xml:929
msgid ""
-"Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
-"Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York "
-"Times</citetitle>, 17 January 2002."
+"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 "
+"York Times</citetitle>, 17 January 2002."
msgstr ""
#. type: Content of: <book><chapter><para>
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 "
-"about a much simpler brace of questions—whether \"piracy\" will be "
-"permitted, and whether \"property\" will be protected. The \"war\" that has "
-"been waged against the technologies of the Internet—what Motion "
-"Picture Association of America (MPAA) president Jack Valenti calls his \"own "
-"terrorist war\"<placeholder type=\"footnote\" id=\"0\"/>—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."
+"about a much simpler brace of questions—whether <quote>piracy</quote> "
+"will be permitted, and whether <quote>property</quote> will be "
+"protected. The <quote>war</quote> that has been waged against the "
+"technologies of the Internet—what Motion Picture Association of "
+"America (MPAA) president Jack Valenti calls his <quote>own terrorist "
+"war</quote><placeholder type=\"footnote\" id=\"0\"/>—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."
msgstr ""
#. type: Content of: <book><chapter><para>
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 "
-"importance of what Mr. Valenti nicely calls \"creative property.\" I believe "
-"that \"piracy\" is wrong, and that the law, properly tuned, should punish "
-"\"piracy,\" whether on or off the Internet."
+"importance of what Mr. Valenti nicely calls <quote>creative "
+"property.</quote> I believe that <quote>piracy</quote> is wrong, and that "
+"the law, properly tuned, should punish <quote>piracy,</quote> whether on or "
+"off the Internet."
msgstr ""
#. type: Content of: <book><chapter><para>
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 "
-"war to rid the world of Internet \"pirates\" will also rid our culture of "
-"values that have been integral to our tradition from the start."
+"war to rid the world of Internet <quote>pirates</quote> will also rid our "
+"culture of values that have been integral to our tradition from the start."
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:960 freeculture.xml:14271
+#: freeculture.xml:960 freeculture.xml:14274
msgid "Netanel, Neil Weinstock"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
#: freeculture.xml:958
msgid ""
-"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" "
+"Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> "
"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><para>
#: freeculture.xml:980
msgid ""
-"The story that follows is about this war. Is it not about the \"centrality "
-"of technology\" to ordinary life. I don't believe in gods, digital or "
-"otherwise. Nor is it an effort to demonize any individual or group, for "
-"neither do I believe in a devil, corporate or otherwise. It is not a "
-"morality tale. Nor is it a call to jihad against an industry."
+"The story that follows is about this war. Is it not about the "
+"<quote>centrality of technology</quote> to ordinary life. I don't believe in "
+"gods, digital or otherwise. Nor is it an effort to demonize any individual "
+"or group, for neither do I believe in a devil, corporate or otherwise. It is "
+"not a morality tale. Nor is it a call to jihad against an industry."
msgstr ""
#. type: Content of: <book><chapter><para>
#. type: Content of: <book><chapter><para>
#: freeculture.xml:999
msgid ""
-"Like the Causbys' battle, this war is, in part, about \"property.\" 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 this "
-"\"property\" are as obvious to most as the Causbys' claim about the "
-"sacredness of their farm was to them. We are the Causbys. Most of us take "
-"for granted the extraordinarily powerful claims that the owners of "
-"\"intellectual property\" now assert. Most of us, like the Causbys, treat "
-"these claims as obvious. And hence we, like the Causbys, object when a new "
-"technology interferes with this property. It is as plain to us as it was to "
-"them that the new technologies of the Internet are \"trespassing\" upon "
-"legitimate claims of \"property.\" It is as plain to us as it was to them "
-"that the law should intervene to stop this trespass."
+"Like the Causbys' battle, this war is, in part, about "
+"<quote>property.</quote> 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 this <quote>property</quote> are as obvious to most as the "
+"Causbys' claim about the sacredness of their farm was to them. We are the "
+"Causbys. Most of us take for granted the extraordinarily powerful claims "
+"that the owners of <quote>intellectual property</quote> now assert. Most of "
+"us, like the Causbys, treat these claims as obvious. And hence we, like the "
+"Causbys, object when a new technology interferes with this property. It is "
+"as plain to us as it was to them that the new technologies of the Internet "
+"are <quote>trespassing</quote> upon legitimate claims of "
+"<quote>property.</quote> It is as plain to us as it was to them that the law "
+"should intervene to stop this trespass."
msgstr ""
#. PAGE BREAK 27
"amazed by the power of this idea of intellectual property and, more "
"importantly, its power to disable critical thought by policy makers and "
"citizens. There has never been a time in our history when more of our "
-"\"culture\" was as \"owned\" as it is now. And yet there has never been a "
-"time when the concentration of power to control the "
+"<quote>culture</quote> was as <quote>owned</quote> as it is now. And yet "
+"there has never been a time when the concentration of power to control the "
"<emphasis>uses</emphasis> of culture has been as unquestioningly accepted as "
"it is now."
msgstr ""
"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 against the extreme "
-"claims made today on behalf of \"intellectual property.\" What the law "
-"demands today is increasingly as silly as a sheriff arresting an airplane "
-"for trespass. But the consequences of this silliness will be much more "
-"profound."
+"claims made today on behalf of <quote>intellectual property.</quote> What "
+"the law demands today is increasingly as silly as a sheriff arresting an "
+"airplane for trespass. But the consequences of this silliness will be much "
+"more profound."
msgstr ""
#. type: Content of: <book><chapter><para>
#: freeculture.xml:1072
msgid ""
-"The struggle that rages just now centers on two ideas: \"piracy\" and "
-"\"property.\" My aim in this book's next two parts is to explore these two "
-"ideas."
+"The struggle that rages just now centers on two ideas: <quote>piracy</quote> "
+"and <quote>property.</quote> My aim in this book's next two parts is to "
+"explore these two ideas."
msgstr ""
#. type: Content of: <book><chapter><para>
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 "
-"big media to respond to this \"something new,\" is destroying something very "
-"old. Rather than understanding the changes the Internet might permit, and "
-"rather than taking time to let \"common sense\" resolve how best to respond, "
-"we are allowing those most threatened by the changes to use their power to "
-"change the law—and more importantly, to use their power to change "
-"something fundamental about who we have always been."
+"big media to respond to this <quote>something new,</quote> is destroying "
+"something very old. Rather than understanding the changes the Internet might "
+"permit, and rather than taking time to let <quote>common sense</quote> "
+"resolve how best to respond, we are allowing those most threatened by the "
+"changes to use their power to change the law—and more importantly, to "
+"use their power to change something fundamental about who we have always "
+"been."
msgstr ""
#. type: Content of: <book><chapter><para>
#. type: Content of: <book><part><title>
#: freeculture.xml:1106
-msgid "\"PIRACY\""
+msgid "<quote>PIRACY</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:1110 freeculture.xml:4763
+#: freeculture.xml:1110 freeculture.xml:4766
msgid "Mansfield, William Murray, Lord"
msgstr ""
#: freeculture.xml:1113
msgid ""
"Since the inception of the law regulating creative property, there has been "
-"a war against \"piracy.\" The precise contours of this concept, \"piracy,\" "
-"are hard to sketch, but the animating injustice is easy to capture. As Lord "
-"Mansfield wrote in a case that extended the reach of English copyright law "
-"to include sheet music,"
+"a war against <quote>piracy.</quote> The precise contours of this concept, "
+"<quote>piracy,</quote> are hard to sketch, but the animating injustice is "
+"easy to capture. As Lord Mansfield wrote in a case that extended the reach "
+"of English copyright law to include sheet music,"
msgstr ""
#. f1
#. type: Content of: <book><part><partintro><para>
#: freeculture.xml:1131
msgid ""
-"Today we are in the middle of another \"war\" against \"piracy.\" The "
-"Internet has provoked this war. The Internet makes possible the efficient "
-"spread of content. Peer-to-peer (p2p) file sharing is among the most "
-"efficient of the efficient technologies the Internet enables. Using "
-"distributed intelligence, p2p systems facilitate the easy spread of content "
-"in a way unimagined a generation ago."
+"Today we are in the middle of another <quote>war</quote> against "
+"<quote>piracy.</quote> The Internet has provoked this war. The Internet "
+"makes possible the efficient spread of content. Peer-to-peer (p2p) file "
+"sharing is among the most efficient of the efficient technologies the "
+"Internet enables. Using distributed intelligence, p2p systems facilitate the "
+"easy spread of content in a way unimagined a generation ago."
msgstr ""
#. type: Content of: <book><part><partintro><para>
"network doesn't discriminate between the sharing of copyrighted and "
"uncopyrighted content. Thus has there been a vast amount of sharing of "
"copyrighted content. That sharing in turn has excited the war, as copyright "
-"owners fear the sharing will \"rob the author of the profit.\""
+"owners fear the sharing will <quote>rob the author of the profit.</quote>"
msgstr ""
#. type: Content of: <book><part><partintro><para>
#: freeculture.xml:1148
msgid ""
"The warriors have turned to the courts, to the legislatures, and "
-"increasingly to technology to defend their \"property\" against this "
-"\"piracy.\" A generation of Americans, the warriors warn, is being raised to "
-"believe that \"property\" should be \"free.\" Forget tattoos, never mind "
-"body piercing—our kids are becoming <emphasis>thieves</emphasis>!"
+"increasingly to technology to defend their <quote>property</quote> against "
+"this <quote>piracy.</quote> A generation of Americans, the warriors warn, is "
+"being raised to believe that <quote>property</quote> should be "
+"<quote>free.</quote> Forget tattoos, never mind body piercing—our kids "
+"are becoming <emphasis>thieves</emphasis>!"
msgstr ""
#. type: Content of: <book><part><partintro><para>
#: freeculture.xml:1156
msgid ""
-"There's no doubt that \"piracy\" is wrong, and that pirates should be "
-"punished. But before we summon the executioners, we should put this notion "
-"of \"piracy\" in some context. For as the concept is increasingly used, at "
-"its core is an extraordinary idea that is almost certainly wrong."
+"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 "
+"this notion of <quote>piracy</quote> in some context. For as the concept is "
+"increasingly used, at its core is an extraordinary idea that is almost "
+"certainly wrong."
msgstr ""
#. type: Content of: <book><part><partintro><para>
#. type: Content of: <book><part><partintro><para><footnote><para>
#: freeculture.xml:1180
msgid ""
-"See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
-"the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 "
-"(1990): 397."
+"See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language "
+"in the Pepsi Generation,</quote> <citetitle>Notre Dame Law "
+"Review</citetitle> 65 (1990): 397."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1193 freeculture.xml:6865
+#: freeculture.xml:1193 freeculture.xml:6868
msgid "Zittrain, Jonathan"
msgstr ""
#. type: Content of: <book><part><partintro><para><footnote><para>
#: freeculture.xml:1188
msgid ""
-"Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
-"<citetitle>Wall Street Journal</citetitle>, 21 August 1996, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; Jonathan "
-"Zittrain, \"Calling Off the Copyright War: In Battle of Property vs. Free "
-"Speech, No One Wins,\" <citetitle>Boston Globe</citetitle>, 24 November "
-"2002. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay "
+"Up,</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; "
+"Jonathan Zittrain, <quote>Calling Off the Copyright War: In Battle of "
+"Property vs. Free Speech, No One Wins,</quote> <citetitle>Boston "
+"Globe</citetitle>, 24 November 2002. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><partintro><para>
#: freeculture.xml:1176
msgid ""
"This view runs deep within the current debates. It is what NYU law professor "
-"Rochelle Dreyfuss criticizes as the \"if value, then right\" theory of "
-"creative property<placeholder type=\"footnote\" id=\"0\"/> —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 "
+"Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote> "
+"theory of creative property<placeholder type=\"footnote\" id=\"0\"/> "
+"—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.<placeholder type=\"footnote\" id=\"1\"/> There was "
-"\"value\" (the songs) so there must have been a \"right\"—even against "
-"the Girl Scouts."
+"<quote>value</quote> (the songs) so there must have been a "
+"<quote>right</quote>—even against the Girl Scouts."
msgstr ""
#. type: Content of: <book><part><partintro><indexterm><primary>
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 "
-"protecting creative property. But the \"if value, then right\" theory of "
-"creative property has never been America's theory of creative property. It "
-"has never taken hold within our law."
+"protecting creative property. But the <quote>if value, then right</quote> "
+"theory of creative property has never been America's theory of creative "
+"property. It has never taken hold within our law."
msgstr ""
#. type: Content of: <book><part><partintro><para>
"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 expansion would not "
-"matter much if copyright law regulated only \"copying,\" when the law "
-"regulates as broadly and obscurely as it does, the extension matters a "
+"matter much if copyright law regulated only <quote>copying,</quote> when the "
+"law regulates as broadly and obscurely as it does, the extension matters a "
"lot. The burden of this law now vastly outweighs any original "
"benefit—certainly as it affects noncommercial creativity, and "
"increasingly as it affects commercial creativity as well. Thus, as we'll see "
"extraordinary range of commercial and noncommercial creativity, the law "
"burdens this creativity with insanely complex and vague rules and with the "
"threat of obscenely severe penalties. We may be seeing, as Richard Florida "
-"writes, the \"Rise of the Creative Class.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> Unfortunately, we are also seeing an extraordinary rise of "
-"regulation of this creative class."
+"writes, the <quote>Rise of the Creative Class.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> Unfortunately, we are also seeing an "
+"extraordinary rise of regulation of this creative class."
msgstr ""
#. type: Content of: <book><part><partintro><para>
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 "
-"context the current battles about behavior labeled \"piracy.\""
+"context the current battles about behavior labeled <quote>piracy.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><title>
#: freeculture.xml:1322
msgid ""
"Disney's then partner, and one of animation's most extraordinary talents, Ub "
-"Iwerks, put it more strongly: \"I have never been so thrilled in my "
-"life. Nothing since has ever equaled it.\" <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"Iwerks, put it more strongly: <quote>I have never been so thrilled in my "
+"life. Nothing since has ever equaled it.</quote> <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
"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 "
"Smith of the Disney Archives, Disney paid royalties to use the music for "
-"five songs in <citetitle>Steamboat Willie</citetitle>: \"Steamboat Bill,\" "
-"\"The Simpleton\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry "
-"No. 1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in "
-"the Straw,\" was already in the public domain. Letter from David Smith to "
+"five songs in <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat "
+"Bill,</quote> <quote>The Simpleton</quote> (Delille), <quote>Mischief "
+"Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</quote> (Baron), and "
+"<quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the "
+"Straw,</quote> was already in the public domain. Letter from David Smith to "
"Harry Surden, 10 July 2003, on file with author."
msgstr ""
"source. It is not just from the invention of synchronized sound in "
"<citetitle>The Jazz Singer</citetitle> that we get <citetitle>Steamboat "
"Willie</citetitle>. It is also from Buster Keaton's invention of Steamboat "
-"Bill, Jr., itself inspired by the song \"Steamboat Bill,\" that we get "
-"Steamboat Willie, and then from Steamboat Willie, Mickey Mouse."
+"Bill, Jr., itself inspired by the song <quote>Steamboat Bill,</quote> that "
+"we get Steamboat Willie, and then from Steamboat Willie, Mickey Mouse."
msgstr ""
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
#: freeculture.xml:1378
msgid ""
-"He was also a fan of the public domain. See Chris Sprigman, \"The Mouse that "
-"
Ate the Public Domain,\" Findlaw, 5 March 2002, at <ulink "
+"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 "
"url=\"http://free-culture.cc/notes/\">link #5</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1374
msgid ""
-"This \"borrowing\" was nothing unique, either for Disney or for the "
-"industry. Disney was always parroting the feature-length mainstream films of "
-"his day.<placeholder type=\"footnote\" id=\"0\"/> 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 differences. With Disney, it was sound that gave his animation its "
-"spark. Later, it was the quality of his work relative to the production-line "
-"cartoons with which he competed. Yet these additions were built upon a base "
-"that was borrowed. Disney added to the work of others before him, creating "
-"something new out of something just barely old."
+"This <quote>borrowing</quote> was nothing unique, either for Disney or for "
+"the industry. Disney was always parroting the feature-length mainstream "
+"films of his day.<placeholder type=\"footnote\" id=\"0\"/> 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 differences. With Disney, it was sound that gave his "
+"animation its spark. Later, it was the quality of his work relative to the "
+"production-line cartoons with which he competed. Yet these additions were "
+"built upon a base that was borrowed. Disney added to the work of others "
+"before him, creating something new out of something just barely old."
msgstr ""
#. type: Content of: <book><part><chapter><para>
"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 its importance. We "
-"could call this \"Disney creativity,\" though that would be a bit "
-"misleading. It is, more precisely, \"Walt Disney creativity\"—a form "
-"of expression and genius that builds upon the culture around us and makes it "
-"something different."
+"could call this <quote>Disney creativity,</quote> though that would be a bit "
+"misleading. It is, more precisely, <quote>Walt Disney "
+"creativity</quote>—a form of expression and genius that builds upon "
+"the culture around us and makes it something different."
msgstr ""
#. f4
#: freeculture.xml:1439
msgid ""
"Until 1976, copyright law granted an author the possibility of two terms: an "
-"initial term and a renewal term. I have calculated the \"average\" term by "
-"determining the weighted average of total registrations for any particular "
-"year, and the proportion renewing. Thus, if 100 copyrights are registered in "
-"year 1, and only 15 are renewed, and the renewal term is 28 years, then the "
-"average term is 32.2 years. For the renewal data and other relevant data, "
-"see the Web site associated with this book, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #6</ulink>."
+"initial term and a renewal term. I have calculated the "
+"<quote>average</quote> term by determining the weighted average of total "
+"registrations for any particular year, and the proportion renewing. Thus, if "
+"100 copyrights are registered in year 1, and only 15 are renewed, and the "
+"renewal term is 28 years, then the average term is 32.2 years. For the "
+"renewal data and other relevant data, see the Web site associated with this "
+"book, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#6</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
"years—for that minority of creative work that was in fact "
"copyrighted.<placeholder type=\"footnote\" id=\"0\"/> That means that for "
"thirty years, on average, the authors or copyright holders of a creative "
-"work had an \"exclusive right\" to control certain uses of the work. To use "
-"this copyrighted work in limited ways required the permission of the "
-"copyright owner."
+"work had an <quote>exclusive right</quote> to control certain uses of the "
+"work. To use this copyrighted work in limited ways required the permission "
+"of the copyright owner."
msgstr ""
#. type: Content of: <book><part><chapter><para>
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, "
-"hence, no lawyers. The public domain is a \"lawyer-free zone.\" Thus, most "
-"of the content from the nineteenth century was free 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."
+"hence, no lawyers. The public domain is a <quote>lawyer-free zone.</quote> "
+"Thus, most of the content from the nineteenth century was free 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."
msgstr ""
#. PAGE BREAK 38
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1478
msgid ""
-"Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor "
-"does America. The norm of free culture has, until recently, and except "
-"within totalitarian nations, been broadly exploited and quite universal."
+"Of course, Walt Disney had no monopoly on <quote>Walt Disney "
+"creativity.</quote> Nor does America. The norm of free culture has, until "
+"recently, and except within totalitarian nations, been broadly exploited and "
+"quite universal."
msgstr ""
#. type: Content of: <book><part><chapter><para>
"Americans tend to look down upon this form of culture. That's an "
"unattractive characteristic of ours. We're likely to misunderstand much "
"about manga, because few of us have ever read anything close to the stories "
-"that these \"graphic novels\" tell. For the Japanese, manga cover every "
-"aspect of social life. For us, comics are \"men in tights.\" And anyway, "
-"it's not as if the New York subways are filled with readers of Joyce or even "
-"Hemingway. People of different cultures distract themselves in different "
-"ways, the Japanese in this interestingly different way."
+"that these <quote>graphic novels</quote> tell. For the Japanese, manga cover "
+"every aspect of social life. For us, comics are <quote>men in "
+"tights.</quote> And anyway, it's not as if the New York subways are filled "
+"with readers of Joyce or even Hemingway. People of different cultures "
+"distract themselves in different ways, the Japanese in this interestingly "
+"different way."
msgstr ""
#. type: Content of: <book><part><chapter><para>
"doujinshi comic can thus take a mainstream comic and develop it "
"differently—with a different story line. Or the comic can keep the "
"character in character but change its look slightly. There is no formula for "
-"what makes the doujinshi sufficiently \"different.\" But they must be "
-"different if they are to be considered true doujinshi. Indeed, there are "
-"committees that review doujinshi for inclusion within shows and reject any "
-"copycat comic that is merely a copy."
+"what makes the doujinshi sufficiently <quote>different.</quote> But they "
+"must be different if they are to be considered true doujinshi. Indeed, there "
+"are committees that review doujinshi for inclusion within shows and reject "
+"any copycat comic that is merely a copy."
msgstr ""
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1524
msgid ""
"These copycat comics are not a tiny part of the manga market. They are "
-"huge. More than 33,000 \"circles\" of creators from across Japan produce "
-"these bits of Walt Disney creativity. More than 450,000 Japanese come "
-"together twice a year, in the largest public gathering in the country, to "
-"exchange and sell them. This market exists in parallel to the mainstream "
+"huge. More than 33,000 <quote>circles</quote> of creators from across Japan "
+"produce these bits of Walt Disney creativity. More than 450,000 Japanese "
+"come together twice a year, in the largest public gathering in the country, "
+"to exchange and sell them. This market exists in parallel to the mainstream "
"commercial manga market. In some ways, it obviously 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 "
"law, at least, is that it is allowed to exist at all. Under Japanese "
"copyright law, which in this respect (on paper) mirrors American copyright "
"law, the doujinshi market is an illegal one. Doujinshi are plainly "
-"\"derivative works.\" There is no general practice by doujinshi artists of "
-"securing the permission of the manga creators. Instead, the practice is "
-"simply to take and modify the creations of others, as Walt Disney did with "
-"<citetitle>Steamboat Bill, Jr</citetitle>. Under both Japanese and American "
-"law, that \"taking\" without 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."
+"<quote>derivative works.</quote> There is no general practice by doujinshi "
+"artists of securing the permission of the manga creators. Instead, the "
+"practice is simply to take and modify the creations of others, as Walt "
+"Disney did with <citetitle>Steamboat Bill, Jr</citetitle>. Under both "
+"Japanese and American law, that <quote>taking</quote> without 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."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
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 "
-"flourish. As American graphic novelist Judd Winick said to me, \"The early "
-"days of comics in America are very much like what's going on in Japan "
+"flourish. As American graphic novelist Judd Winick said to me, <quote>The "
+"early days of comics in America are very much like what's going on in Japan "
"now. … American comics were born out of copying each 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\" and building from "
-"them.<placeholder type=\"footnote\" id=\"0\"/>"
+"not tracing them, but looking at them and copying them</quote> and building "
+"
from them.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
msgid ""
"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, \"there are these rules and "
-"you have to stick to them.\" There are things Superman \"cannot\" do. \"As a "
-"creator, it's frustrating having to stick to some parameters which are fifty "
-"years old.\""
+"allowed. Speaking of Superman, Winick told me, <quote>there are these rules "
+"and you have to stick to them.</quote> There are things Superman "
+"<quote>cannot</quote> do. <quote>As a creator, it's frustrating having to "
+"stick to some parameters which are fifty years old.</quote>"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><para><footnote><para>
#: freeculture.xml:1584
msgid ""
-"See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
-"All the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers Law "
-"Review</citetitle> 55 (2002): 155, 182. \"[T]here might be a collective "
-"economic rationality that would lead manga and anime artists to forgo "
-"bringing legal actions for infringement. One hypothesis is that all manga "
-"artists may be better off collectively if they set aside their individual "
-"self-interest and decide not to press their legal rights. This is "
-"essentially a prisoner's dilemma solved.\""
+"See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain "
+"Why All the Comics My Kid Watches Are Japanese Imports?</quote> "
+"<citetitle>Rutgers Law Review</citetitle> 55 (2002): 155, "
+"182. <quote>[T]here might be a collective economic rationality that would "
+"lead manga and anime artists to forgo bringing legal actions for "
+"infringement. One hypothesis is that all manga artists may be better off "
+"collectively if they set aside their individual self-interest and decide not "
+"to press their legal rights. This is essentially a prisoner's dilemma "
+"solved.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
"rather than banned, but that doesn't explain why individual copyright owners "
"don't sue nonetheless. If the law has no general exception for doujinshi, "
"and indeed in some cases individual manga artists have sued doujinshi "
-"artists, why is there not a more general pattern of blocking this \"free "
-"taking\" by the doujinshi culture?"
+"artists, why is there not a more general pattern of blocking this "
+"<quote>free taking</quote> by the doujinshi culture?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
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 "
-"a major Japanese law firm. \"We don't have enough lawyers,\" he told me one "
-"afternoon. There \"just aren't enough resources to prosecute cases like "
-"this.\""
+"a major Japanese law firm. <quote>We don't have enough lawyers,</quote> he "
+"told me one afternoon. There <quote>just aren't enough resources to "
+"prosecute cases like this.</quote>"
msgstr ""
#. PAGE BREAK 41
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:1643 freeculture.xml:2839 freeculture.xml:4473 freeculture.xml:4694 freeculture.xml:7246 freeculture.xml:8360
+#: freeculture.xml:1643 freeculture.xml:2841 freeculture.xml:4476 freeculture.xml:4697 freeculture.xml:7249 freeculture.xml:8363
msgid "Vaidhyanathan, Siva"
msgstr ""
"Copywrongs</citetitle>, 11 (New York: New York University Press, 2001). See "
"also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: "
"Random House, 2001), 293 n. 26. The term accurately describes a set of "
-"\"property\" rights—copyright, patents, trademark, and "
+"<quote>property</quote> rights—copyright, patents, trademark, and "
"trade-secret—but the nature of those rights is very different. "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1631
msgid ""
-"We live in a world that celebrates \"property.\" I am one of those "
-"celebrants. I believe in the value of property in general, and I also "
+"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 "
"believe in the value of that weird form of property that lawyers call "
-"\"intellectual property.\"<placeholder type=\"footnote\" id=\"0\"/> A large, "
-"diverse society cannot survive without property; a large, diverse, and "
-"modern society cannot flourish without intellectual property."
+"<quote>intellectual property.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> A large, diverse society cannot survive without property; a "
+"large, diverse, and modern society cannot flourish without intellectual "
+"property."
msgstr ""
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1650
msgid ""
"But it takes just a second's reflection to realize that there is plenty of "
-"value out there that \"property\" doesn't capture. I don't mean \"money "
-"can't buy you love,\" but rather, value that is plainly part of a process of "
-"production, including commercial as well as noncommercial production. If "
-"Disney animators had stolen a set of pencils to draw Steamboat Willie, we'd "
-"have no hesitation in condemning that taking as wrong— even though "
-"trivial, even if unnoticed. Yet there was nothing wrong, at least under the "
-"law of the day, with Disney's taking from Buster Keaton or from the Brothers "
-"Grimm. There was nothing wrong with the taking from Keaton because Disney's "
-"use would have been considered \"fair.\" There was nothing wrong with the "
-"taking from the Grimms because the Grimms' work was in the public domain."
+"value out there that <quote>property</quote> doesn't capture. I don't mean "
+"<quote>money can't buy you love,</quote> but rather, value that is plainly "
+"part of a process of production, including commercial as well as "
+"noncommercial production. If Disney animators had stolen a set of pencils "
+"to draw Steamboat Willie, we'd have no hesitation in condemning that taking "
+"as wrong— even though trivial, even if unnoticed. Yet there was "
+"nothing wrong, at least under the law of the day, with Disney's taking from "
+"Buster Keaton or from the Brothers Grimm. There was nothing wrong with the "
+"taking from Keaton because Disney's use would have been considered "
+"<quote>fair.</quote> There was nothing wrong with the taking from the Grimms "
+"because the Grimms' work was in the public domain."
msgstr ""
#. PAGE BREAK 42
#: freeculture.xml:1682
msgid ""
"Yet there is an obvious reluctance, even among Japanese lawyers, to say that "
-"the copycat comic artists are \"stealing.\" This form of Walt Disney "
-"creativity is seen as fair and right, even if lawyers in particular find it "
-"hard to say why."
+"the copycat comic artists are <quote>stealing.</quote> This form of Walt "
+"Disney creativity is seen as fair and right, even if lawyers in particular "
+"find it hard to say why."
msgstr ""
#. type: Content of: <book><part><chapter><para>
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 "
-"or paying for the privilege. (\"Excuse me, Professor Einstein, but may I "
-"have permission to use your theory of relativity to show that you were wrong "
-"about quantum physics?\") Acting companies perform adaptations of the works "
-"of Shakespeare without securing permission from anyone. (Does "
+"or paying for the privilege. (<quote>Excuse me, Professor Einstein, but may "
+"I have permission to use your theory of relativity to show that you were "
+"wrong about quantum physics?</quote>) Acting companies perform adaptations "
+"of the works of Shakespeare without securing permission from anyone. (Does "
"<emphasis>anyone</emphasis> believe Shakespeare would be better spread "
"within our culture if there were a central Shakespeare rights clearinghouse "
"that all productions of Shakespeare must appeal to first?) And Hollywood "
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 "
-"\"<emphasis>How</emphasis> free is this culture?\" How much, and how "
-"broadly, is the culture free for others to take and build upon? Is that "
+"<quote><emphasis>How</emphasis> free is this culture?</quote> How much, and "
+"how broadly, is the culture free for others to take and build upon? Is that "
"freedom limited to party members? To members of the royal family? To the top "
"ten corporations on the New York Stock Exchange? Or is that freedom spread "
"broadly? To artists generally, whether affiliated with the Met or not? To "
#. type: Content of: <book><part><chapter><title>
#: freeculture.xml:1733
-msgid "CHAPTER TWO: \"Mere Copyists\""
+msgid "CHAPTER TWO: <quote>Mere Copyists</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
#: freeculture.xml:1738
msgid ""
"In 1839, Louis Daguerre invented the first practical technology for "
-"producing what we would call \"photographs.\" Appropriately enough, they "
-"were called \"daguerreotypes.\" The process was complicated and expensive, "
-"and the field was thus limited to professionals and a few 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.) <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"producing what we would call <quote>photographs.</quote> Appropriately "
+"enough, they were called <quote>daguerreotypes.</quote> The process was "
+"complicated and expensive, and the field was thus limited to professionals "
+"and a few 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.) <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
#: freeculture.xml:1748
msgid ""
"Yet despite high prices, the demand for daguerreotypes was strong. This "
-"pushed inventors to find simpler and cheaper ways to make \"automatic "
-"pictures.\" William Talbot soon discovered a process for making "
-"\"negatives.\" But because the negatives were glass, and had to be kept wet, "
-"the process still remained expensive and cumbersome. In the 1870s, dry "
-"plates were developed, making it easier to separate the taking of a picture "
-"from its developing. These were still plates of glass, and thus it was still "
-"not a process within reach of most amateurs. <placeholder "
+"pushed inventors to find simpler and cheaper ways to make <quote>automatic "
+"pictures.</quote> William Talbot soon discovered a process for making "
+"<quote>negatives.</quote> But because the negatives were glass, and had to "
+"be kept wet, the process still remained expensive and cumbersome. In the "
+"1870s, dry plates were developed, making it easier to separate the taking of "
+"a picture from its developing. These were still plates of glass, and thus it "
+"
was still not a process within reach of most amateurs. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
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 "
-"of its simplicity. \"You press the button and we do the rest.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> As he described in <citetitle>The Kodak "
-"Primer</citetitle>: <placeholder type=\"indexterm\" id=\"1\"/>"
+"of its simplicity. <quote>You press the button and we do the "
+"rest.</quote><placeholder type=\"footnote\" id=\"0\"/> As he described in "
+"<citetitle>The Kodak Primer</citetitle>: <placeholder type=\"indexterm\" "
+"id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
"was social. Professional photography gave individuals a glimpse of places "
"they would never otherwise see. Amateur photography gave them the ability to "
"record their own lives in a way they had never been able to do before. As "
-"author Brian Coe notes, \"For the first time the snapshot album provided the "
-"man on the street with a permanent record of his family and its "
+"author Brian Coe notes, <quote>For the first time the snapshot album "
+"provided the man on the street with a 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.\"<placeholder type=\"footnote\" "
-"id=\"0\"/>"
+"without [literary] interpretation or bias.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
"took years of training before they could be deployed by amateurs in any "
"useful or effective way. With the Kodak, expression was possible much sooner "
"and more simply. The barrier to expression was lowered. Snobs would sneer at "
-"its \"quality\"; professionals would discount it as irrelevant. But watch a "
-"child study how best to frame a picture and you get a sense of the "
-"experience of creativity that the Kodak enabled. Democratic tools gave "
-"ordinary people a way to express themselves more easily than any tools could "
-"have before."
+"its <quote>quality</quote>; professionals would discount it as "
+"irrelevant. But watch a child study how best to frame a picture and you get "
+"a sense of the experience of creativity that the Kodak enabled. Democratic "
+"tools gave ordinary people a way to express themselves more easily than any "
+"tools could have before."
msgstr ""
#. f6
#: freeculture.xml:1871
msgid ""
"The arguments in favor of requiring permission will sound surprisingly "
-"familiar. The photographer was \"taking\" something from the person or "
-"building whose photograph he shot—pirating something of value. Some "
-"even thought he was taking the target's soul. Just as Disney was not free to "
-"take the pencils that his animators used to draw Mickey, so, too, should "
-"these photographers not be free to take images that they thought valuable."
+"familiar. The photographer was <quote>taking</quote> something from the "
+"person or building whose photograph he shot—pirating something of "
+"value. Some even thought he was taking the target's soul. Just as Disney was "
+"not free to take the pencils that his animators used to draw Mickey, so, "
+"too, should these photographers not be free to take images that they thought "
+"valuable."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
#. type: Content of: <book><part><chapter><para><footnote><para>
#: freeculture.xml:1890
msgid ""
-"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" "
+"Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote> "
"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
#: freeculture.xml:1910
msgid ""
-"See Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and "
-"Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, "
-"\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) "
-"398–407; <citetitle>White</citetitle> v. <citetitle>Samsung "
-"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), "
-"cert. denied, 508 U.S. 951 (1993)."
+"See Melville B. Nimmer, <quote>The Right of Publicity,</quote> "
+"<citetitle>Law and Contemporary Problems</citetitle> 19 (1954): 203; William "
+"L. Prosser, <quote>Privacy,</quote> <citetitle>California Law "
+"Review</citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> "
+"v. <citetitle>Samsung Electronics America, Inc</citetitle>., 971 F. 2d 1395 "
+"(9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
"then the photographer would have had to demonstrate permission. Perhaps "
"Eastman Kodak would have had to demonstrate permission, too, before it "
"developed the film upon which images were captured. After all, if permission "
-"were not granted, then Eastman Kodak would be benefiting from the \"theft\" "
-"committed by the photographer. Just as Napster benefited from the copyright "
-"infringements committed by Napster users, Kodak would be benefiting from the "
-"\"image-right\" infringement of its photographers. We could 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."
+"were not granted, then Eastman Kodak would be benefiting from the "
+"<quote>theft</quote> committed by the photographer. Just as Napster "
+"benefited from the copyright infringements committed by Napster users, Kodak "
+"would be benefiting from the <quote>image-right</quote> infringement of its "
+"photographers. We could 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."
msgstr ""
#. PAGE BREAK 48
"realized. And certainly, nothing like that growth in a democratic technology "
"of expression would have been realized. If you drive through San "
"Francisco's Presidio, you might see two gaudy yellow school buses painted "
-"over with colorful and striking images, and the logo \"Just Think!\" in "
-"place of the name of a school. But there's little that's \"just\" cerebral "
-"in the projects that these busses enable. These buses are filled with "
-"technologies that teach kids to tinker with film. Not the film of "
-"Eastman. Not even the film of your VCR. Rather the \"film\" of digital "
-"cameras. Just Think! is a project that enables kids to make films, as a way "
-"to understand and critique the filmed culture that they find all around "
-"them. Each year, these busses travel to more than thirty schools and enable "
-"three hundred to five hundred children to learn something about media by "
-"doing something with media. By doing, they think. By tinkering, they learn."
+"over with colorful and striking images, and the logo <quote>Just "
+"Think!</quote> in place of the name of a school. But there's little that's "
+"<quote>just</quote> cerebral in the projects that these busses enable. "
+"These buses are filled with technologies that teach kids to tinker with "
+"film. Not the film of Eastman. Not even the film of your VCR. Rather the "
+"<quote>film</quote> of digital cameras. Just Think! is a project that "
+"enables kids to make films, as a way to understand and critique the filmed "
+"culture that they find all around them. Each year, these busses travel to "
+"more than thirty schools and enable three hundred to five hundred children "
+"to learn something about media by doing something with media. By doing, "
+"they think. By tinkering, they learn."
msgstr ""
#. f9
#. type: Content of: <book><part><chapter><para><footnote><para>
#: freeculture.xml:1968
msgid ""
-"H. Edward Goldberg, \"Essential Presentation Tools: Hardware and Software "
-"You Need to Create Digital Multimedia Presentations,\" cadalyst, February "
-"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#7</ulink>."
+"H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and "
+"Software You Need to Create Digital Multimedia Presentations,</quote> "
+"cadalyst, February 2002, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #7</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
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 "
-"dramatically. As one analyst puts it, \"Five years ago, a good real-time "
-"digital video editing system cost $25,000. Today you can get professional "
-"quality for $595.\"<placeholder type=\"footnote\" id=\"0\"/> 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 \"media literacy.\""
+"dramatically. As one analyst puts it, <quote>Five years ago, a good "
+"real-time digital video editing system cost $25,000. Today you can get "
+"professional quality for $595.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> 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 <quote>media "
+"literacy.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1980
msgid ""
-"\"Media literacy,\" as Dave Yanofsky, the executive director of Just Think!, "
-"puts it, \"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.\" <placeholder type=\"indexterm\" id=\"0\"/>"
+"<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of "
+"Just Think!, puts it, <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.</quote> <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:1988
msgid ""
-"This may seem like an odd way to think about \"literacy.\" For most people, "
-"literacy is about reading and writing. Faulkner and Hemingway and noticing "
-"split infinitives are the things that \"literate\" people know about."
+"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 "
+"and noticing split infinitives are the things that <quote>literate</quote> "
+"people know about."
msgstr ""
#. f10
#: freeculture.xml:1998
msgid ""
"Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
-"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family "
-"and TV Study,\" <citetitle>Denver Post</citetitle>, 25 May 1997, B6."
+"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <quote>Findings on "
+"Family and TV Study,</quote> <citetitle>Denver Post</citetitle>, 25 May "
+"1997, B6."
msgstr ""
#. type: Content of: <book><part><chapter><para>
"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,<placeholder type=\"footnote\" id=\"0\"/> it is increasingly "
-"important to understand the \"grammar\" 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 terrible prose, kids learn how to "
-"write media by constructing lots of (at least at first) terrible media."
+"important to understand the <quote>grammar</quote> 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 terrible "
+"prose, kids learn how to write media by constructing lots of (at least at "
+"first) terrible media."
msgstr ""
#. type: Content of: <book><part><chapter><para>
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2040 freeculture.xml:2100 freeculture.xml:2107 freeculture.xml:2542
+#: freeculture.xml:2040 freeculture.xml:2100 freeculture.xml:2107 freeculture.xml:2544
msgid "Barish, Stephanie"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
#: freeculture.xml:2052
msgid ""
-"See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 November "
-"2000, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#8</ulink>; \"Timeline,\" 22 November 2000, available at <ulink "
+"See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, "
+"4 November 2000, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #8</ulink>; "
+"<quote>Timeline,</quote> 22 November 2000, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #9</ulink>."
msgstr ""
"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 \"the placement "
-"of objects, color, … rhythm, pacing, and texture.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> But as computers open up an interactive space "
-"where a story is \"played\" as well as experienced, that grammar "
-"changes. The simple control of narrative is lost, and so other techniques "
-"are necessary. Author Michael Crichton had mastered the narrative of science "
-"fiction. 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.<placeholder type=\"footnote\" id=\"1\"/>"
+"of Cinema-Television, explained to me, the grammar was about <quote>the "
+"placement of objects, color, … rhythm, pacing, and "
+"texture.</quote><placeholder type=\"footnote\" id=\"0\"/> But as computers "
+"open up an interactive space where a story is <quote>played</quote> as well "
+"as experienced, that grammar changes. The simple control of narrative is "
+"lost, and so other techniques are necessary. Author Michael Crichton had "
+"mastered the narrative of science fiction. 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.<placeholder "
+"type=\"footnote\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
#: freeculture.xml:2061
msgid ""
"This skill is precisely the craft a filmmaker learns. As Daley describes, "
-"\"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 have no idea. If a "
-"filmmaker succeeds you do not know how you were led.\" If you know you were "
-"led through a film, the film has failed."
+"<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 have no idea. If "
+"a filmmaker succeeds you do not know how you were led.</quote> If you know "
+"you were led through a film, the film has failed."
msgstr ""
#. type: Content of: <book><part><chapter><para>
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:2083
msgid ""
-"\"Read-only.\" Passive recipients of culture produced elsewhere. Couch "
-"potatoes. Consumers. This is the world of media from the twentieth century."
+"<quote>Read-only.</quote> Passive recipients of culture produced elsewhere. "
+"Couch potatoes. Consumers. This is the world of media from the twentieth "
+"century."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
#. f31
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:2104 freeculture.xml:3843 freeculture.xml:4882 freeculture.xml:8084
+#: freeculture.xml:2104 freeculture.xml:3845 freeculture.xml:4885 freeculture.xml:8087
msgid "Ibid."
msgstr ""
"could be both read and write. Or at least reading and better understanding "
"the craft of writing. Or best, reading and understanding the tools that "
"enable the writing to lead or mislead. The aim of any literacy, and this "
-"literacy in particular, is to \"empower people to choose the appropriate "
-"language for what they need to create or express.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> It is to enable students \"to communicate in "
-"the language of the twenty-first century.\"<placeholder type=\"footnote\" "
-"id=\"1\"/>"
+"literacy in particular, is to <quote>empower people to choose the "
+"appropriate language for what they need to create or "
+"express.</quote><placeholder type=\"footnote\" id=\"0\"/> It is to enable "
+"students <quote>to communicate in the language of the twenty-first "
+"century.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
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 "
-"kids to come, the challenge in this class was keeping them away. The \"kids "
-"were showing up at 6 A.M. and leaving at 5 at night,\" said Barish. They "
-"were working harder than in any other class to do what education should be "
-"about—learning how to express themselves."
+"kids to come, the challenge in this class was keeping them away. The "
+"<quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote> "
+"said Barish. They were working harder than in any other class to do what "
+"education should be about—learning how to express themselves."
msgstr ""
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:2129
msgid ""
-"Using whatever \"free web stuff they could find,\" and relatively simple "
-"tools to enable the kids to mix \"image, sound, and text,\" Barish said this "
-"class produced a series of projects that showed something about gun violence "
-"that few would otherwise understand. This was an issue close to the lives of "
-"these students. The project \"gave them a tool and empowered them to be able "
-"to both understand it and talk about it,\" Barish explained. That tool "
+"Using whatever <quote>free web stuff they could find,</quote> and relatively "
+"simple tools to enable the kids to mix <quote>image, sound, and "
+"text,</quote> Barish said this class produced a series of projects that "
+"showed something about gun violence that few would otherwise "
+"understand. This was an issue close to the lives of these students. The "
+"project <quote>gave them a tool and empowered them to be able to both "
+"understand it and talk about it,</quote> Barish explained. That tool "
"succeeded in creating expression—far more successfully and powerfully "
-"than could have been created using only text. \"If you had said to these "
-"students, `you have to do it in text,' they would've just thrown their hands "
-"up and gone and done something else,\" Barish described, in part, no doubt, "
-"because expressing themselves in text is not something these students can do "
-"well. Yet neither is text a form in which <emphasis>these</emphasis> ideas "
-"can be expressed well. The power of this message depended upon its "
-"connection to this form of expression."
+"than could have been created using only text. <quote>If you had said to "
+"these students, `you have to do it in text,' they would've just thrown their "
+"hands up and gone and done something else,</quote> Barish described, in "
+"part, no doubt, because expressing themselves in text is not something these "
+"students can do well. Yet neither is text a form in which "
+"<emphasis>these</emphasis> ideas can be expressed well. The power of this "
+"message depended upon its connection to this form of expression."
msgstr ""
#. PAGE BREAK 52
#. type: Content of: <book><part><chapter><para>
#: freeculture.xml:2148
msgid ""
-"\"But isn't education about teaching kids to write?\" I asked. In part, of "
-"course, it is. But why are we teaching kids to write? Education, Daley "
-"explained, is about giving students a way of \"constructing meaning.\" To "
-"say that that means just writing is like saying teaching writing is only "
-"about teaching kids how to spell. Text is one part—and increasingly, "
-"not the most powerful part—of constructing meaning. As Daley explained "
-"in the most moving part of our interview,"
+"<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, "
+"Daley explained, is about giving students a way of <quote>constructing "
+"meaning.</quote> To say that that means just writing is like saying teaching "
+"writing is only about teaching kids how to spell. Text is one part—and "
+"increasingly, not the most powerful part—of constructing meaning. As "
+"Daley explained in the most moving part of our interview,"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
"know, you've got Johnny who can look at a video, he can play a video game, "
"he can do graffiti all over your walls, he can take your car apart, and he "
"can do all sorts of other things. He just can't read your text. So Johnny "
-"comes to school and you say, \"Johnny, you're illiterate. Nothing you can do "
-"matters.\" Well, Johnny then has two choices: He can dismiss you or he [can] "
-"dismiss himself. If his ego is healthy at all, he's going to dismiss "
-"you. [But i]nstead, if you say, \"Well, with all these things that you can "
-"do, let's talk about this issue. Play for me music that you think reflects "
-"that, or show me images that you think reflect that, or draw for me "
-"something that reflects that.\" Not by giving a kid a video camera and "
-"… saying, \"Let's go have fun with the video camera and make a little "
-"movie.\" But instead, really help you take these elements that you "
-"understand, that are your language, and construct meaning about the "
-"topic.…"
+"comes to school and you say, <quote>Johnny, you're illiterate. Nothing you "
+"can do matters.</quote> Well, Johnny then has two choices: He can dismiss "
+"you or he [can] dismiss himself. If his ego is healthy at all, he's going to "
+"dismiss you. [But i]nstead, if you say, <quote>Well, with all these things "
+"that you can do, let's talk about this issue. Play for me music that you "
+"think reflects that, or show me images that you think reflect that, or draw "
+"for me something that reflects that.</quote> Not by giving a kid a video "
+"camera and … saying, <quote>Let's go have fun with the video camera "
+"and make a little movie.</quote> But instead, really help you take these "
+"elements that you understand, that are your language, and construct meaning "
+"about the topic.…"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
#: freeculture.xml:2178
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, \"I "
-"need to explain this and I really need to write something.\" And as one of "
-"the teachers told Stephanie, they would rewrite a paragraph 5, 6, 7, 8 "
-"times, till they got it right."
+"as it has happened in all these classes, they bump up against the fact, "
+"<quote>I need to explain this and I really need to write something.</quote> "
+"And as one of the teachers told Stephanie, they would rewrite a paragraph 5, "
+"6, 7, 8 times, till they got it right."
msgstr ""
#. PAGE BREAK 53
"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 "
"needed to use a language that they didn't speak very well. But they had come "
-"to understand that they had a lot of power with this language.\""
+"to understand that they had a lot of power with this language."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2194
+#: freeculture.xml:2196
msgid ""
"When two planes crashed into the World Trade Center, another into the "
"Pentagon, and a fourth into a Pennsylvania field, all media around the world "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2205
+#: freeculture.xml:2207
msgid ""
"These retellings had an increasingly familiar feel. There was music scored "
"for the intermissions, and fancy graphics that flashed across the "
-"screen. There was a formula to interviews. There was \"balance,\" and "
-"seriousness. This was news choreographed in the way we have increasingly "
-"come to expect it, \"news as entertainment,\" even if the entertainment is "
-"tragedy."
+"screen. There was a formula to interviews. There was <quote>balance,</quote> "
+"and seriousness. This was news choreographed in the way we have increasingly "
+"come to expect it, <quote>news as entertainment,</quote> even if the "
+"entertainment is tragedy."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2212 freeculture.xml:8023 freeculture.xml:8259
+#: freeculture.xml:2214 freeculture.xml:8026 freeculture.xml:8262
msgid "ABC"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2213
+#: freeculture.xml:2215
msgid "CBS"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2215
+#: freeculture.xml:2217
msgid ""
-"But in addition to this produced news about the \"tragedy of September 11,\" "
-"those of us tied to the Internet came to see a very different production as "
-"well. The Internet was filled with accounts of the same events. Yet these "
-"Internet accounts had a very different flavor. Some people constructed photo "
-"pages that captured images from around the world and presented them as slide "
-"shows with text. Some offered open letters. There were sound "
-"recordings. There was anger and frustration. There were attempts to provide "
-"context. There was, in short, an extraordinary worldwide barn raising, in "
-"the sense Mike Godwin uses the term in his book <citetitle>Cyber "
+"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 "
+"production as well. The Internet was filled with accounts of the same "
+"events. Yet these Internet accounts had a very different flavor. Some people "
+"constructed photo pages that captured images from around the world and "
+"presented them as slide shows with text. Some offered open letters. There "
+"were sound recordings. There was anger and frustration. There were attempts "
+"to provide context. There was, in short, an extraordinary worldwide barn "
+"raising, in the sense Mike Godwin uses the term in his book <citetitle>Cyber "
"Rights</citetitle>, around a news event that had captured the attention of "
"the world. There was ABC and CBS, but there was also the Internet."
msgstr ""
#. PAGE BREAK 54
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2229
+#: freeculture.xml:2231
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 "
"to point to a significance in this form of speech. For like a Kodak, the "
"Internet enables people to capture images. And like in a movie by a student "
-"on the \"Just Think!\" bus, the visual images could be mixed with sound or "
-"text."
+"on the <quote>Just Think!</quote> bus, the visual images could be mixed with "
+"sound or text."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2239
+#: freeculture.xml:2241
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>
-#: freeculture.xml:2248
+#: freeculture.xml:2250
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><para>
-#: freeculture.xml:2257
+#: freeculture.xml:2259
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 "
#. PAGE BREAK 55
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2271
+#: freeculture.xml:2273
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 "
#. f15
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2297
+#: freeculture.xml:2299
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:2282
+#: freeculture.xml:2284
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 "
"tradition, it also means control through reasoned discourse. This was the "
"idea that captured the imagination of Alexis de Tocqueville, the "
"nineteenth-century French lawyer who wrote the most important account of "
-"early \"Democracy in America.\" It wasn't popular elections that fascinated "
-"him—it was the jury, an institution that gave ordinary people the "
-"right to choose life or death for other citizens. And most fascinating for "
-"him was that the jury didn't just vote about the outcome they would "
-"impose. They deliberated. Members argued about the \"right\" result; they "
-"tried to persuade each other of the \"right\" result, and in criminal cases "
-"at least, they had to agree upon a unanimous result for the process to come "
-"to an end.<placeholder type=\"footnote\" id=\"0\"/>"
+"early <quote>Democracy in America.</quote> It wasn't popular elections that "
+"fascinated him—it was the jury, an institution that gave ordinary "
+"people the right to choose life or death for other citizens. And most "
+"fascinating for him was that the jury didn't just vote about the outcome "
+"they would impose. They deliberated. Members argued about the "
+"<quote>right</quote> result; they tried to persuade each other of the "
+"<quote>right</quote> result, and in criminal cases at least, they had to "
+"agree upon a unanimous result for the process to come to an end.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. f16
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2306
+#: freeculture.xml:2308
msgid ""
-"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" <citetitle>Journal "
-"of Political Philosophy</citetitle> 10 (2) (2002): 129."
+"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:2302
+#: freeculture.xml:2304
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 "
"pushing to create just such an institution.<placeholder type=\"footnote\" "
"id=\"0\"/> 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 \"democratic deliberation\" to occur."
+"for <quote>democratic deliberation</quote> to occur."
msgstr ""
#. f17
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2321
+#: freeculture.xml:2323
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:2314
+#: freeculture.xml:2316
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 "
#. PAGE BREAK 56
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2327
+#: freeculture.xml:2329
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:2338
+#: freeculture.xml:2340
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><para><indexterm><primary>
-#: freeculture.xml:2350
+#: freeculture.xml:2352
msgid "Dean, Howard"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2346
+#: freeculture.xml:2348
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 "
#. f18
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2364
+#: freeculture.xml:2366
msgid ""
-"Noah Shachtman, \"With Incessant Postings, a Pundit Stirs the Pot,\" New "
-"York Times, 16 January 2003, G5."
+"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><indexterm><primary>
-#: freeculture.xml:2367
+#: freeculture.xml:2369
msgid "Lott, Trent"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2353
+#: freeculture.xml:2355
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 "
-"\"misspoke\" at a party for Senator Strom Thurmond, essentially praising "
-"Thurmond's segregationist policies, he calculated correctly that this story "
-"would disappear from the mainstream press within forty-eight hours. It "
-"did. But he didn't calculate its life cycle in blog space. The bloggers kept "
-"researching the story. Over time, more and more instances of the same "
-"\"misspeaking\" emerged. Finally, the story broke back into the mainstream "
-"press. In the end, Lott was forced to resign as senate majority "
-"leader.<placeholder type=\"footnote\" id=\"0\"/> <placeholder "
+"<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially "
+"praising Thurmond's segregationist policies, he calculated correctly that "
+"this story would disappear from the mainstream press within forty-eight "
+"hours. It did. But he didn't calculate its life cycle in blog space. The "
+"bloggers kept researching the story. Over time, more and more instances of "
+"the same <quote>misspeaking</quote> emerged. Finally, the story broke back "
+"into the mainstream press. In the end, Lott was forced to resign as senate "
+"
majority leader.<placeholder type=\"footnote\" id=\"0\"/> <placeholder "
"type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2370
+#: freeculture.xml:2372
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><para>
-#: freeculture.xml:2377
+#: freeculture.xml:2379
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:2386
+#: freeculture.xml:2388
msgid "Winer, Dave"
msgstr ""
#. PAGE BREAK 57
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2389
+#: freeculture.xml:2391
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 "
"a software author for many decades, told me, another difference is the "
-"absence of a financial \"conflict of interest.\" \"I think you have to take "
-"the conflict of interest\" out of journalism, Winer told me. \"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.\""
+"absence of a financial <quote>conflict of interest.</quote> <quote>I think "
+"you have to take the conflict of interest</quote> out of journalism, Winer "
+"told me. <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.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2399 freeculture.xml:2452
+#: freeculture.xml:2401 freeculture.xml:2454
msgid "CNN"
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2407
+#: freeculture.xml:2409
msgid "Telephone interview with David Winer, 16 April 2003."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2401
+#: freeculture.xml:2403
msgid ""
"These conflicts become more important as media becomes more concentrated "
"(more on this below). A concentrated media can hide more from the public "
"uplink with a reporter in Iraq. The New York headquarters was telling the "
"reporter over and over that her 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 <emphasis>they</emphasis> were writing \"the "
-"story.\")"
+"warranted, they told her that <emphasis>they</emphasis> were writing "
+"<quote>the story.</quote>)"
msgstr ""
#. f20
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2425
+#: freeculture.xml:2427
msgid ""
-"John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information "
-"Online,\" <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci "
-"D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong Overall,\" Online "
-"Journalism Review, 2 February 2003, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #10</ulink>."
+"John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of "
+"Information Online,</quote> <citetitle>New York Times</citetitle>, 2 "
+"February 2003, A28; Staci D. Kramer, <quote>Shuttle Disaster Coverage Mixed, "
+"but Strong Overall,</quote> Online Journalism Review, 2 February 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #10</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2417
+#: freeculture.xml:2419
msgid ""
-"Blog space gives amateurs a way to enter the debate—\"amateur\" 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.<placeholder type=\"footnote\" id=\"0\"/> And it "
-"drives readers to read across the range of accounts and \"triangulate,\" as "
-"Winer puts it, the truth. Blogs, Winer says, are \"communicating directly "
-"with our constituency, and the middle man is out of it\"—with all the "
+"Blog space gives amateurs a way to enter the "
+"debate—<quote>amateur</quote> 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.<placeholder type=\"footnote\" id=\"0\"/> And it drives readers to read "
+"across the range of accounts and <quote>triangulate,</quote> as Winer puts "
+"it, the truth. Blogs, Winer says, are <quote>communicating directly with our "
+"constituency, and the middle man is out of it</quote>—with all the "
"benefits, and costs, that might entail."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2444
+#: freeculture.xml:2446
msgid ""
-"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" "
-"<citetitle>New York Times</citetitle>, 29 September 2003, C4. (\"Not all "
-"news organizations have been as accepting of employees who blog. Kevin "
+"See Michael Falcone, <quote>Does an Editor's Pencil Ruin a Web Log?</quote> "
+"<citetitle>New York Times</citetitle>, 29 September 2003, C4. (<quote>Not "
+"all news organizations have been as accepting of employees who blog. Kevin "
"Sites, a CNN correspondent in Iraq who started a blog about his reporting of "
"the war on March 9, stopped posting 12 days later at his bosses' "
"request. Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> "
"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.\") "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"pseudonym, that dealt with some of the issues and people he was "
+"
covering.</quote>) <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 58
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2437
+#: freeculture.xml:2439
msgid ""
"Winer is optimistic about the future of journalism infected with "
-"blogs. \"It's going to become an essential skill,\" Winer predicts, for "
-"public figures and increasingly for private figures as well. It's not clear "
-"that \"journalism\" is happy about this—some journalists have been "
-"told to curtail their blogging.<placeholder type=\"footnote\" id=\"0\"/> But "
-"it is clear that we are still in transition. \"A lot of what we are doing "
-"now is warm-up exercises,\" Winer told me. There is a lot that must mature "
-"before this space has its mature effect. And as the inclusion of content in "
-"this space is the least infringing use of the Internet (meaning infringing "
-"on copyright), Winer said, \"we will be the last thing that gets shut "
-"down.\""
-msgstr ""
-
-#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2464
-msgid ""
-"This speech affects democracy. Winer thinks that happens because \"you don't "
-"have to work for somebody who controls, [for] a gatekeeper.\" That is "
-"true. But it affects democracy in another way as well. As more and more "
-"citizens express what they think, and defend it in writing, that will change "
-"the way people understand public issues. It is easy to be wrong and "
+"blogs. <quote>It's going to become an essential skill,</quote> Winer "
+"predicts, for public figures and increasingly for private figures as "
+"well. It's not clear that <quote>journalism</quote> is happy about "
+"this—some journalists have been told to curtail their "
+"blogging.<placeholder type=\"footnote\" id=\"0\"/> But it is clear that we "
+"are still in transition. <quote>A lot of what we are doing now is warm-up "
+"exercises,</quote> Winer told me. There is a lot that must mature before "
+"this space has its mature effect. And as the inclusion of content in this "
+"space is the least infringing use of the Internet (meaning infringing on "
+"copyright), Winer said, <quote>we will be the last thing that gets shut "
+"down.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: freeculture.xml:2466
+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> "
+"That is true. But it affects democracy in another way as well. As more and "
+"more citizens express what they think, and defend it in writing, that will "
+"change the way people understand public issues. It is easy to be wrong and "
"misguided in your head. It is harder when the product of your mind can be "
"criticized by others. Of course, it is a rare human who admits that he has "
"been persuaded that he is wrong. But it is even rarer for a human to ignore "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2480
+#: freeculture.xml:2482
msgid "Brown, John Seely"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2483
+#: freeculture.xml:2485
msgid ""
"John Seely Brown is the chief scientist of the Xerox Corporation. His work, "
-"as his Web site describes it, is \"human learning and … the creation "
-"of knowledge ecologies for creating … innovation.\""
+"as his Web site describes it, is <quote>human learning and … the "
+"creation of knowledge ecologies for creating … innovation.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2488
+#: freeculture.xml:2490
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:2495
+#: freeculture.xml:2497
msgid ""
-"As Brown believes, we learn by tinkering. When \"a lot of us grew up,\" he "
-"explains, that tinkering was done \"on motorcycle engines, lawnmower "
-"engines, automobiles, radios, and so on.\" But digital technologies enable a "
-"different kind of tinkering—with abstract ideas though in concrete "
-"form. The kids at Just Think! not only think about how a commercial portrays "
-"a politician; using digital technology, they can take the commercial apart "
-"and manipulate it, tinker with it to see how it does what it does. Digital "
-"technologies launch a kind of bricolage, or \"free collage,\" as Brown calls "
-"it. Many get to add to or transform the tinkering of many others."
+"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 "
+"engines, lawnmower engines, automobiles, radios, and so on.</quote> But "
+"digital technologies enable a different kind of tinkering—with "
+"abstract ideas though in concrete form. The kids at Just Think! not only "
+"think about how a commercial portrays a politician; using digital "
+"technology, they can take the commercial apart and manipulate it, tinker "
+"with it to see how it does what it does. Digital technologies launch a kind "
+"of bricolage, or <quote>free collage,</quote> as Brown calls it. Many get to "
+"add to or transform the tinkering of many others."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2508
+#: freeculture.xml:2510
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:2515
+#: freeculture.xml:2517
msgid ""
-"This opportunity creates a \"completely new kind of learning platform,\" as "
-"Brown describes. \"As soon as you start doing that, you … unleash a "
-"free collage on the community, so that other people can start looking at "
-"your code, tinkering with it, trying it out, seeing if they can improve "
-"it.\" Each effort is a kind of apprenticeship. \"Open source becomes a major "
-"apprenticeship platform.\""
+"This opportunity creates a <quote>completely new kind of learning "
+"platform,</quote> as Brown describes. <quote>As soon as you start doing "
+"that, you … unleash a free collage on the community, so that other "
+"people can start looking at your code, tinkering with it, trying it out, "
+"seeing if they can improve it.</quote> Each effort is a kind of "
+"apprenticeship. <quote>Open source becomes a major apprenticeship "
+"platform.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2523
+#: freeculture.xml:2525
msgid ""
-"In this process, \"the concrete things you tinker with are abstract. They "
-"are code.\" Kids are \"shifting to the ability to tinker in the abstract, "
-"and this tinkering is no longer an isolated activity that you're doing in "
-"your garage. You are tinkering with a community platform. … You are "
-"tinkering with other people's stuff. The more you tinker the more you "
-"improve.\" The more you improve, the more you learn."
+"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 "
+"the abstract, and this tinkering is no longer an isolated activity that "
+"you're doing in your garage. You are tinkering with a community "
+"platform. … You are tinkering with other people's stuff. The more you "
+"tinker the more you improve.</quote> The more you improve, the more you "
+"learn."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2532
+#: freeculture.xml:2534
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, "
-"\"the Web [is] the first medium that truly honors multiple forms of "
-"intelligence.\" Earlier technologies, such as the typewriter or word "
+"<quote>the Web [is] the first medium that truly honors multiple forms of "
+"intelligence.</quote> Earlier technologies, such as the typewriter or word "
"processors, helped amplify text. But the Web amplifies much more than "
-"text. \"The Web … says if you are musical, if you are artistic, if "
-"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.\""
+"text. <quote>The Web … says if you are musical, if you are artistic, "
+"if 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.</quote>"
msgstr ""
#. PAGE BREAK 60
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2544
+#: freeculture.xml:2546
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:2552
+#: freeculture.xml:2554
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:2568
+#: freeculture.xml:2570
msgid ""
-"See, for example, Edward Felten and Andrew Appel, \"Technological Access "
-"Control Interferes with Noninfringing Scholarship,\" "
+"See, for example, Edward Felten and Andrew Appel, <quote>Technological "
+"Access Control Interferes with Noninfringing Scholarship,</quote> "
"<citetitle>Communications of the Association for Computer "
"Machinery</citetitle> 43 (2000): 9."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2561
+#: freeculture.xml:2563
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 "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>) has developed a "
-"powerful argument in favor of the \"right to tinker\" as it applies to "
-"computer science and to knowledge in general.<placeholder type=\"footnote\" "
-"id=\"0\"/> 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."
+"powerful argument in favor of the <quote>right to tinker</quote> as it "
+"applies to computer science and to knowledge in general.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2576
+#: freeculture.xml:2578
msgid ""
-"\"This is where education in the twenty-first century is going,\" Brown "
-"explains. We need to \"understand how kids who grow up digital think and "
-"want to learn.\""
+"<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 "
+"think and want to learn.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2581
+#: freeculture.xml:2583
msgid ""
-"\"Yet,\" as Brown continued, and as the balance of this book will evince, "
-"\"we are building a legal system that completely suppresses the 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.\""
+"<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 "
+"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.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2589
+#: freeculture.xml:2591
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:2595
+#: freeculture.xml:2597
msgid ""
-"\"No way to run a culture,\" as Brewster Kahle, whom we'll meet in chapter "
-"<xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, quipped to "
-"me in a rare moment of despondence."
+"<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet "
+"in chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"collectors\"/>, "
+"quipped to me in a rare moment of despondence."
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:2602
+#: freeculture.xml:2604
msgid "CHAPTER THREE: Catalogs"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2603
+#: freeculture.xml:2605
msgid "RPI"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:2603 freeculture.xml:2605
+#: freeculture.xml:2605 freeculture.xml:2607
msgid "Rensselaer Polytechnic Institute (RPI)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2608
+#: freeculture.xml:2610
msgid ""
"In the fall of 2002, Jesse Jordan of Oceanside, New York, enrolled as a "
"freshman at Rensselaer Polytechnic Institute, in Troy, New York. His major "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2615
+#: freeculture.xml:2617
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:2623
+#: freeculture.xml:2625
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 "
#. PAGE BREAK 62
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2630
+#: freeculture.xml:2632
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 "
"search on the network. Specialty search engines can do this even better. The "
-"idea of \"intranet\" search engines, search engines that search within the "
-"network of a particular institution, is to provide users of that institution "
-"with better access to material from that institution. Businesses do this "
-"all the time, enabling employees to have access to material that people "
-"outside the business can't get. Universities do it as well."
+"idea of <quote>intranet</quote> search engines, search engines that search "
+"within the network of a particular institution, is to provide users of that "
+"institution with better access to material from that institution. "
+"Businesses do this all the time, enabling employees to have access to "
+"material that people outside the business can't get. Universities do it as "
+"well."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2642
+#: freeculture.xml:2644
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:2651
+#: freeculture.xml:2653
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:2663
+#: freeculture.xml:2665
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:2670
+#: freeculture.xml:2672
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><para>
-#: freeculture.xml:2679
+#: freeculture.xml:2681
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><para>
-#: freeculture.xml:2694
+#: freeculture.xml:2696
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:2703
+#: freeculture.xml:2705
msgid ""
-"\"It was absurd,\" he told me. \"I don't think I did anything "
-"wrong. … I don't think there's anything wrong with the search engine "
-"that I ran or … what I had done to it. I mean, I hadn't modified it "
-"in any way that promoted or enhanced the work of pirates. I just modified "
-"the search engine in a way that would make it easier to use\"—again, a "
-"<emphasis>search engine</emphasis>, which Jesse had not himself built, using "
-"the Windows filesharing system, which Jesse had not himself built, to enable "
-"members of the 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."
+"<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 "
+"search engine that I ran or … what I had done to it. I mean, I hadn't "
+"modified it in any way that promoted or enhanced the work of pirates. I just "
+"modified the search engine in a way that would make it easier to "
+"use</quote>—again, a <emphasis>search engine</emphasis>, which Jesse "
+"had not himself built, using the Windows filesharing system, which Jesse had "
+"not himself built, to enable members of the 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."
msgstr ""
#. PAGE BREAK 64
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2716
+#: freeculture.xml:2718
msgid ""
"But the RIAA branded Jesse a pirate. They claimed he operated a network and "
-"had therefore \"willfully\" violated copyright laws. They demanded that he "
-"pay them the damages for his wrong. For cases of \"willful infringement,\" "
-"the Copyright Act specifies something lawyers call \"statutory damages.\" "
-"These damages permit a copyright owner to 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."
+"had therefore <quote>willfully</quote> violated copyright laws. They "
+"demanded that he pay them the damages for his wrong. For cases of "
+"<quote>willful infringement,</quote> the Copyright Act specifies something "
+"lawyers call <quote>statutory damages.</quote> These damages permit a "
+"copyright owner to 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."
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2739
+#: freeculture.xml:2741
msgid ""
-"Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
-"Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group "
-"LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443."
+"Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks: Suit "
+"Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media "
+"Group LCC</citetitle> 6 (2003): 5, available at 2003 WL 55179443."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2727
+#: freeculture.xml:2729
msgid ""
"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 was "
"different in detail, the bottom line in each was exactly the same: huge "
-"demands for \"damages\" that the RIAA claimed it was entitled to. If you "
-"added up the claims, these four lawsuits were asking courts in the United "
-"States to award the plaintiffs close to $100 "
+"demands for <quote>damages</quote> that the RIAA claimed it was entitled "
+"to. If you added up the claims, these four lawsuits were asking courts in "
+"the United States to award the plaintiffs close to $100 "
"<emphasis>billion</emphasis>—six times the <emphasis>total</emphasis> "
"profit of the film industry in 2001.<placeholder type=\"footnote\" "
"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2746
+#: freeculture.xml:2748
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><para>
-#: freeculture.xml:2753
+#: freeculture.xml:2755
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 "
"impossible for him to work in many fields of technology for the rest of his "
"life. He refused. They made him understand that this process of being sued "
"was not going to be pleasant. (As Jesse's father recounted to me, the chief "
-"lawyer on the case, Matt Oppenheimer, told Jesse, \"You don't want to pay "
-"another visit to a dentist like me.\") And throughout, the RIAA insisted it "
-"would not settle the case until it took every penny Jesse had saved."
+"lawyer on the case, Matt Oppenheimer, told Jesse, <quote>You don't want to "
+"pay another visit to a dentist like me.</quote>) And throughout, the RIAA "
+"insisted it would not settle the case until it took every penny Jesse had "
+"saved."
msgstr ""
#. PAGE BREAK 65
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2764
+#: freeculture.xml:2766
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:2774
+#: freeculture.xml:2776
msgid ""
"So Jesse faced a mafia-like choice: $250,000 and a chance at winning, or "
"$12,000 and a settlement."
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:2786
+#: freeculture.xml:2788
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:2794
+#: freeculture.xml:2796
msgid ""
-"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" "
-"<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24."
+"Douglas Lichtman makes a related point in <quote>KaZaA and "
+"Punishment,</quote> <citetitle>Wall Street Journal</citetitle>, 10 September "
+"2003, A24."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2778
+#: freeculture.xml:2780
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:2799
+#: freeculture.xml:2801
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:2806
+#: freeculture.xml:2808
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:2813
+#: freeculture.xml:2815
msgid ""
"Jesse's parents betray a certain pride in their reluctant activist. As his "
-"father told me, Jesse \"considers himself very conservative, and so do "
+"father told me, Jesse <quote>considers himself very conservative, and so do "
"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.\""
+"wrong message. And he wants to correct the record.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:2822
-msgid "CHAPTER FOUR: \"Pirates\""
+#: freeculture.xml:2824
+msgid "CHAPTER FOUR: <quote>Pirates</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:2824
+#: freeculture.xml:2826
msgid ""
-"If \"piracy\" means using the creative property of others without their "
-"permission—if \"if value, then right\" is true—then the history "
-"of the content industry is a history of piracy. Every important sector of "
-"\"big media\" today—film, records, radio, and cable TV—was born "
-"of a kind of piracy so defined. The consistent story is how last "
-"generation's pirates join this generation's country club—until now."
+"If <quote>piracy</quote> means using the creative property of others without "
+"their permission—if <quote>if value, then right</quote> is "
+"true—then the history of the content industry is a history of "
+"piracy. Every important sector of <quote>big media</quote> today—film, "
+"records, radio, and cable TV—was born of a kind of piracy so "
+"defined. The consistent story is how last generation's pirates join this "
+"generation's country club—until now."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:2832
+#: freeculture.xml:2834
msgid "Film"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:2836
+#: freeculture.xml:2838
msgid ""
"I am grateful to Peter DiMauro for pointing me to this extraordinary "
"history. See also Siva Vaidhyanathan, <citetitle>Copyrights and "
-"Copywrongs</citetitle>, 87–93, which details Edison's \"adventures\" "
-"with copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Copywrongs</citetitle>, 87–93, which details Edison's "
+"<quote>adventures</quote> with copyright and patent. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 67
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2834
+#: freeculture.xml:2836
msgid ""
"The film industry of Hollywood was built by fleeing pirates.<placeholder "
"type=\"footnote\" id=\"0\"/> 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 exercised through a monopoly \"trust,\" the "
-"Motion Pictures Patents Company, and were based on Thomas Edison's creative "
-"property—patents. Edison formed the MPPC to exercise the rights this "
-"creative property gave him, and the MPPC was serious about the control it "
-"demanded."
+"Edison. These controls were exercised through a monopoly "
+"<quote>trust,</quote> the Motion Pictures Patents Company, and were based on "
+"Thomas Edison's creative property—patents. Edison formed the MPPC to "
+"exercise the rights this creative property gave him, and the MPPC was "
+"serious about the control it demanded."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2852
+#: freeculture.xml:2854
msgid "As one commentator tells one part of the story,"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:2856
+#: freeculture.xml:2858
msgid ""
"A January 1909 deadline was set for all companies to comply with the "
"license. By February, unlicensed outlaws, who referred to themselves as "
#. f2
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:2876
+#: freeculture.xml:2878
msgid ""
"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent "
"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and "
-"expanded texts posted at \"The Edison Movie Monopoly: The Motion Picture "
-"Patents Company vs. the Independent Outlaws,\" available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a discussion of "
-"the economic motive behind both these limits and the limits imposed by "
-"Victor on phonographs, see Randal C. Picker, \"From Edison to the Broadcast "
-"Flag: Mechanisms of Consent and Refusal and the Propertization of "
-"Copyright\" (September 2002), University of Chicago Law School, James "
-"M. Olin Program in Law and Economics, Working Paper No. 159."
+"expanded texts posted at <quote>The Edison Movie Monopoly: The Motion "
+"Picture Patents Company vs. the Independent Outlaws,</quote> available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #11</ulink>. For a "
+"discussion of the economic motive behind both these limits and the limits "
+"imposed by Victor on phonographs, see Randal C. Picker, <quote>From Edison "
+"to the Broadcast Flag: Mechanisms of Consent and Refusal and the "
+"Propertization of Copyright</quote> (September 2002), University of Chicago "
+"Law School, James M. Olin Program in Law and Economics, Working Paper "
+"No. 159."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary>
-#: freeculture.xml:2887
+#: freeculture.xml:2889
msgid "Fox, William"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><indexterm><primary>
-#: freeculture.xml:2888
+#: freeculture.xml:2890
msgid "General Film Company"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2889 freeculture.xml:3142 freeculture.xml:4248 freeculture.xml:9631
+#: freeculture.xml:2891 freeculture.xml:3144 freeculture.xml:4250 freeculture.xml:9634
msgid "Picker, Randal C."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:2865
+#: freeculture.xml:2867
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:2899
+#: freeculture.xml:2901
msgid ""
-"Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents "
+"Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents "
"Majority</citetitle>, archived at <ulink "
"url=\"http://free-culture.cc/notes/\">link #12</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2893
+#: freeculture.xml:2895
msgid ""
-"The Napsters of those days, the \"independents,\" were companies like "
-"Fox. And no less than today, these independents were vigorously resisted. "
-"\"Shooting was disrupted by machinery stolen, and `accidents' resulting in "
-"loss of negatives, equipment, buildings and sometimes life and limb "
-"frequently occurred.\"<placeholder type=\"footnote\" id=\"0\"/> That led the "
-"independents to flee the East Coast. California was remote enough from "
-"Edison's reach that filmmakers there could pirate his inventions without "
-"fear of the law. And the leaders of Hollywood filmmaking, Fox most "
-"prominently, did just that."
+"The Napsters of those days, the <quote>independents,</quote> were companies "
+"like Fox. And no less than today, these independents were vigorously "
+"resisted. <quote>Shooting was disrupted by machinery stolen, and "
+"`accidents' resulting in loss of negatives, equipment, buildings and "
+"sometimes life and limb frequently occurred.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> That led the independents to flee the East "
+"Coast. California was remote enough from Edison's reach that filmmakers "
+"there could pirate his inventions without fear of the law. And the leaders "
+"of Hollywood filmmaking, Fox most prominently, did just that."
msgstr ""
#. PAGE BREAK 68
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2909
+#: freeculture.xml:2911
msgid ""
"Of course, California grew quickly, and the effective enforcement of federal "
"law eventually spread west. But because patents grant the patent holder a "
-"truly \"limited\" monopoly (just seventeen years at that time), by the time "
-"enough federal marshals appeared, the patents had expired. A new industry "
-"had been born, in part from the piracy of Edison's creative property."
+"truly <quote>limited</quote> monopoly (just seventeen years at that time), "
+"by the time enough federal marshals appeared, the patents had expired. A new "
+"industry had been born, in part from the piracy of Edison's creative "
+"property."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:2920
+#: freeculture.xml:2922
msgid "Recorded Music"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2922
+#: freeculture.xml:2924
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:2926
+#: freeculture.xml:2928
msgid "Fourneaux, Henri"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:2928
+#: freeculture.xml:2930
msgid "Russel, Phil"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2930
+#: freeculture.xml:2932
msgid ""
"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 their music and "
"the exclusive right to control public performances of their music. In other "
-"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit \"Happy Mose,\" "
-"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."
+"words, in 1900, if I wanted a copy of Phil Russel's 1899 hit <quote>Happy "
+"Mose,</quote> 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:2939 freeculture.xml:3087
+#: freeculture.xml:2941 freeculture.xml:3089
msgid "Beatles"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2941
+#: freeculture.xml:2943
msgid ""
-"But what if I wanted to record \"Happy Mose,\" 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 performed in making "
-"this recording. And it was clear enough that I would have to pay for any "
-"public performance of the work I was recording. But it wasn't totally clear "
-"that I would have to pay for a \"public performance\" if I recorded the song "
-"in my own house (even today, you don't owe the Beatles anything if you sing "
-"their songs in the shower), or if I recorded the song from memory (copies in "
-"your brain are not—yet— regulated by copyright law). So if I "
-"simply sang the song into a recording device in the privacy of my own home, "
-"it wasn't clear that I owed the composer anything. And more importantly, it "
-"wasn't clear whether I owed the composer anything if I then made copies of "
-"those recordings. Because of this gap in the law, then, I could effectively "
+"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 "
+"enough that I would have to buy any copy of the musical score that I "
+"performed in making this recording. And it was clear enough that I would "
+"have to pay for any public performance of the work I was recording. But it "
+"wasn't totally clear that I would have to pay for a <quote>public "
+"performance</quote> if I recorded the song in my own house (even today, you "
+"don't owe the Beatles anything if you sing their songs in the shower), or if "
+"I recorded the song from memory (copies in your brain are "
+"not—yet— regulated by copyright law). So if I simply sang the "
+"song into a recording device in the privacy of my own home, it wasn't clear "
+"that I owed the composer anything. And more importantly, it wasn't clear "
+"whether I owed the composer anything if 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:2964 freeculture.xml:2981
+#: freeculture.xml:2966 freeculture.xml:2983
msgid "Kittredge, Alfred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:2960
+#: freeculture.xml:2962
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:2975
+#: freeculture.xml:2977
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:2968
+#: freeculture.xml:2970
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 "
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:2990
+#: freeculture.xml:2992
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:2996
+#: freeculture.xml:2998
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:3003
+#: freeculture.xml:3005
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:2986
+#: freeculture.xml:2988
msgid ""
"The innovators who developed the technology to record other people's works "
-"were \"sponging upon the toil, the work, the talent, and genius of American "
-"composers,\"<placeholder type=\"footnote\" id=\"0\"/> and the \"music "
-"publishing industry\" was thereby \"at the complete mercy of this one "
-"pirate.\"<placeholder type=\"footnote\" id=\"1\"/> As John Philip Sousa put "
-"it, in as direct a way as possible, \"When they make money out of my pieces, "
-"I want a share of it.\"<placeholder type=\"footnote\" id=\"2\"/>"
+"were <quote>sponging upon the toil, the work, the talent, and genius of "
+"American composers,</quote><placeholder type=\"footnote\" id=\"0\"/> and the "
+"<quote>music publishing industry</quote> was thereby <quote>at the complete "
+"mercy of this one pirate.</quote><placeholder type=\"footnote\" id=\"1\"/> "
+"As John Philip Sousa put it, in as direct a way as possible, <quote>When "
+"they make money out of my pieces, I want a share of it.</quote><placeholder "
+"type=\"footnote\" id=\"2\"/>"
msgstr ""
#. f8
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3016
+#: freeculture.xml:3018
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:3027
+#: freeculture.xml:3029
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><indexterm><primary>
-#: freeculture.xml:3031
+#: freeculture.xml:3033
msgid "American Graphophone Company"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3008
+#: freeculture.xml:3010
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 "
-"argued that \"it is perfectly demonstrable that the introduction of "
+"argued that <quote>it is perfectly demonstrable that the introduction of "
"automatic music players has not deprived any composer of anything he had "
-"before their introduction.\" Rather, the machines increased the sales of "
-"sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
-"innovators argued, the job of Congress was \"to consider first the interest "
-"of [the public], whom they represent, and whose servants they are.\" \"All "
-"talk about `theft,'\" the general counsel of the American Graphophone "
-"Company wrote, \"is the merest claptrap, for there exists no property in "
-"ideas musical, literary or artistic, except as defined by "
-"statute.\"<placeholder type=\"footnote\" id=\"1\"/> <placeholder "
-"type=\"indexterm\" id=\"2\"/>"
+"before their introduction.</quote> Rather, the machines increased the sales "
+"
of sheet music.<placeholder type=\"footnote\" id=\"0\"/> In any case, the "
+"innovators argued, the job of Congress was <quote>to consider first the "
+"interest of [the public], whom they represent, and whose servants they "
+"are.</quote> <quote>All talk about `theft,'</quote> the general counsel of "
+"the American Graphophone Company wrote, <quote>is the merest claptrap, for "
+"there exists no property in ideas musical, literary or artistic, except as "
+"defined by statute.</quote><placeholder type=\"footnote\" id=\"1\"/> "
+"<placeholder type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. PAGE BREAK 70
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3034
+#: freeculture.xml:3036
msgid ""
"The law soon resolved this battle in favor of the composer "
"<emphasis>and</emphasis> the recording artist. Congress amended the law to "
-"make sure that composers would be paid for the \"mechanical reproductions\" "
-"of their music. But rather than simply granting the composer complete "
-"control over the right to make mechanical reproductions, Congress gave "
-"recording artists a right to record the music, at a price set by Congress, "
-"once the composer allowed it to be recorded once. This is the part of "
-"copyright law that makes cover songs possible. Once a composer authorizes a "
-"recording of his song, others are free to record the same song, so long as "
-"they pay the original composer a fee set by the law."
+"make sure that composers would be paid for the <quote>mechanical "
+"reproductions</quote> of their music. But rather than simply granting the "
+"composer complete control over the right to make mechanical reproductions, "
+"Congress gave recording artists a right to record the music, at a price set "
+"by Congress, once the composer allowed it to be recorded once. This is the "
+"part of copyright law that makes cover songs possible. Once a composer "
+"authorizes a recording of his song, others are free to record the same song, "
+"so long as they pay the original composer a fee set by the law."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3049
+#: freeculture.xml:3051
msgid ""
-"American law ordinarily calls this a \"compulsory license,\" but I will "
-"refer to it as a \"statutory license.\" A statutory license is a license "
-"whose key terms are set by law. After Congress's amendment of the Copyright "
-"Act in 1909, record companies were free to distribute copies of recordings "
-"so long as they paid the composer (or copyright holder) the fee set by the "
-"statute."
+"American law ordinarily calls this a <quote>compulsory license,</quote> but "
+"I will refer to it as a <quote>statutory license.</quote> A statutory "
+"license is a license whose key terms are set by law. After Congress's "
+"amendment of the Copyright Act in 1909, record companies were free to "
+"distribute copies of recordings so long as they paid the composer (or "
+"copyright holder) the fee set by the statute."
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3064 freeculture.xml:13940
+#: freeculture.xml:3066 freeculture.xml:13943
msgid "Grisham, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3057
+#: freeculture.xml:3059
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:3081
+#: freeculture.xml:3083
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:3067
+#: freeculture.xml:3069
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:3090
+#: freeculture.xml:3092
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:3112
+#: freeculture.xml:3114
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:3097
+#: freeculture.xml:3099
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:3119
+#: freeculture.xml:3121
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:3124 freeculture.xml:4213
+#: freeculture.xml:3126 freeculture.xml:4215
msgid "Radio"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3126
+#: freeculture.xml:3128
msgid "Radio was also born of piracy."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3141
+#: freeculture.xml:3143
msgid "Hand, Learned"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3132
+#: freeculture.xml:3134
msgid ""
"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At "
-"the beginning, record companies printed \"Not Licensed for Radio Broadcast\" "
-"and other messages purporting to restrict the ability to play a record on a "
-"radio station. Judge Learned Hand rejected the argument that a warning "
-"attached to a record might restrict the rights of the radio station. See "
-"<citetitle>RCA Manufacturing "
+"the beginning, record companies printed <quote>Not Licensed for Radio "
+"Broadcast</quote> and other messages purporting to restrict the ability to "
+"play a record on a radio station. Judge Learned Hand rejected the argument "
+"that a warning attached to a record might restrict the rights of the radio "
+"station. See <citetitle>RCA Manufacturing "
"Co</citetitle>. v. <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd "
-"Cir. 1940). See also Randal C. Picker, \"From Edison to the Broadcast Flag: "
-"Mechanisms of Consent and Refusal and the Propertization of Copyright,\" "
-"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281. "
-"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
-"id=\"1\"/>"
+"Cir. 1940). See also Randal C. Picker, <quote>From Edison to the Broadcast "
+"Flag: Mechanisms of Consent and Refusal and the Propertization of "
+"Copyright,</quote> <citetitle>University of Chicago Law Review</citetitle> "
+"70 (2003): 281. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
+"type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3129
+#: freeculture.xml:3131
msgid ""
-"When a radio station plays a record on the air, that constitutes a \"public "
-"performance\" of the composer's work.<placeholder type=\"footnote\" "
-"id=\"0\"/> 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."
+"When a radio station plays a record on the air, that constitutes a "
+"<quote>public performance</quote> of the composer's work.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:3159 freeculture.xml:8722 freeculture.xml:9180 freeculture.xml:12106
+#: freeculture.xml:3161 freeculture.xml:8725 freeculture.xml:9183 freeculture.xml:12109
msgid "Lovett, Lyle"
msgstr ""
#. PAGE BREAK 72
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3149
+#: freeculture.xml:3151
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 "
"performing a copy of the <emphasis>recording artist's</emphasis> work. It's "
-"one thing to have \"Happy Birthday\" sung on the radio by the local "
-"children's choir; it's quite another to have it sung by the Rolling Stones "
-"or Lyle Lovett. The recording artist is adding to the value of the "
+"one thing to have <quote>Happy Birthday</quote> sung on the radio by the "
+"local children's choir; it's quite another to have it sung by the Rolling "
+"Stones or Lyle Lovett. The recording artist is adding to the value of the "
"composition performed on the radio station. And if the 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. <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3164
+#: freeculture.xml:3166
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:3172 freeculture.xml:3675 freeculture.xml:6052
+#: freeculture.xml:3174 freeculture.xml:3677 freeculture.xml:6055
msgid "Madonna"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3175
+#: freeculture.xml:3177
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:3181
+#: freeculture.xml:3183
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 "
"our law, every time a radio station plays your song, you get some money. But "
"Madonna gets nothing, save the indirect effect on the sale of her CDs. The "
-"public performance of her recording is not a \"protected\" right. The radio "
-"station thus gets to <emphasis>pirate</emphasis> the value of Madonna's work "
-"without paying her anything."
+"public performance of her recording is not a <quote>protected</quote> "
+"right. The radio station thus gets to <emphasis>pirate</emphasis> the value "
+"of Madonna's work without paying her anything."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3192
+#: freeculture.xml:3194
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:3201 freeculture.xml:4219
+#: freeculture.xml:3203 freeculture.xml:4221
msgid "Cable TV"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3204
+#: freeculture.xml:3206
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:3207
+#: freeculture.xml:3209
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:3217
+#: freeculture.xml:3219
msgid "Anello, Douglas"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3218
+#: freeculture.xml:3220
msgid "Burdick, Quentin"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3219 freeculture.xml:3230
+#: freeculture.xml:3221 freeculture.xml:3232
msgid "Hyde, Rosel H."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3225
+#: freeculture.xml:3227
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:3237
+#: freeculture.xml:3239
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:3221
+#: freeculture.xml:3223
msgid ""
"Broadcasters and copyright owners were quick to attack this theft. Rosel "
-"Hyde, chairman of the FCC, viewed the practice as a kind of \"unfair and "
-"potentially destructive competition.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> There may have been a \"public interest\" 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, "
-"\"Does public interest dictate that you use somebody else's "
-"property?\"<placeholder type=\"footnote\" id=\"1\"/> As another broadcaster "
-"put it,"
+"Hyde, chairman of the FCC, viewed the practice as a kind of <quote>unfair "
+"and potentially destructive competition.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> There may have been a <quote>public "
+"interest</quote> 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, <quote>Does public interest dictate that "
+"you use somebody else's property?</quote><placeholder type=\"footnote\" "
+"id=\"1\"/> As another broadcaster put it,"
msgstr ""
#. f15
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3248
+#: freeculture.xml:3250
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:3244
+#: freeculture.xml:3246
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:3254
+#: freeculture.xml:3256
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:3263
+#: freeculture.xml:3265
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:3258
+#: freeculture.xml:3260
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:3269 freeculture.xml:3277
+#: freeculture.xml:3271 freeculture.xml:3279
msgid "Heston, Charlton"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3275
+#: freeculture.xml:3277
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:3271
+#: freeculture.xml:3273
msgid ""
-"These were \"free-ride[rs],\" Screen Actor's Guild president Charlton Heston "
-"said, who were \"depriving actors of compensation.\"<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"These were <quote>free-ride[rs],</quote> Screen Actor's Guild president "
+"Charlton Heston said, who were <quote>depriving actors of "
+"compensation.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3282
+#: freeculture.xml:3284
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:3298 freeculture.xml:3300
+#: freeculture.xml:3300 freeculture.xml:3302
msgid "Zimmerman, Edwin"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:3296
+#: freeculture.xml:3298
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:3287
+#: freeculture.xml:3289
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:3304
+#: freeculture.xml:3306
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:3308
+#: freeculture.xml:3310
msgid ""
"It took Congress almost thirty years before it resolved the question of "
-"whether cable companies had to pay for the content they \"pirated.\" In the "
-"end, Congress resolved this question in the same way that it resolved the "
-"question about record players and player pianos. Yes, cable companies would "
-"have to pay for the content that they broadcast; but the price they would "
-"have to pay was not set by the copyright owner. The price was set by law, "
-"so that the broadcasters couldn't exercise veto power over the emerging "
-"technologies of cable. Cable companies thus built their empire in part upon "
-"a \"piracy\" of the value created by broadcasters' content."
+"whether cable companies had to pay for the content they "
+"<quote>pirated.</quote> In the end, Congress resolved this question in the "
+"same way that it resolved the question about record players and player "
+"pianos. Yes, cable companies would have to pay for the content that they "
+"broadcast; but the price they would have to pay was not set by the copyright "
+"owner. The price was set by law, so that the broadcasters couldn't exercise "
+"veto power over the emerging technologies of cable. Cable companies thus "
+"built their empire in part upon a <quote>piracy</quote> of the value created "
+"by broadcasters' content."
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3325
+#: freeculture.xml:3327
msgid ""
"See, for example, National Music Publisher's Association, <citetitle>The "
"Engine of Free Expression: Copyright on the Internet—The Myth of Free "
"Information</citetitle>, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #13</ulink>. \"The threat of "
+"url=\"http://free-culture.cc/notes/\">link #13</ulink>. <quote>The threat of "
"piracy—the use of someone else's creative work without permission or "
-"compensation—has grown with the Internet.\""
+"compensation—has grown with the Internet.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3320
+#: freeculture.xml:3322
msgid ""
-"These separate stories sing a common theme. If \"piracy\" means using value "
-"from someone else's creative property without permission from that "
-"creator—as it is increasingly described today<placeholder "
+"These separate stories sing a common theme. If <quote>piracy</quote> means "
+"using value from someone else's creative property without permission from "
+"
that creator—as it is increasingly described today<placeholder "
"type=\"footnote\" id=\"0\"/> — then <emphasis>every</emphasis> "
"industry affected by copyright today is the product and beneficiary of a "
"certain kind of piracy. Film, records, radio, cable TV. … The list is "
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:3342
-msgid "CHAPTER FIVE: \"Piracy\""
+#: freeculture.xml:3344
+msgid "CHAPTER FIVE: <quote>Piracy</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:3344
+#: freeculture.xml:3346
msgid ""
"There is piracy of copyrighted material. Lots of it. This piracy comes in "
"many forms. The most significant is commercial piracy, the unauthorized "
#. PAGE BREAK 76
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:3352
+#: freeculture.xml:3354
msgid ""
-"But as well as copy-shop piracy, there is another kind of \"taking\" that is "
-"more directly related to the Internet. That taking, too, seems wrong to "
-"many, and it is wrong much of the time. Before we paint this taking "
-"\"piracy,\" however, we should understand its nature a bit more. For the "
-"harm of this taking is significantly more ambiguous than outright copying, "
-"and the law should account for that ambiguity, as it has so often done in "
-"the past."
+"But as well as copy-shop piracy, there is another kind of "
+"<quote>taking</quote> that is more directly related to the Internet. That "
+"taking, too, seems wrong to many, and it is wrong much of the time. Before "
+"we paint this taking <quote>piracy,</quote> however, we should understand "
+"its nature a bit more. For the harm of this taking is significantly more "
+"ambiguous than outright copying, and the law should account for that "
+"ambiguity, as it has so often done in the past."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:3362
+#: freeculture.xml:3364
msgid "Piracy I"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3370
+#: freeculture.xml:3372
msgid ""
"See IFPI (International Federation of the Phonographic Industry), "
"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, "
"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#14</ulink>. See also Ben Hunt, \"Companies Warned on Music Piracy Risk,\" "
-"<citetitle>Financial Times</citetitle>, 14 February 2003, 11."
+"#14</ulink>. See also Ben Hunt, <quote>Companies Warned on Music Piracy "
+"Risk,</quote> <citetitle>Financial Times</citetitle>, 14 February 2003, 11."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3364
+#: freeculture.xml:3366
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:3380
+#: freeculture.xml:3382
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:3386
+#: freeculture.xml:3388
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:3395
+#: freeculture.xml:3397
msgid ""
"That excuse isn't terribly strong. Technically, our law did not ban the "
"taking of foreign works. It explicitly limited itself to American "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3406
+#: freeculture.xml:3408
msgid ""
"True, these local rules have, in effect, been imposed upon these "
"countries. No country can be part of the world economy and choose <beginpage "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3434
+#: freeculture.xml:3436
msgid "agricultural patents"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3435 freeculture.xml:12386 freeculture.xml:12820 freeculture.xml:12827
+#: freeculture.xml:3437 freeculture.xml:12389 freeculture.xml:12823 freeculture.xml:12830
msgid "Drahos, Peter"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3419
+#: freeculture.xml:3421
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:3414
+#: freeculture.xml:3416
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:3455 freeculture.xml:3722 freeculture.xml:14472
+#: freeculture.xml:3457 freeculture.xml:3724 freeculture.xml:14475
msgid "Liebowitz, Stan"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3448
+#: freeculture.xml:3450
msgid ""
"For an analysis of the economic impact of copying technology, see Stan "
"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: "
-"Amacom, 2002), 144–90. \"In some instances … the impact of "
+"Amacom, 2002), 144–90. <quote>In some instances … the impact of "
"piracy on the copyright holder's ability to appropriate the value of the "
"work will 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.\" Ibid., 149. <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"pirating were not an option.</quote> Ibid., 149. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3442
+#: freeculture.xml:3444
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:3459
+#: freeculture.xml:3461
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 "
"have taken), and it does mitigate to some degree the harm caused by such "
-"taking. Extremists in this debate love to say, \"You wouldn't go into Barnes "
-"& Noble and take a book off of the shelf without paying; why should it "
-"be any different with on-line music?\" The difference is, of course, that "
-"when you take a book from Barnes & Noble, it has one less book to "
-"sell. By contrast, when you take an MP3 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."
+"taking. Extremists in this debate love to say, <quote>You wouldn't go into "
+"Barnes & Noble and take a book off of the shelf without paying; why "
+"should it be any different with on-line music?</quote> The difference is, of "
+"course, that when you take a book from Barnes & Noble, it has one less "
+"book to sell. By contrast, when you take an MP3 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."
msgstr ""
#. PAGE BREAK 78
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3472
+#: freeculture.xml:3474
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 "
"decide the terms under which content is shared. If the copyright owner "
"doesn't want to sell, she doesn't have to. There are exceptions: important "
"statutory licenses that apply to copyrighted content regardless of the wish "
-"of the copyright owner. Those licenses give people the right to \"take\" "
-"copyrighted content whether or not the copyright owner wants to sell. But "
-"where the law does not give people the right to take content, it is wrong to "
-"take that content even if the wrong does no harm. If we have 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 \"property\" means."
+"of the copyright owner. Those licenses give people the right to "
+"<quote>take</quote> copyrighted content whether or not the copyright owner "
+"wants to sell. But where the law does not give people the right to take "
+"content, it is wrong to take that content even if the wrong does no harm. If "
+"we have 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 <quote>property</quote> "
+"means."
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3501 freeculture.xml:3529 freeculture.xml:11231 freeculture.xml:12701 freeculture.xml:13253
+#: freeculture.xml:3503 freeculture.xml:3531 freeculture.xml:11234 freeculture.xml:12704 freeculture.xml:13256
msgid "GNU/Linux operating system"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:3502 freeculture.xml:3532 freeculture.xml:11233 freeculture.xml:12702 freeculture.xml:13254
+#: freeculture.xml:3504 freeculture.xml:3534 freeculture.xml:11236 freeculture.xml:12705 freeculture.xml:13257
msgid "Linux operating system"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3504
+#: freeculture.xml:3506
msgid "Microsoft"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><secondary>
-#: freeculture.xml:3505
+#: freeculture.xml:3507
msgid "Windows operating system of"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3507
+#: freeculture.xml:3509
msgid "Windows"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3490
+#: freeculture.xml:3492
msgid ""
"Finally, we could try to excuse this piracy with the argument that the "
-"piracy actually helps the copyright owner. When the Chinese \"steal\" "
-"Windows, that makes the Chinese dependent on Microsoft. Microsoft loses the "
-"value of the software that was taken. But it gains users who are used to "
-"life in the Microsoft world. Over time, as the nation grows more wealthy, "
-"more and more people will buy software rather than steal it. And hence over "
-"time, because that buying will benefit Microsoft, Microsoft benefits from "
-"the piracy. If instead of pirating 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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
-"type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
-"<placeholder type=\"indexterm\" id=\"3\"/>"
+"piracy actually helps the copyright owner. When the Chinese "
+"<quote>steal</quote> Windows, that makes the Chinese dependent on "
+"Microsoft. Microsoft loses the value of the software that was taken. But it "
+"gains users who are used to life in the Microsoft world. Over time, as the "
+"nation grows more wealthy, more and more people will buy software rather "
+"than steal it. And hence over time, because that buying will benefit "
+"Microsoft, Microsoft benefits from the piracy. If instead of pirating "
+"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. <placeholder type=\"indexterm\" "
+"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder "
+"
type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3510
+#: freeculture.xml:3512
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><para><indexterm><primary>
-#: freeculture.xml:3530
+#: freeculture.xml:3532
msgid "Internet Explorer"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3531
+#: freeculture.xml:3533
msgid "Netscape"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3518
+#: freeculture.xml:3520
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:3536
+#: freeculture.xml:3538
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:3546
+#: freeculture.xml:3548
msgid ""
"But as the examples from the four chapters that introduced this part "
-"suggest, even if some piracy is plainly wrong, not all \"piracy\" is. Or at "
-"least, not all \"piracy\" is wrong if that term is understood in the way it "
-"is increasingly used today. Many kinds of \"piracy\" are useful and "
-"productive, to produce either new content or new ways of doing business. "
-"Neither our tradition nor any tradition has ever banned all \"piracy\" in "
-"that sense of the term."
+"suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> "
+"is. Or at least, not all <quote>piracy</quote> is wrong if that term is "
+"understood in the way it is increasingly used today. Many kinds of "
+"<quote>piracy</quote> are useful and productive, to produce either new "
+"content or new ways of doing business. Neither our tradition nor any "
+"tradition has ever banned all <quote>piracy</quote> in that sense of the "
+"term."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3555
+#: freeculture.xml:3557
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:3561
+#: freeculture.xml:3563
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:3567
+#: freeculture.xml:3569
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:3573
+#: freeculture.xml:3575
msgid "Piracy II"
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3578
+#: freeculture.xml:3580
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:3575
+#: freeculture.xml:3577
msgid ""
-"The key to the \"piracy\" that the law aims to quash is a use that \"rob[s] "
-"the author of [his] profit.\"<placeholder type=\"footnote\" id=\"0\"/> 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."
+"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 "
+"type=\"footnote\" id=\"0\"/> 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:3601 freeculture.xml:8153
+#: freeculture.xml:3603 freeculture.xml:8156
msgid "Christensen, Clayton M."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3592
+#: freeculture.xml:3594
msgid ""
"See 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><indexterm><primary>
-#: freeculture.xml:3604
+#: freeculture.xml:3606
msgid "Fanning, Shawn"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3587
+#: freeculture.xml:3589
msgid ""
"Peer-to-peer sharing was made famous by Napster. But the inventors of the "
"Napster technology had not made any major technological innovations. Like "
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3612
-msgid ""
-"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" "
-"<citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, A1; "
-"\"Rock 'n' Roll Suicide,\" <citetitle>New Scientist</citetitle>, 6 July "
-"2002, 42; Benny Evangelista, \"Napster Names CEO, Secures New Financing,\" "
-"<citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1; \"Napster's "
-"Wake-Up Call,\" <citetitle>Economist</citetitle>, 24 June 2000, 23; John "
-"Naughton, \"Hollywood at War with the Internet\" (London) "
+#: freeculture.xml:3614
+msgid ""
+"See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood "
+"Nightmare,</quote> <citetitle>San Francisco Chronicle</citetitle>, 24 "
+"September 2002, A1; <quote>Rock 'n' Roll Suicide,</quote> <citetitle>New "
+"Scientist</citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster "
+"Names CEO, Secures New Financing,</quote> <citetitle>San Francisco "
+"Chronicle</citetitle>, 23 May 2003, C1; <quote>Napster's Wake-Up "
+"Call,</quote> <citetitle>Economist</citetitle>, 24 June 2000, 23; John "
+"Naughton, <quote>Hollywood at War with the Internet</quote> (London) "
"<citetitle>Times</citetitle>, 26 July 2002, 18."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3607
+#: freeculture.xml:3609
msgid ""
"The result was spontaneous combustion. Launched in July 1999, Napster "
"amassed over 10 million users within nine months. After eighteen months, "
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3634
+#: freeculture.xml:3636
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:3643
+#: freeculture.xml:3645
msgid ""
-"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" "
+"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:3628
+#: freeculture.xml:3630
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 "
"estimated that 43 million citizens used file-sharing networks to exchange "
"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast "
"majority of these are not kids. Whatever the actual figure, a massive "
-"quantity of content is being \"taken\" on these networks. The ease and "
-"inexpensiveness of file-sharing networks have inspired millions to enjoy "
-"music in a way that they hadn't before."
+"quantity of content is being <quote>taken</quote> on these networks. The "
+"ease and inexpensiveness of file-sharing networks have inspired millions to "
+"enjoy music in a way that they hadn't before."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3652
+#: freeculture.xml:3654
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:3662
+#: freeculture.xml:3664
msgid ""
"File sharers share different kinds of content. We can divide these different "
"kinds into four types."
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:3668
+#: freeculture.xml:3670
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:3679
+#: freeculture.xml:3681
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:3690
+#: freeculture.xml:3692
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 "
"among the most rewarding for many. Songs that were part of your childhood "
"but have long vanished from the marketplace magically appear again on the "
"network. (One friend told me that when she discovered Napster, she spent a "
-"solid weekend \"recalling\" old songs. She was astonished at the range and "
-"mix of content that was available.) For content not sold, this is still "
-"technically a violation of copyright, though because the copyright owner is "
-"not selling the content anymore, the economic harm is zero—the same "
-"harm that occurs when I sell my collection of 1960s 45-rpm records to a "
-"local collector."
+"solid weekend <quote>recalling</quote> old songs. She was astonished at the "
+"range and mix of content that was available.) For content not sold, this is "
+"still technically a violation of copyright, though because the copyright "
+"owner is not selling the content anymore, the economic harm is "
+"zero—the same harm that occurs when I sell my collection of 1960s "
+"45-rpm records to a local collector."
msgstr ""
#. PAGE BREAK 82
#. D.
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:3707
+#: freeculture.xml:3709
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:3713
+#: freeculture.xml:3715
msgid "How do these different types of sharing balance out?"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3721
+#: freeculture.xml:3723
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:3716
+#: freeculture.xml:3718
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:3732
+#: freeculture.xml:3734
msgid ""
"Whether on balance sharing is harmful depends importantly on how harmful "
"type A sharing is. Just as Edison complained about Hollywood, composers "
"complained about piano rolls, recording artists complained about radio, and "
"broadcasters complained about cable TV, the music industry complains that "
-"type A sharing is a kind of \"theft\" that is \"devastating\" the industry."
+"type A sharing is a kind of <quote>theft</quote> that is "
+"<quote>devastating</quote> the industry."
msgstr ""
#. f10
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3747
+#: freeculture.xml:3749
msgid ""
"See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the "
"Music Industry's Business Model Crisis</citetitle> (2003), 3. This report "
"describes the music industry's effort to stigmatize the budding practice of "
"cassette taping in the 1970s, including an advertising campaign featuring a "
-"cassette-shape skull and the caption \"Home taping is killing music.\" At "
-"the time digital audio tape became a threat, the Office of Technical "
-"Assessment conducted a survey of consumer behavior. In 1988, 40 percent of "
-"consumers older than ten had taped music to a cassette format. U.S. "
-"Congress, Office of Technology Assessment, <citetitle>Copyright and Home "
-"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, "
-"D.C.: U.S. Government Printing Office, October 1989), 145–56."
+"cassette-shape skull and the caption <quote>Home taping is killing "
+"music.</quote> At the time digital audio tape became a threat, the Office of "
+"Technical Assessment conducted a survey of consumer behavior. In 1988, 40 "
+"percent of consumers older than ten had taped music to a cassette "
+"format. U.S. Congress, Office of Technology Assessment, "
+"<citetitle>Copyright and Home Copying: Technology Challenges the "
+"Law</citetitle>, OTA-CIT-422 (Washington, D.C.: U.S. Government Printing "
+"Office, October 1989), 145–56."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3740
+#: freeculture.xml:3742
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 "
"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, \"Rather "
-"than exploiting this new, popular technology, the labels fought "
-"it.\"<placeholder type=\"footnote\" id=\"0\"/> 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."
+"good example. As a study by Cap Gemini Ernst & Young put it, "
+"<quote>Rather than exploiting this new, popular technology, the labels "
+"fought it.</quote><placeholder type=\"footnote\" id=\"0\"/> 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."
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3773
+#: freeculture.xml:3775
msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3765
+#: freeculture.xml:3767
msgid ""
"Yet soon thereafter, and before Congress was given an opportunity to enact "
-"regulation, MTV was launched, and the industry had a record turnaround. \"In "
-"the end,\" Cap Gemini concludes, \"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.\"<placeholder type=\"footnote\" id=\"0\"/>"
+"regulation, MTV was launched, and the industry had a record "
+"turnaround. <quote>In the end,</quote> Cap Gemini concludes, <quote>the "
+"`crisis' … was not the fault of the tapers—who did not [stop "
+"after MTV came into being]—but had to a large extent resulted from "
+"stagnation in musical innovation at the major labels.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3777
+#: freeculture.xml:3779
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:3787
+#: freeculture.xml:3789
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 "
-"\"net harm\" to the industry as a whole is the amount by which type A "
-"sharing exceeds type B. If the record companies sold more records through "
-"sampling than they lost through substitution, then sharing networks would "
-"actually benefit music companies on balance. They would therefore have "
+"<quote>net harm</quote> to the industry as a whole is the amount by which "
+"type A sharing exceeds type B. If the record companies sold more records "
+"through sampling than they lost through substitution, then sharing networks "
+"would actually benefit music companies on balance. They would therefore have "
"little <emphasis>static</emphasis> reason to resist them."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3798
+#: freeculture.xml:3800
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:3807
+#: freeculture.xml:3809
msgid ""
"See Recording Industry Association of America, <citetitle>2002 Yearend "
"Statistics</citetitle>, available at <ulink "
"indicates even greater losses. See Recording Industry Association of "
"America, <citetitle>Some Facts About Music Piracy</citetitle>, 25 June 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: "
-"\"In the past four years, unit shipments of recorded music have fallen by 26 "
-"percent from 1.16 billion units in to 860 million units in 2002 in the "
+"<quote>In the past four years, unit shipments of recorded music have fallen "
+"by 26 percent from 1.16 billion units in to 860 million units in 2002 in the "
"United States (based on units shipped). In terms of sales, revenues are "
"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on "
"U.S. dollar value of shipments). The music 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).\""
+"on U.S. dollar value of shipments).</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:3834
+#: freeculture.xml:3836
msgid "Black, Jane"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3831
+#: freeculture.xml:3833
msgid ""
-"Jane Black, \"Big Music's Broken Record,\" BusinessWeek online, 13 February "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#17</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, "
+"13 February 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #17</ulink>. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3803
+#: freeculture.xml:3805
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 "
"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. \"From 1999 to 2001, the "
-"average price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder "
-"type=\"footnote\" id=\"1\"/> Competition from other forms of media could "
-"also account for some of the decline. As Jane Black of "
-"<citetitle>BusinessWeek</citetitle> notes, \"The soundtrack to the film "
-"<citetitle>High Fidelity</citetitle> has a list price of $18.98. You could "
-"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" "
-"id=\"2\"/>"
+"prices could account for at least some of the loss. <quote>From 1999 to "
+"2001, the average price of a CD rose 7.2 percent, from $13.04 to "
+"$14.19.</quote><placeholder type=\"footnote\" id=\"1\"/> Competition from "
+"other forms of media could also account for some of the decline. As Jane "
+"Black of <citetitle>BusinessWeek</citetitle> notes, <quote>The soundtrack to "
+"the film <citetitle>High Fidelity</citetitle> has a list price of "
+"$18.98. You could get the whole movie [on DVD] for "
+"$19.99.</quote><placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
#. PAGE BREAK 84
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3849
+#: freeculture.xml:3851
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:3857
+#: freeculture.xml:3859
msgid ""
"There are too many different things happening at the same time to explain "
"these numbers definitively, but one conclusion is unavoidable: The recording "
-"industry constantly asks, \"What's the difference between downloading a song "
-"and stealing a CD?\"—but their own numbers reveal the difference. If I "
-"steal a CD, then there is one less CD to sell. Every taking is a lost "
-"sale. But on the basis of the numbers the RIAA provides, it is absolutely "
-"clear that the same is not true of downloads. If every download were a lost "
-"sale—if every use of Kazaa \"rob[bed] the author of [his] "
-"profit\"—then the industry would have suffered a 100 percent drop in "
-"sales last year, not a 7 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 \"downloading a song and stealing a "
-"CD.\""
+"industry constantly asks, <quote>What's the difference between downloading a "
+"song and stealing a CD?</quote>—but their own numbers reveal the "
+"difference. If I steal a CD, then there is one less CD to sell. Every taking "
+"is a lost sale. But on the basis of the numbers the RIAA provides, it is "
+"absolutely clear that the same is not true of downloads. If every download "
+"were a lost sale—if every use of Kazaa <quote>rob[bed] the author of "
+"[his] profit</quote>—then the industry would have suffered a 100 "
+"percent drop in sales last year, not a 7 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 "
+"<quote>downloading a song and stealing a CD.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3872
+#: freeculture.xml:3874
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:3884
+#: freeculture.xml:3886
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:3878
+#: freeculture.xml:3880
msgid ""
"One benefit is type C sharing—making available content that is "
"technically still under copyright but is no longer commercially available. "
#. f16
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:3904
+#: freeculture.xml:3906
msgid ""
"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, "
"Quiet Revolution: The Expansion of the Used Book Market</citetitle> (2002), "
"available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#19</ulink>. Used records accounted for $260 million in sales in 2002. See "
-"National Association of Recording Merchandisers, \"2002 Annual Survey "
-"Results,\" available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#20</ulink>."
+"National Association of Recording Merchandisers, <quote>2002 Annual Survey "
+"Results,</quote> available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #20</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3898
+#: freeculture.xml:3900
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><part><chapter><section><indexterm><primary>
-#: freeculture.xml:3924
+#: freeculture.xml:3926
msgid "Bernstein, Leonard"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3926
+#: freeculture.xml:3928
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 "
"available isn't making money from making the content available. It is also "
"different, of course, because in real space, when I sell a record, I don't "
"have it anymore, while in cyberspace, when someone shares my 1949 recording "
-"of Bernstein's \"Two Love Songs,\" I still have it. That difference would "
-"matter economically if the owner of the copyright were selling the record in "
-"competition to my sharing. But we're talking about the class of content that "
-"is not currently commercially available. The Internet is making it "
-"available, through cooperative sharing, without competing with the market."
+"of Bernstein's <quote>Two Love Songs,</quote> I still have it. That "
+"difference would matter economically if the owner of the copyright were "
+"selling the record in competition to my sharing. But we're talking about the "
+"class of content that is not currently commercially available. The Internet "
+"is making it available, through cooperative sharing, without competing with "
+"the market."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3939
+#: freeculture.xml:3941
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 "
#. PAGE BREAK 86
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3947
+#: freeculture.xml:3949
msgid ""
"Finally, and perhaps most importantly, file-sharing networks enable type D "
"sharing to occur—the sharing of content that copyright owners want to "
"for example, released his first novel, <citetitle>Down and Out in the Magic "
"Kingdom</citetitle>, both free on-line and in bookstores on the same "
"day. His (and his publisher's) thinking was that the on-line distribution "
-"would be a great advertisement for the \"real\" book. People would read part "
-"on-line, and then decide whether they liked the book or not. If they liked "
-"it, they would be more likely to buy it. Doctorow's content is 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!)"
+"would be a great advertisement for the <quote>real</quote> book. People "
+"would read part on-line, and then decide whether they liked the book or "
+"not. If they liked it, they would be more likely to buy it. Doctorow's "
+"content is 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!)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3964
+#: freeculture.xml:3966
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:3970
+#: freeculture.xml:3972
msgid ""
"The point throughout is this: While the recording industry understandably "
-"says, \"This is how much we've lost,\" we must also ask, \"How much has "
-"society gained from p2p sharing? What are the efficiencies? What is the "
-"content that otherwise would be unavailable?\""
+"says, <quote>This is how much we've lost,</quote> we must also ask, "
+"<quote>How much has society gained from p2p sharing? What are the "
+"efficiencies? What is the content that otherwise would be "
+"unavailable?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3977
+#: freeculture.xml:3979
msgid ""
"For unlike the piracy I described in the first section of this chapter, much "
-"of the \"piracy\" that file sharing enables is plainly legal and good. And "
-"like the piracy I described in chapter <xref xrefstyle=\"select: "
+"of the <quote>piracy</quote> that file sharing enables is plainly legal and "
+"good. And like the piracy I described in chapter <xref xrefstyle=\"select: "
"labelnumber\" linkend=\"pirates\"/>, 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, "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:3991
+#: freeculture.xml:3993
msgid ""
-"\"But isn't the war just a war against illegal sharing? Isn't the target "
-"just what you call type A sharing?\""
+"<quote>But isn't the war just a war against illegal sharing? Isn't the "
+"target just what you call type A sharing?</quote>"
msgstr ""
#. f17
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4008
+#: freeculture.xml:4010
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:3995
+#: freeculture.xml:3997
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 "
"itself. When Napster told the district court that it had developed a "
"technology to block the transfer of 99.4 percent of identified infringing "
"material, the district court told counsel for Napster 99.4 percent was not "
-"good enough. Napster had to push the infringements \"down to "
-"zero.
\"<placeholder type=\"footnote\" id=\"0\"/>"
+"good enough. Napster had to push the infringements <quote>down to "
+"zero.
</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4019
+#: freeculture.xml:4021
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:4030
+#: freeculture.xml:4032
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><para>
-#: freeculture.xml:4039
+#: freeculture.xml:4041
msgid ""
-"So, as we've seen, when \"mechanical reproduction\" threatened the interests "
-"of composers, Congress balanced the rights of composers against the "
-"interests of the recording industry. It granted rights to composers, but "
-"also to the recording artists: Composers were to be paid, but at a price set "
-"by Congress. But when radio started broadcasting the recordings made by "
-"these recording artists, and they complained to Congress that their "
-"\"creative property\" was not being respected (since the radio station did "
-"not have to pay them for the creativity it broadcast), Congress rejected "
-"their claim. An indirect benefit was enough."
+"So, as we've seen, when <quote>mechanical reproduction</quote> threatened "
+"the interests of composers, Congress balanced the rights of composers "
+"against the interests of the recording industry. It granted rights to "
+"composers, but also to the recording artists: Composers were to be paid, but "
+"at a price set by Congress. But when radio started broadcasting the "
+"recordings made by these recording artists, and they complained to Congress "
+"that their <quote>creative property</quote> was not being respected (since "
+"the radio station did not have to pay them for the creativity it broadcast), "
+"Congress rejected their claim. An indirect benefit was enough."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4051
+#: freeculture.xml:4053
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:4061
+#: freeculture.xml:4063
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:4076
+#: freeculture.xml:4078
msgid "Betamax"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4078
+#: freeculture.xml:4080
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 "
"produced, the Betamax. Disney's and Universal's claim against Sony was "
"relatively simple: Sony produced a device, Disney and Universal claimed, "
"that enabled consumers to engage in copyright infringement. Because the "
-"device that Sony built had a \"record\" button, the device could be used to "
-"record copyrighted movies 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."
+"device that Sony built had a <quote>record</quote> button, the device could "
+"be used to record copyrighted movies 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."
msgstr ""
#. PAGE BREAK 89
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4091
+#: freeculture.xml:4093
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 "
"could have built the machine to block or inhibit any direct copying from a "
"television broadcast. Or possibly, it could have built the machine to copy "
-"only if there were a special \"copy me\" signal on the line. It was clear "
-"that there were many television shows that did not grant anyone permission "
-"to copy. Indeed, if anyone had asked, no doubt the majority of shows would "
-"not have authorized copying. And in the face of this obvious preference, "
-"Sony could have designed its system to minimize the opportunity for "
-"copyright infringement. It did not, and for that, Disney and Universal "
+"only if there were a special <quote>copy me</quote> signal on the line. It "
+"was clear that there were many television shows that did not grant anyone "
+"permission to copy. Indeed, if anyone had asked, no doubt the majority of "
+"shows would not have authorized copying. And in the face of this obvious "
+"preference, Sony could have designed its 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."
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4113
+#: freeculture.xml:4115
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:4125
+#: freeculture.xml:4127
msgid "Copyright Infringements (Audio and Video Recorders), 475."
msgstr ""
#. f20
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4130
+#: freeculture.xml:4132
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:4141
+#: freeculture.xml:4143
msgid ""
"Copyright Infringements (Audio and Video Recorders), 485 (testimony of Jack "
"Valenti)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4106
+#: freeculture.xml:4108
msgid ""
"MPAA president Jack Valenti became the studios' most vocal champion. Valenti "
-"called VCRs \"tapeworms.\" He warned, \"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.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> \"One does not have to be trained in sophisticated marketing and "
-"creative judgment,\" he told Congress, \"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.\"<placeholder type=\"footnote\" id=\"1\"/> Indeed, as surveys would "
-"later show, percent of VCR owners had movie libraries of ten videos or "
-"more<placeholder type=\"footnote\" id=\"2\"/> — a use the Court would "
-"later hold was not \"fair.\" By \"allowing VCR owners to copy freely by the "
+"called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are 20, "
+"30, 40 million of these VCRs in the land, we will be invaded by millions of "
+"`tapeworms,' eating away at the very heart and essence of the most precious "
+"asset the copyright owner has, his copyright.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> <quote>One does not have to be trained in "
+"sophisticated marketing and creative judgment,</quote> he told Congress, "
+"<quote>to understand the devastation on the after-theater marketplace caused "
+"by the hundreds of millions of tapings that will adversely impact on the "
+"future of the creative community in this country. It is simply a question of "
+"basic economics and plain common sense.</quote><placeholder "
+"type=\"footnote\" id=\"1\"/> Indeed, as surveys would later show, percent of "
+"VCR owners had movie libraries of ten videos or more<placeholder "
+"type=\"footnote\" id=\"2\"/> — a use the Court would later hold was "
+"not <quote>fair.</quote> By <quote>allowing VCR owners to copy freely by the "
"means of an exemption from copyright infringementwithout creating a "
-"mechanism to compensate copyrightowners,\" Valenti testified, Congress would "
-"\"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.\"<placeholder type=\"footnote\" "
-"id=\"3\"/>"
+"mechanism to compensate copyrightowners,</quote> Valenti testified, Congress "
+"would <quote>take from the owners the very essence of their property: the "
+"exclusive right to control who may use their work, that is, who may copy it "
+"and thereby profit from its reproduction.</quote><placeholder "
+"type=\"footnote\" id=\"3\"/>"
msgstr ""
#. f22
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4158
+#: freeculture.xml:4160
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:4161
+#: freeculture.xml:4163
msgid "Kozinski, Alex"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4146
+#: freeculture.xml:4148
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 "
"its jurisdiction—leading Judge Alex Kozinski, who sits on that court, "
-"refers to it as the \"Hollywood Circuit\"—held that Sony would be "
-"liable for the copyright infringement made possible by its machines. Under "
-"the Ninth Circuit's rule, this totally familiar technology—which Jack "
-"Valenti had called \"the Boston Strangler of the American film industry\" "
-"(worse yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of the "
-"American film industry)—was an illegal technology.<placeholder "
-"type=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"refers to it as the <quote>Hollywood Circuit</quote>—held that Sony "
+"would be liable for the copyright infringement made possible by its "
+"machines. Under the Ninth Circuit's rule, this totally familiar "
+"technology—which Jack Valenti had called <quote>the Boston Strangler "
+"of the American film industry</quote> (worse yet, it was a "
+"<emphasis>Japanese</emphasis> Boston Strangler of the American film "
+"industry)—was an illegal technology.<placeholder type=\"footnote\" "
+"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. PAGE BREAK 90
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4164
+#: freeculture.xml:4166
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:4183
+#: freeculture.xml:4185
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:4173
+#: freeculture.xml:4175
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:4188
+#: freeculture.xml:4190
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 "
"request. Congress was convinced that American film got enough, this "
-"\"taking\" notwithstanding. If we put these cases together, a pattern is "
-"clear:"
+"<quote>taking</quote> notwithstanding. If we put these cases together, a "
+"pattern is clear:"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4199
+#: freeculture.xml:4201
msgid "CASE"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4200
-msgid "WHOSE VALUE WAS \"PIRATED\""
+#: freeculture.xml:4202
+msgid "WHOSE VALUE WAS <quote>PIRATED</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4201
+#: freeculture.xml:4203
msgid "RESPONSE OF THE COURTS"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:4202
+#: freeculture.xml:4204
msgid "RESPONSE OF CONGRESS"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4207
+#: freeculture.xml:4209
msgid "Recordings"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4208
+#: freeculture.xml:4210
msgid "Composers"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4209 freeculture.xml:4221 freeculture.xml:4227
+#: freeculture.xml:4211 freeculture.xml:4223 freeculture.xml:4229
msgid "No protection"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4210 freeculture.xml:4222
+#: freeculture.xml:4212 freeculture.xml:4224
msgid "Statutory license"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4214
+#: freeculture.xml:4216
msgid "Recording artists"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4215
+#: freeculture.xml:4217
msgid "N/A"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4216 freeculture.xml:4228
+#: freeculture.xml:4218 freeculture.xml:4230
msgid "Nothing"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4220
+#: freeculture.xml:4222
msgid "Broadcasters"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4225
+#: freeculture.xml:4227
msgid "VCR"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:4226
+#: freeculture.xml:4228
msgid "Film creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4238
+#: freeculture.xml:4240
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 "
"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. "
"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not "
"eliminate the opportunity for free riding in the sense I've described. See "
-"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, \"From Edison to "
-"the Broadcast Flag,\" <citetitle>University of Chicago Law "
+"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From "
+"Edison to the Broadcast Flag,</quote> <citetitle>University of Chicago Law "
"Review</citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4235
+#: freeculture.xml:4237
msgid ""
"In each case throughout our history, a new technology changed the way "
"content was distributed.<placeholder type=\"footnote\" id=\"0\"/> In each "
-"case, throughout our history, that change meant that someone got a \"free "
-"ride\" on someone else's work."
+"case, throughout our history, that change meant that someone got a "
+"<quote>free ride</quote> on someone else's work."
msgstr ""
#. PAGE BREAK 91
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4255
+#: freeculture.xml:4257
msgid ""
"In <emphasis>none</emphasis> of these cases did either the courts or "
"Congress eliminate all free riding. In <emphasis>none</emphasis> of these "
"cases did the courts or Congress insist that the law should assure that the "
"copyright holder get all the value that his copyright created. In every "
-"case, the copyright owners complained of \"piracy.\" In every case, Congress "
-"acted to recognize some of the legitimacy in the behavior of the "
-"\"pirates.\" In each case, Congress allowed some new technology to benefit "
-"from content made before. It balanced the interests at stake."
+"case, the copyright owners complained of <quote>piracy.</quote> In every "
+"case, Congress acted to recognize some of the legitimacy in the behavior of "
+"the <quote>pirates.</quote> In each case, Congress allowed some new "
+"technology to benefit from content made before. It balanced the interests at "
+"stake."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4267
+#: freeculture.xml:4269
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 "
#. f25
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4284
+#: freeculture.xml:4286
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:4279
+#: freeculture.xml:4281
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 "
-"\"has never accorded the copyright owner complete control over all possible "
-"uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> 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 balancing has historically been done "
-"<emphasis>after</emphasis> a technology has matured, or settled into the mix "
-"of technologies that facilitate the distribution of content."
+"<quote>has never accorded the copyright owner complete control over all "
+"possible uses of his work.</quote><placeholder type=\"footnote\" id=\"0\"/> "
+"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 balancing has historically "
+"been done <emphasis>after</emphasis> a technology has matured, or settled "
+"into the mix of technologies that facilitate the distribution of content."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4295
+#: freeculture.xml:4297
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 "
"vs. wireless) is changing very quickly. No doubt the network should not "
-"become a tool for \"stealing\" from artists. But neither should the law "
-"become a tool to entrench one particular way in which artists (or more "
-"accurately, distributors) get paid. As I describe in some detail in the last "
-"chapter of this book, we should be securing income to artists while we allow "
-"the market to secure the most efficient way to promote and distribute "
+"become a tool for <quote>stealing</quote> from artists. But neither should "
+"the law become a tool to entrench one particular way in which artists (or "
+"more accurately, distributors) get paid. As I describe in some detail in the "
+"last chapter of this book, we should be securing income to artists while we "
+"allow the market to secure the most efficient way to promote and distribute "
"content. This will require changes in the law, at least in the "
"interim. These changes should be designed to balance the protection of the "
"law against the strong public interest that innovation continue."
#. f26
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:4319
+#: freeculture.xml:4321
msgid ""
-"John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes "
-"Past Efforts,\" <citetitle>New York Times</citetitle>, 22 September 2003, "
-"C3."
+"John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software "
+"Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 "
+"September 2003, C3."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4311
+#: freeculture.xml:4313
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 "
"efficient in moving content across a widely diverse network. Left to "
"develop, they could make the network vastly more efficient. Yet these "
-"\"potential public benefits,\" as John Schwartz writes in <citetitle>The New "
-"York Times</citetitle>, \"could be delayed in the P2P fight.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> Yet when anyone begins to talk about "
-"\"balance,\" the copyright warriors raise a different argument. \"All this "
-"hand waving about balance and incentives,\" they say, \"misses a fundamental "
-"point. Our content,\" the warriors insist, \"is our "
+"<quote>potential public benefits,</quote> as John Schwartz writes in "
+"<citetitle>The New York Times</citetitle>, <quote>could be delayed in the "
+"P2P fight.</quote><placeholder type=\"footnote\" id=\"0\"/> Yet when anyone "
+"begins to talk about <quote>balance,</quote> the copyright warriors raise a "
+"different argument. <quote>All this hand waving about balance and "
+"incentives,</quote> they say, <quote>misses a fundamental point. Our "
+"content,</quote> the warriors insist, <quote>is our "
"<emphasis>property</emphasis>. Why should we wait for Congress to "
"`rebalance' our property rights? Do you have to wait before calling the "
"police when your car has been stolen? And why should Congress deliberate at "
"all about the merits of this theft? Do we ask whether the car thief had a "
-"good use for the car before we arrest him?\""
+"good use for the car before we arrest him?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:4333
+#: freeculture.xml:4335
msgid ""
-"\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And it "
-"should be protected just as any other property is protected.\""
+"<quote>It is <emphasis>our property</emphasis>,</quote> the warriors "
+"insist. <quote>And it should be protected just as any other property is "
+"protected.</quote>"
msgstr ""
#. type: Content of: <book><part><title>
-#: freeculture.xml:4341
-msgid "\"PROPERTY\""
+#: freeculture.xml:4344
+msgid "<quote>PROPERTY</quote>"
msgstr ""
#. PAGE BREAK 94
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4346
+#: freeculture.xml:4349
msgid ""
"The copyright warriors are right: A copyright is a kind of property. It can "
"be owned and sold, and the law protects against its theft. Ordinarily, the "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4353
-msgid ""
-"But in ordinary language, to call a copyright a \"property\" right is a bit "
-"misleading, for the property of copyright is an odd kind of property. "
-"Indeed, the very idea of property in any idea or any expression is very "
-"odd. I understand what I am taking when I take the picnic table you put in "
-"your backyard. I am taking a thing, the picnic table, and after I take it, "
-"you don't have it. But what am I taking when I take the good "
+#: freeculture.xml:4356
+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 "
+"property. Indeed, the very idea of property in any idea or any expression "
+"is very odd. I understand what I am taking when I take the picnic table you "
+"put in your backyard. I am taking a thing, the picnic table, and after I "
+"take it, you don't have it. But what am I taking when I take the good "
"<emphasis>idea</emphasis> you had to put a picnic 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?"
#. f1
#. type: Content of: <book><part><partintro><para><footnote><para>
-#: freeculture.xml:4378
+#: freeculture.xml:4381
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:4365
+#: freeculture.xml:4368
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 "
"anything from you when I copy the way you dress—though I might seem "
"weird if I did it every day, and especially weird if you are a "
"woman. Instead, as Thomas Jefferson said (and as is especially true when I "
-"copy the way someone else dresses), \"He who receives an idea from me, "
+"copy the way someone else dresses), <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.
\"<placeholder "
+"taper at mine, receives light without darkening me.
</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4384
+#: freeculture.xml:4387
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:4397
+#: freeculture.xml:4400
msgid ""
"As the legal realists taught American law, all property rights are "
"intangible. A property right is simply a right that an individual has "
"against the world to do or not do certain things that may or may not attach "
"to a physical object. The right itself is intangible, even if the object to "
-"which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What "
-"Is Property? Putting the Pieces Back Together,\" <citetitle>Arizona Law "
-"Review</citetitle> 45 (2003): 373, 429 n. 241."
+"which it is (metaphorically) attached is tangible. See Adam Mossoff, "
+"<quote>What Is Property? Putting the Pieces Back Together,</quote> "
+"<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241."
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4392
+#: freeculture.xml:4395
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 "
-"intangible into property emerged, we need to place this \"property\" in its "
-"proper context.<placeholder type=\"footnote\" id=\"0\"/>"
+"intangible into property emerged, we need to place this "
+"<quote>property</quote> in its proper context.<placeholder type=\"footnote\" "
+"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:4407
+#: freeculture.xml:4410
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 \"copyright material is "
-"property\" in context. Where did the idea come from? What are its limits? "
-"How does it function in practice? After these stories, the significance of "
-"this true statement—\"copyright material is property\"— 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."
+"part. I offer four stories to help put the idea of <quote>copyright material "
+"is property</quote> in context. Where did the idea come from? What are its "
+"limits? How does it function in practice? After these stories, the "
+"significance of this true statement—<quote>copyright material is "
+"property</quote>— 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."
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:4420
+#: freeculture.xml:4423
msgid "CHAPTER SIX: Founders"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4421
+#: freeculture.xml:4424
msgid "Henry V"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4423
+#: freeculture.xml:4426
msgid ""
"William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in "
"1595. The play was first published in 1597. It was the eleventh major play "
"and the plays that he wrote have continued to define Anglo-American culture "
"ever since. So deeply have the works of a sixteenth-century writer seeped "
"into our culture that we often don't even recognize their source. I once "
-"overheard someone commenting on Kenneth Branagh's adaptation of Henry V: \"I "
-"liked it, but Shakespeare is so full of clichés.\""
+"overheard someone commenting on Kenneth Branagh's adaptation of Henry V: "
+"<quote>I liked it, but Shakespeare is so full of clichés.</quote>"
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4438
+#: freeculture.xml:4441
msgid ""
"Jacob Tonson is typically remembered for his associations with prominent "
"eighteenth-century literary figures, especially John Dryden, and for his "
-"handsome \"definitive editions\" of classic works. In addition to "
+"handsome <quote>definitive editions</quote> of classic works. In addition to "
"<citetitle>Romeo and Juliet</citetitle>, he published an astonishing array "
"of works that still remain at the heart of the English canon, including "
"collected works of Shakespeare, Ben Jonson, John Milton, and John "
-"Dryden. See Keith Walker, \"Jacob Tonson, Bookseller,\" <citetitle>American "
-"Scholar</citetitle> 61:3 (1992): 424–31."
+"Dryden. See Keith Walker, <quote>Jacob Tonson, Bookseller,</quote> "
+"<citetitle>American Scholar</citetitle> 61:3 (1992): 424–31."
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4449
+#: freeculture.xml:4452
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:4434
+#: freeculture.xml:4437
msgid ""
"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was "
-"written, the \"copy-right\" for the work was still thought by many to be the "
-"exclusive right of a single London publisher, Jacob Tonson.<placeholder "
-"type=\"footnote\" id=\"0\"/> Tonson was the most prominent of a small group "
-"of publishers called the Conger<placeholder type=\"footnote\" id=\"1\"/> who "
-"controlled bookselling in England during the eighteenth century. The Conger "
-"claimed a perpetual right to control the \"copy\" of books that they had "
-"acquired from authors. That perpetual right meant that no 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."
+"written, the <quote>copy-right</quote> for the work was still thought by "
+"many to be the exclusive right of a single London publisher, Jacob "
+"Tonson.<placeholder type=\"footnote\" id=\"0\"/> Tonson was the most "
+"prominent of a small group of publishers called the Conger<placeholder "
+"type=\"footnote\" id=\"1\"/> who controlled bookselling in England during "
+"the eighteenth century. The Conger claimed a perpetual right to control the "
+"<quote>copy</quote> of books that they had acquired from authors. That "
+"perpetual right meant that no 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."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4471
+#: freeculture.xml:4474
msgid ""
"As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
-"\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and "
+"<quote>copyright law.</quote> See Vaidhyanathan, <citetitle>Copyrights and "
"Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4462
+#: freeculture.xml:4465
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 "
"copyright is 1710, the year that the British Parliament adopted the first "
-"\"copyright\" act. Known as the Statute of Anne, the 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.<placeholder "
+"<quote>copyright</quote> act. Known as the Statute of Anne, the 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.<placeholder "
"type=\"footnote\" id=\"0\"/> Under this law, <citetitle>Romeo and "
"Juliet</citetitle> should have been free in 1731. So why was there any issue "
"about it still being under Tonson's control in 1774?"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4488
+#: freeculture.xml:4491
msgid "Licensing Act (1662)"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4479
+#: freeculture.xml:4482
msgid ""
-"The reason is that the English hadn't yet agreed on what a \"copyright\" "
-"was—indeed, no one had. At the time the English passed the Statute of "
-"Anne, there was no other legislation governing copyrights. The last law "
-"regulating publishers, the Licensing Act of 1662, had expired in 1695. That "
-"law gave publishers a monopoly over publishing, as a way to make it easier "
-"for the Crown to control what was published. But after it expired, there "
-"was no positive law that said that the publishers, or \"Stationers,\" had an "
-"exclusive right to print books. <placeholder type=\"indexterm\" id=\"0\"/>"
+"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 "
+"English passed the Statute of Anne, there was no other legislation governing "
+"copyrights. The last law regulating publishers, the Licensing Act of 1662, "
+"had expired in 1695. That law gave publishers a monopoly over publishing, as "
+"a way to make it easier for the Crown to control what was published. But "
+"after it expired, there was no positive law that said that the publishers, "
+"or <quote>Stationers,</quote> had an exclusive right to print books. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4491
+#: freeculture.xml:4494
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 "
"of legislatures and the words of judges to know the rules that are to govern "
-"how people are to behave. We call the words from legislatures \"positive "
-"law.\" We call the words from judges \"common law.\" The common law sets the "
-"background against which legislatures legislate; the legislature, "
-"ordinarily, can trump that 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."
+"how people are to behave. We call the words from legislatures "
+"<quote>positive law.</quote> We call the words from judges <quote>common "
+"law.</quote> The common law sets the background against which legislatures "
+"legislate; the legislature, ordinarily, can trump that 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."
msgstr ""
#. PAGE BREAK 98
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4503
+#: freeculture.xml:4506
msgid ""
-"This question was important to the publishers, or \"booksellers,\" as they "
-"were called, because there was growing competition from foreign "
-"publishers. The Scottish, in particular, were increasingly publishing and "
-"exporting books to England. That competition reduced the profits of the "
-"Conger, which reacted by demanding that Parliament pass a law to again give "
-"them exclusive control over publishing. That demand ultimately resulted in "
-"the Statute of Anne."
+"This question was important to the publishers, or "
+"<quote>booksellers,</quote> as they were called, because there was growing "
+"competition from foreign publishers. The Scottish, in particular, were "
+"increasingly publishing and exporting books to England. That competition "
+"reduced the profits of the Conger, which reacted by demanding that "
+"Parliament pass a law to again give them exclusive control over "
+"publishing. That demand ultimately resulted in the Statute of Anne."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4515
+#: freeculture.xml:4518
msgid ""
-"The Statute of Anne granted the author or \"proprietor\" of a book an "
-"exclusive right to print that book. In an important limitation, however, and "
-"to the horror of the booksellers, the law gave the bookseller that right for "
-"a limited term. At the end of that term, the copyright \"expired,\" and the "
-"work would then be free and could be published by anyone. Or so the "
-"legislature is thought to have believed."
+"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, "
+"however, and to the horror of the booksellers, the law gave the bookseller "
+"that right for a limited term. At the end of that term, the copyright "
+"<quote>expired,</quote> and the work would then be free and could be "
+"published by anyone. Or so the legislature is thought to have believed."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4524
+#: freeculture.xml:4527
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:4530
+#: freeculture.xml:4533
msgid ""
"For the booksellers, and the authors whom they represented, had a very "
"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: "
"play, he didn't make it any harder for others to craft a play. So 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 \"steal\" Shakespeare's work?"
+"there to allow someone else to <quote>steal</quote> Shakespeare's work?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4541
+#: freeculture.xml:4544
msgid ""
"The answer comes in two parts. We first need to see something special about "
-"the notion of \"copyright\" that existed at the time of the Statute of "
-"Anne. Second, we have to see something important about \"booksellers.\""
+"the notion of <quote>copyright</quote> that existed at the time of the "
+"Statute of Anne. Second, we have to see something important about "
+"<quote>booksellers.</quote>"
msgstr ""
#. PAGE BREAK 99
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4547
+#: freeculture.xml:4550
msgid ""
"First, about copyright. In the last three hundred years, we have come to "
-"apply the concept of \"copyright\" ever more broadly. But in 1710, it wasn't "
-"so much a concept as it was a very particular right. The copyright was born "
-"as a very specific set of restrictions: It forbade others from reprinting a "
-"book. In 1710, the \"copy-right\" was a right to use a particular machine to "
-"replicate a particular work. It did not go beyond that very narrow right. It "
-"did not control any more generally how a work could be "
-"<emphasis>used</emphasis>. Today the right includes a 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."
+"apply the concept of <quote>copyright</quote> ever more broadly. But in "
+"1710, it wasn't so much a concept as it was a very particular right. The "
+"copyright was born as a very specific set of restrictions: It forbade others "
+"from reprinting a book. In 1710, the <quote>copy-right</quote> was a right "
+"to use a particular machine to replicate a particular work. It did not go "
+"beyond that very narrow right. It did not control any more generally how a "
+"work could be <emphasis>used</emphasis>. Today the right includes a 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."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4562
+#: freeculture.xml:4565
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 "
"the Shakespeare estate. It would not have controlled anything, for example, "
"about how the work could be performed, whether the work could be translated, "
"or whether Kenneth Branagh would be allowed to make his films. The "
-"\"copy-right\" was only an exclusive right to print—no less, of "
-"course, but also no more."
+"<quote>copy-right</quote> was only an exclusive right to print—no "
+"less, of course, but also no more."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:4571
+#: freeculture.xml:4574
msgid "Henry VIII, King of England"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4573
+#: freeculture.xml:4576
msgid ""
"Even that limited right was viewed with skepticism by the British. They had "
-"had a long and ugly experience with \"exclusive rights,\" especially "
-"\"exclusive rights\" granted by the Crown. The English had fought a civil "
-"war in part about the Crown's practice of handing out "
+"had a long and ugly experience with <quote>exclusive rights,</quote> "
+"especially <quote>exclusive rights</quote> granted by the Crown. The English "
+"had fought a civil war in part about the Crown's practice of handing out "
"monopolies—especially monopolies for works that already existed. King "
"Henry VIII granted a patent to print the Bible and a monopoly to Darcy to "
"print playing cards. The English Parliament began to fight back against this "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4586
+#: freeculture.xml:4589
msgid ""
-"Thus the \"copy-right,\" when viewed as a monopoly right, was naturally "
-"viewed as a right that should be limited. (However convincing the claim that "
-"\"it's my property, and I should have it forever,\" try sounding convincing "
-"when uttering, \"It's my monopoly, and I should have it forever.\") 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."
+"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 "
+"claim that <quote>it's my property, and I should have it forever,</quote> "
+"try sounding convincing when uttering, <quote>It's my monopoly, and I should "
+"have it forever.</quote>) 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."
msgstr ""
#. f4
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4610
+#: freeculture.xml:4613
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:4595
+#: freeculture.xml:4598
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. "
"increasingly seen as monopolists of the worst kind—tools of the "
"Crown's repression, selling the liberty of England to guarantee themselves a "
"monopoly profit. The attacks against these monopolists were harsh: Milton "
-"described them as \"old patentees and monopolizers in the trade of "
-"book-selling\"; they were \"men who do not therefore labour in an honest "
-"profession to which learning is indetted.\"<placeholder type=\"footnote\" "
-"id=\"0\"/>"
+"described them as <quote>old patentees and monopolizers in the trade of "
+"book-selling</quote>; they were <quote>men who do not therefore labour in an "
+"honest profession to which learning is indetted.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4615
+#: freeculture.xml:4618
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:4623
+#: freeculture.xml:4626
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><para>
-#: freeculture.xml:4635
+#: freeculture.xml:4638
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:4644
+#: freeculture.xml:4647
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:4659
+#: freeculture.xml:4662
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:4649
+#: freeculture.xml:4652
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:4670
+#: freeculture.xml:4673
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 "
"authors certain protections through positive law, but those protections were "
"not intended as replacements for the common law. Instead, they were "
"intended simply to supplement the common law. Under common law, it was "
-"already wrong to take another person's creative \"property\" and use it "
-"without his permission. The Statute of Anne, the booksellers argued, didn't "
-"change that. Therefore, just because the protections of the Statute of Anne "
-"expired, that didn't mean the protections of the common law expired: Under "
-"the common law 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."
+"already wrong to take another person's creative <quote>property</quote> and "
+"use it without his permission. The Statute of Anne, the booksellers argued, "
+"didn't change that. Therefore, just because the protections of the Statute "
+"of Anne expired, that didn't mean the protections of the common law expired: "
+"Under the common law 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."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4691
+#: freeculture.xml:4694
msgid ""
-"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" "
+"Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use,</quote> "
"<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a "
"wonderfully compelling account, see Vaidhyanathan, 37–48. "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4685
+#: freeculture.xml:4688
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 "
-"then, as law professor Raymond Patterson has put it, \"The publishers "
+"then, as law professor Raymond Patterson has put it, <quote>The publishers "
"… had as much concern for authors as a cattle rancher has for "
-"cattle.\"<placeholder type=\"footnote\" id=\"0\"/> The bookseller didn't "
-"care squat for the rights of the author. His concern was the monopoly "
-"profit that the author's work gave."
+"cattle.</quote><placeholder type=\"footnote\" id=\"0\"/> The bookseller "
+"didn't care squat for the rights of the author. His concern was the "
+"monopoly profit that the author's work gave."
msgstr ""
#. f7
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4704
+#: freeculture.xml:4707
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:4700
+#: freeculture.xml:4703
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><chapter><indexterm><primary>
-#: freeculture.xml:4716 freeculture.xml:14563
+#: freeculture.xml:4719 freeculture.xml:14566
msgid "Rose, Mark"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4714
+#: freeculture.xml:4717
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:4725
+#: freeculture.xml:4728
msgid "Ibid., 93."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4727
+#: freeculture.xml:4730
msgid "Boswell, James"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4728
+#: freeculture.xml:4731
msgid "Erskine, Andrew"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4709
+#: freeculture.xml:4712
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 \"of "
-"standard works whose copyright term had expired,\" at least under the "
-"Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> Donaldson's "
-"publishing house prospered and became \"something of a center for literary "
-"Scotsmen.\" \"[A]mong them,\" Professor Mark Rose writes, was \"the young "
-"James Boswell who, together with his friend Andrew Erskine, published an "
-"anthology of contemporary Scottish poems with Donaldson.\"<placeholder "
-"type=\"footnote\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
-"<placeholder type=\"indexterm\" id=\"3\"/>"
+"Edinburgh in 1750. The focus of his business was inexpensive reprints "
+"<quote>of standard works whose copyright term had expired,</quote> at least "
+"under the Statute of Anne.<placeholder type=\"footnote\" id=\"0\"/> "
+"Donaldson's publishing house prospered and became <quote>something of a "
+"center for literary Scotsmen.</quote> <quote>[A]mong them,</quote> Professor "
+"Mark Rose writes, was <quote>the young James Boswell who, together with his "
+"friend Andrew Erskine, published an anthology of contemporary Scottish poems "
+"with Donaldson.</quote><placeholder type=\"footnote\" id=\"1\"/> "
+"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
+"id=\"3\"/>"
msgstr ""
#. f10
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4737
+#: freeculture.xml:4740
msgid ""
"Lyman Ray Patterson, <citetitle>Copyright in Historical "
"Perspective</citetitle>, 167 (quoting Borwell)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4731
+#: freeculture.xml:4734
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 "
-"editions \"of the most popular English books, in defiance of the supposed "
-"common law right of Literary Property.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> 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."
+"editions <quote>of the most popular English books, in defiance of the "
+"supposed common law right of Literary Property.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> 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."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4745
+#: freeculture.xml:4748
msgid ""
-"The London booksellers quickly brought suit to block \"piracy\" like "
-"Donaldson's. A number of actions were successful against the \"pirates,\" "
-"the most important early victory being <citetitle>Millar</citetitle> "
-"v. <citetitle>Taylor</citetitle>."
+"The London booksellers quickly brought suit to block <quote>piracy</quote> "
+"like Donaldson's. A number of actions were successful against the "
+"<quote>pirates,</quote> the most important early victory being "
+"<citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>."
msgstr ""
#. f11
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4757
+#: freeculture.xml:4760
msgid ""
-"Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
-"Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law "
+"Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law: "
+"Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law "
"Review</citetitle> 29 (1983): 1152."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4750
+#: freeculture.xml:4753
msgid ""
"Millar was a bookseller who in 1729 had purchased the rights to James "
-"Thomson's poem \"The Seasons.\" 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"Thomson's poem <quote>The Seasons.</quote> 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.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4766
+#: freeculture.xml:4769
msgid ""
"Astonishingly to modern lawyers, one of the greatest judges in English "
"history, Lord Mansfield, agreed with the booksellers. Whatever protection "
"the Statute of Anne gave booksellers, it did not, he held, extinguish any "
"common law right. The question was whether the common law would protect the "
-"author against subsequent \"pirates.\" Mansfield's answer was yes: The "
-"common law would bar Taylor from 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."
+"author against subsequent <quote>pirates.</quote> Mansfield's answer was "
+"yes: The common law would bar Taylor from 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."
msgstr ""
#. PAGE BREAK 103
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4777
+#: freeculture.xml:4780
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:4792
+#: freeculture.xml:4795
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:4795
+#: freeculture.xml:4798
msgid "Beckett, Thomas"
msgstr ""
#. f12
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4801
+#: freeculture.xml:4804
msgid "Ibid., 1156."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4797
+#: freeculture.xml:4800
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><para>
-#: freeculture.xml:4811
+#: freeculture.xml:4814
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:4821
+#: freeculture.xml:4824
msgid ""
"The House of Lords was an odd institution. Legal questions were presented to "
-"the House and voted upon first by the \"law lords,\" 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."
+"the House and voted upon first by the <quote>law lords,</quote> 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."
msgstr ""
#. PAGE BREAK 104
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4828
+#: freeculture.xml:4831
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><para><indexterm><primary>
-#: freeculture.xml:4846
+#: freeculture.xml:4849
msgid "Bacon, Francis"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4847
+#: freeculture.xml:4850
msgid "Bunyan, John"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4848
+#: freeculture.xml:4851
msgid "Johnson, Samuel"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4849
+#: freeculture.xml:4852
msgid "Milton, John"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4850
+#: freeculture.xml:4853
msgid "Shakespeare, William"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4838
+#: freeculture.xml:4841
msgid ""
-"\"The public domain.\" Before the case of <citetitle>Donaldson</citetitle> "
-"v. <citetitle>Beckett</citetitle>, there was no clear idea of a public "
-"domain in England. Before 1774, there was a strong argument that common law "
-"copyrights were perpetual. After 1774, the public domain was born. For the "
-"first time in Anglo-American history, the legal control 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. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
-"type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
-"<placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" "
-"id=\"4\"/>"
+"<quote>The public domain.</quote> Before the case of "
+"<citetitle>Donaldson</citetitle> v. <citetitle>Beckett</citetitle>, there "
+"was no clear idea of a public domain in England. Before 1774, there was a "
+"strong argument that common law copyrights were perpetual. After 1774, the "
+"public domain was born. For the first time in Anglo-American history, the "
+"legal control 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. <placeholder type=\"indexterm\" "
+"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder "
+"type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> "
+"<placeholder type=\"indexterm\" id=\"4\"/>"
msgstr ""
#. f13
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:4863
+#: freeculture.xml:4866
msgid "Rose, 97."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4853
+#: freeculture.xml:4856
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 "
-"of the \"pirate publishers\" did their work, people celebrated the decision "
-"in the streets. As the <citetitle>Edinburgh Advertiser</citetitle> reported, "
-"\"No private cause has so much engrossed the attention of the public, and "
-"none has been tried before the House of Lords in the decision of which so "
-"many individuals were interested.\" \"Great rejoicing in Edinburgh upon "
-"victory over literary property: bonfires and illuminations.\"<placeholder "
+"of the <quote>pirate publishers</quote> did their work, people celebrated "
+"the decision in the streets. As the <citetitle>Edinburgh "
+"Advertiser</citetitle> reported, <quote>No private cause has so much "
+"engrossed the attention of the public, and none has been tried before the "
+"House of Lords in the decision of which so many individuals were "
+"interested.</quote> <quote>Great rejoicing in Edinburgh upon victory over "
+"literary property: bonfires and illuminations.</quote><placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4867
+#: freeculture.xml:4870
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:4873
+#: freeculture.xml:4876
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:4888
+#: freeculture.xml:4891
msgid ""
-"\"Ruined\" 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 meant that "
-"the booksellers could no longer control how culture in England would grow "
-"and develop. Culture in England was thereafter <emphasis>free</emphasis>. "
-"Not in the sense that copyrights would not be respected, for of course, for "
-"a limited time after a work was published, the bookseller had an exclusive "
-"right to control the publication of that book. And not in the sense that "
-"books could be stolen, for even after a copyright expired, you still had to "
-"buy the book from someone. But <emphasis>free</emphasis> in the sense that "
-"the culture and its growth would no longer be controlled by a small group of "
-"publishers. As every free market does, this free market of free culture "
-"would grow as the consumers and producers chose. English culture would "
-"develop as the many English readers chose to let it develop— chose in "
-"the books they bought and wrote; chose in the memes they repeated and "
-"endorsed. Chose in a <emphasis>competitive context</emphasis>, 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."
+"<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 "
+"of Lords meant that the booksellers could no longer control how culture in "
+"England would grow and develop. Culture in England was thereafter "
+"<emphasis>free</emphasis>. Not in the sense that copyrights would not be "
+"respected, for of course, for a limited time after a work was published, the "
+"bookseller had an exclusive right to control the publication of that "
+"book. And not in the sense that books could be stolen, for even after a "
+"copyright expired, you still had to buy the book from someone. But "
+"<emphasis>free</emphasis> in the sense that the culture and its growth would "
+"no longer be controlled by a small group of publishers. As every free market "
+"does, this free market of free culture would grow as the consumers and "
+"producers chose. English culture would develop as the many English readers "
+"chose to let it develop— chose in the books they bought and wrote; "
+"chose in the memes they repeated and endorsed. Chose in a "
+"<emphasis>competitive context</emphasis>, 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."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4909
+#: freeculture.xml:4912
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:4917
+#: freeculture.xml:4920
msgid "CHAPTER SEVEN: Recorders"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4919
+#: freeculture.xml:4922
msgid ""
"Jon Else 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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4926
+#: freeculture.xml:4929
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><para><indexterm><primary>
-#: freeculture.xml:4937 freeculture.xml:5006
+#: freeculture.xml:4940 freeculture.xml:5009
msgid "San Francisco Opera"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4931
+#: freeculture.xml:4934
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 "
#. PAGE BREAK 107
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4940
+#: freeculture.xml:4943
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><para>
-#: freeculture.xml:4949
+#: freeculture.xml:4952
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 "
"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and "
"of course, to use copyrighted material you need the permission of the "
-"copyright owner, unless \"fair use\" or some other privilege applies."
+"copyright owner, unless <quote>fair use</quote> or some other privilege "
+"applies."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:4961 freeculture.xml:4969
+#: freeculture.xml:4964 freeculture.xml:4972
msgid "Gracie Films"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4956
+#: freeculture.xml:4959
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><para>
-#: freeculture.xml:4964
+#: freeculture.xml:4967
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:4972
+#: freeculture.xml:4975
msgid ""
-"Then, as Else told me, \"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.\" And second, Fox "
-"\"wanted ten thousand dollars as a licensing fee for us to use this "
-"four-point-five seconds of … entirely unsolicited "
-"<citetitle>Simpsons</citetitle> which was in the corner of the shot.\""
+"Then, as Else told me, <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.</quote> And "
+"second, Fox <quote>wanted ten thousand dollars as a licensing fee for us to "
+"use this four-point-five seconds of … entirely unsolicited "
+"<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4980
+#: freeculture.xml:4983
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 "
-"to her, \"There must be some mistake here. … We're asking for your "
-"educational rate on this.\" That was the educational rate, Herrera told "
-"Else. A day or so later, Else called again to confirm what he had been told."
+"to her, <quote>There must be some mistake here. … We're asking for "
+"your educational rate on this.</quote> That was the educational rate, "
+"Herrera told Else. A day or so later, Else called again to confirm what he "
+"had been told."
msgstr ""
#. PAGE BREAK 108
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:4988
+#: freeculture.xml:4991
msgid ""
-"\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you "
-"have your facts straight,\" she said. It would cost $10,000 to use the clip "
-"of <citetitle>The Simpsons</citetitle> in the corner of a shot in a "
-"documentary film about Wagner's Ring Cycle. And then, astonishingly, Herrera "
-"told Else, \"And if you quote me, I'll turn you over to our attorneys.\" As "
-"an assistant to Herrera told Else later on, \"They don't give a shit. They "
-"just want the money.\""
+"<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 "
+"cost $10,000 to use the clip of <citetitle>The Simpsons</citetitle> in the "
+"corner of a shot in a documentary film about Wagner's Ring Cycle. And then, "
+"astonishingly, Herrera told Else, <quote>And if you quote me, I'll turn you "
+"over to our attorneys.</quote> As an assistant to Herrera told Else later "
+"on, <quote>They don't give a shit. They just want the money.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5007
+#: freeculture.xml:5010
msgid "Day After Trinity, The"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5000
+#: freeculture.xml:5003
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:5010
+#: freeculture.xml:5013
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:5021
+#: freeculture.xml:5024
msgid ""
-"For example, \"public performance\" is a use of <citetitle>The "
+"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 "
"selection of favorite episodes, rent a movie theater, and charge for tickets "
-"to come see \"My Favorite <citetitle>Simpsons</citetitle>,\" then you need "
-"to get permission from the copyright owner. And the copyright owner "
+"to come see <quote>My Favorite <citetitle>Simpsons</citetitle>,</quote> then "
+"you need to get permission from the copyright owner. And the copyright owner "
"(rightly, in my view) can charge whatever she wants—$10 or "
"$1,000,000. That's her right, as set by the law."
msgstr ""
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5033
+#: freeculture.xml:5036
msgid ""
-"For an excellent argument that such use is \"fair use,\" but that lawyers "
-"don't permit recognition that it is \"fair use,\" see Richard A. Posner with "
-"William F. Patry, \"Fair Use and Statutory Reform in the Wake of "
-"<citetitle>Eldred</citetitle>\" (draft on file with author), University of "
-"Chicago Law School, 5 August 2003."
+"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 "
+"Richard A. Posner with William F. Patry, <quote>Fair Use and Statutory "
+"Reform in the Wake of <citetitle>Eldred</citetitle></quote> (draft on file "
+"with author), University of Chicago Law School, 5 August 2003."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5030
+#: freeculture.xml:5033
msgid ""
"But when lawyers hear this story about Jon Else and Fox, their first thought "
-"is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just "
-"4.5 seconds of an indirect shot of a <citetitle>Simpsons</citetitle> episode "
-"is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair "
-"use does not require the permission of anyone."
+"is <quote>fair use.</quote><placeholder type=\"footnote\" id=\"0\"/> Else's "
+"use of just 4.5 seconds of an indirect shot of a "
+"<citetitle>Simpsons</citetitle> episode is clearly a fair use of "
+"<citetitle>The Simpsons</citetitle>—and fair use does not require the "
+"permission of anyone."
msgstr ""
#. PAGE BREAK 109
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5045
-msgid "So I asked Else why he didn't just rely upon \"fair use.\" Here's his reply:"
+#: freeculture.xml:5048
+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><blockquote><para>
-#: freeculture.xml:5049
+#: freeculture.xml:5052
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 "
"is crushingly relevant in practice to those of us actually trying to make "
-"and broadcast documentaries. I never had any doubt that it was \"clearly "
-"fair use\" in an absolute legal sense. But I couldn't rely on the concept in "
-"any concrete way. Here's why:"
+"and broadcast documentaries. I never had any doubt that it was "
+"<quote>clearly fair use</quote> in an absolute legal sense. But I couldn't "
+"rely on the concept in any concrete way. Here's why:"
msgstr ""
#. 1.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5059
+#: freeculture.xml:5062
msgid ""
"Before our films can be broadcast, the network requires that we buy Errors "
-"and Omissions insurance. The carriers require a detailed \"visual cue "
-"sheet\" listing the source and licensing status of each shot in the "
-"film. They take a dim view of \"fair use,\" and a claim of \"fair use\" can "
-"grind the application process to a halt."
+"and Omissions insurance. The carriers require a detailed <quote>visual cue "
+"sheet</quote> listing the source and licensing status of each shot in the "
+"film. They take a dim view of <quote>fair use,</quote> and a claim of "
+"<quote>fair use</quote> can grind the application process to a halt."
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para><indexterm><primary>
-#: freeculture.xml:5076
+#: freeculture.xml:5079
msgid "Lucas, George"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5067
+#: freeculture.xml:5070
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:5080
+#: freeculture.xml:5083
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 "
-"would \"depose and litigate you to within an inch of your life,\" regardless "
-"of the merits of my claim. He made clear that it would boil down to who had "
-"the bigger legal department and the deeper pockets, me or them."
+"would <quote>depose and litigate you to within an inch of your life,</quote> "
+"regardless of the merits of my claim. He made clear that it would boil down "
+"to who had the bigger legal department and the deeper pockets, me or them."
msgstr ""
#. 4.
#. type: Content of: <book><part><chapter><blockquote><orderedlist><listitem><para>
-#: freeculture.xml:5090
+#: freeculture.xml:5093
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:5097
+#: freeculture.xml:5100
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:5105
+#: freeculture.xml:5108
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:5114
+#: freeculture.xml:5117
msgid "CHAPTER EIGHT: Transformers"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5115
+#: freeculture.xml:5118
msgid "Allen, Paul"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5116 freeculture.xml:5124 freeculture.xml:5135 freeculture.xml:5150 freeculture.xml:5159 freeculture.xml:5164 freeculture.xml:5216 freeculture.xml:5232 freeculture.xml:5255 freeculture.xml:5318 freeculture.xml:9734
+#: freeculture.xml:5119 freeculture.xml:5127 freeculture.xml:5138 freeculture.xml:5153 freeculture.xml:5162 freeculture.xml:5167 freeculture.xml:5219 freeculture.xml:5235 freeculture.xml:5258 freeculture.xml:5321 freeculture.xml:9737
msgid "Alben, Alex"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5118
+#: freeculture.xml:5121
msgid ""
"In 1993, Alex Alben was a lawyer working at Starwave, Inc. Starwave was an "
"innovative company founded by Microsoft cofounder Paul Allen to develop "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5126
+#: freeculture.xml:5129
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:5137
+#: freeculture.xml:5140
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:5144
+#: freeculture.xml:5147
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:5152
+#: freeculture.xml:5155
msgid ""
-"Then Alben and his team decided to include actual film clips. \"Our goal was "
-"that we were going to have a clip from every one of Eastwood's films,\" "
-"Alben told me. It was here that the problem arose. \"No one had ever really "
-"done this before,\" Alben explained. \"No one had ever tried to do this in "
-"the context of an artistic look at an actor's career.\""
+"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 "
+"films,</quote> Alben told me. It was here that the problem arose. <quote>No "
+"one had ever really done this before,</quote> Alben explained. <quote>No one "
+"had ever tried to do this in the context of an artistic look at an actor's "
+"career.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5161
+#: freeculture.xml:5164
msgid ""
"Alben brought the idea to Michael Slade, the CEO of Starwave. Slade asked, "
-"\"Well, what will it take?\""
+"<quote>Well, what will it take?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:5177
+#: freeculture.xml:5180
msgid "artists"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><secondary>
-#: freeculture.xml:5178
+#: freeculture.xml:5181
msgid "publicity rights on images of"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5172
+#: freeculture.xml:5175
msgid ""
"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 \"Rip, Mix, Burn\" creativity, "
-"as this chapter evinces. <placeholder type=\"indexterm\" id=\"0\"/>"
+"of his image. But these rights, too, burden <quote>Rip, Mix, Burn</quote> "
+"creativity, as this chapter evinces. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5166
+#: freeculture.xml:5169
msgid ""
-"Alben replied, \"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.\" Slade said, \"Great! Go for it.\"<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"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 "
+"we want to use in these film clips.</quote> Slade said, <quote>Great! Go for "
+"it.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5183
+#: freeculture.xml:5186
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:5190
+#: freeculture.xml:5193
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:5196
+#: freeculture.xml:5199
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 "
-"going to use the \"Make my day\" clip from <citetitle>Dirty "
+"going to use the <quote>Make my day</quote> clip from <citetitle>Dirty "
"Harry</citetitle>. But you then need to get the guy on the ground who's "
"wiggling under the gun and you need to get his permission. And then you "
"have to decide what you are going to pay him."
#. PAGE BREAK 113
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5205
+#: freeculture.xml:5208
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><para>
-#: freeculture.xml:5218
+#: freeculture.xml:5221
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 "
-"dumbfounded at their good fortune. Alben would ask, \"Hey, can I pay you "
-"$600 or maybe if you were in two films, you know, $1,200?\" And they would "
-"say, \"Are you for real? Hey, I'd love to get $1,200.\" And some of course "
-"were a bit difficult (estranged ex-wives, in particular). But eventually, "
-"Alben and his team had cleared the rights to this retrospective CD-ROM on "
-"Clint Eastwood's career."
+"dumbfounded at their good fortune. Alben would ask, <quote>Hey, can I pay "
+"you $600 or maybe if you were in two films, you know, $1,200?</quote> And "
+"they would say, <quote>Are you for real? Hey, I'd love to get "
+"$1,200.</quote> And some of course were a bit difficult (estranged ex-wives, "
+"in particular). But eventually, Alben and his team had cleared the rights to "
+"this retrospective CD-ROM on Clint Eastwood's career."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5229
+#: freeculture.xml:5232
msgid ""
-"It was one <emphasis>year</emphasis> later—\"and even then we weren't "
-"sure whether we were totally in the clear.\""
+"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:5234
+#: freeculture.xml:5237
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:5240
+#: freeculture.xml:5243
msgid ""
"Everyone thought it would be too hard. Everyone just threw up their hands "
-"and said, \"Oh, my gosh, a film, it's so many copyrights, there's the music, "
-"there's the screenplay, there's the director, there's the actors.\" But we "
-"just broke it down. We just put it into its constituent parts and said, "
-"\"Okay, there's this many actors, this many directors, … this many "
-"musicians,\" and we just went at it very systematically and cleared the "
-"rights."
+"and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's the "
+"music, there's the screenplay, there's the director, there's the "
+"actors.</quote> But we just broke it down. We just put it into its "
+"constituent parts and said, <quote>Okay, there's this many actors, this many "
+"directors, … this many musicians,</quote> and we just went at it very "
+"systematically and cleared the rights."
msgstr ""
#. PAGE BREAK 114
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5252
+#: freeculture.xml:5255
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:5256
+#: freeculture.xml:5259
msgid "Drucker, Peter"
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5264
+#: freeculture.xml:5267
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:5258
+#: freeculture.xml:5261
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 "
-"efficiently, but as Peter Drucker has famously quipped, \"There is nothing "
-"so useless as doing efficiently that which should not be done at "
-"all.\"<placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I asked "
-"Alben, that this is the way a new work has to be made?"
+"efficiently, but as Peter Drucker has famously quipped, <quote>There is "
+"nothing so useless as doing efficiently that which should not be done at "
+"all.</quote><placeholder type=\"footnote\" id=\"0\"/> Did it make sense, I "
+"asked Alben, that this is the way a new work has to be made?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5272
+#: freeculture.xml:5275
msgid ""
-"For, as he acknowledged, \"very few … have the time and resources, "
-"and the will to do this,\" and thus, very few such works would ever be "
-"made. Does it make sense, I asked him, from the standpoint of what anybody "
-"really thought they were ever giving rights for originally, that you would "
-"have to go clear rights for these kinds of clips?"
+"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 "
+"would ever be made. Does it make sense, I asked him, from the standpoint of "
+"what anybody really thought they were ever giving rights for originally, "
+"that you would have to go clear rights for these kinds of clips?"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5280
+#: freeculture.xml:5283
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:5288
+#: freeculture.xml:5291
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:5299
+#: freeculture.xml:5302
msgid ""
"Absolutely. I think that if there were some fair-licensing "
"mechanism—where you weren't subject to hold-ups and you weren't "
"everybody up and makes this kind of product hard to get off the ground. If "
"you knew I have a hundred minutes of film in this product and it's going to "
"cost me X, then you build your budget around it, and you can get investments "
-"and everything else that you need to produce it. But if you say, \"Oh, I "
-"want a hundred minutes of something and I have no idea what it's going to "
-"cost me, and a certain number of people are going to hold me up for money,\" "
-"then it becomes difficult to put one of these things together."
+"and everything else that you need to produce it. But if you say, <quote>Oh, "
+"I want a hundred minutes of something and I have no idea what it's going to "
+"cost me, and a certain number of people are going to hold me up for "
+"money,</quote> then it becomes difficult to put one of these things "
+"together."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5320
+#: freeculture.xml:5323
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 "
"to San Francisco.) These rights might well have once made sense; but as "
"circumstances change, they make no sense at all. Or at least, a "
"well-trained, regulationminimizing Republican should look at the rights and "
-"ask, \"Does this still make sense?\""
+"ask, <quote>Does this still make sense?</quote>"
msgstr ""
#. PAGE BREAK 116
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5337
+#: freeculture.xml:5340
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:5347
+#: freeculture.xml:5350
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:5352
+#: freeculture.xml:5355
msgid "Nimmer, David"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5354
+#: freeculture.xml:5357
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 "
"an astonished look on his face, as he peered across the room of over 250 "
"well-entertained judges. Taking an ominous tone, he began his talk with a "
-"question: \"Do you know how many federal laws were just violated in this "
-"room?\""
+"question: <quote>Do you know how many federal laws were just violated in "
+"this room?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:5361
+#: freeculture.xml:5364
msgid "Boies, David"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5363
+#: freeculture.xml:5366
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5378
+#: freeculture.xml:5381
msgid ""
-"We live in a \"cut and paste\" culture enabled by technology. Anyone "
-"building a presentation knows the extraordinary freedom that the cut 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."
+"We live in a <quote>cut and paste</quote> culture enabled by "
+"technology. Anyone building a presentation knows the extraordinary freedom "
+"that the cut 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."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5394
+#: freeculture.xml:5397
msgid "Camp Chaos"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5385
+#: freeculture.xml:5388
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:5397
+#: freeculture.xml:5400
msgid ""
"All of these creations are technically illegal. Even if the creators wanted "
-"to be \"legal,\" the cost of complying with the law is impossibly "
+"to be <quote>legal,</quote> the cost of complying with the law is impossibly "
"high. Therefore, for the law-abiding sorts, a wealth of creativity is never "
"made. And for that part that is made, if it doesn't follow the clearance "
"rules, it doesn't get released."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5404
+#: freeculture.xml:5407
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 "
"see fit. We could even make this change without necessarily requiring that "
-"the \"free\" use be free as in \"free beer.\" Instead, the system could "
-"simply make it easy for follow-on creators to compensate artists without "
-"requiring an army of lawyers to come along: a rule, for example, that says "
-"\"the royalty owed the copyright owner of an unregistered work for the "
-"derivative reuse of his work will be a flat 1 percent of net revenues, to be "
-"held in escrow for the copyright owner.\" Under this rule, the copyright "
-"owner could benefit from some royalty, but he would not have the benefit of "
-"a full property right (meaning the right to name his own price) unless he "
-"registers the work."
+"the <quote>free</quote> use be free as in <quote>free beer.</quote> Instead, "
+"the system could simply make it easy for follow-on creators to compensate "
+"artists without requiring an army of lawyers to come along: a rule, for "
+"example, that says <quote>the royalty owed the copyright owner of an "
+"unregistered work for the derivative reuse of his work will be a flat 1 "
+"percent of net revenues, to be held in escrow for the copyright "
+"owner.</quote> Under this rule, the copyright owner could benefit from some "
+"royalty, but he would not have the benefit of a full property right (meaning "
+"the right to name his own price) unless he registers the work."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5419
+#: freeculture.xml:5422
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:5425
+#: freeculture.xml:5428
msgid ""
"In February 2003, DreamWorks studios announced an agreement with Mike Myers, "
"the comic genius of <citetitle>Saturday Night Live</citetitle> and Austin "
"Powers. According to the announcement, Myers and Dream-Works would work "
-"together to form a \"unique filmmaking pact.\" Under the agreement, "
-"DreamWorks \"will acquire the rights to existing motion picture hits and "
-"classics, write new storylines and—with the use of stateof-the-art "
-"digital technology—insert Myers and other actors into the film, "
-"thereby creating an entirely new piece of entertainment.\""
+"together to form a <quote>unique filmmaking pact.</quote> Under the "
+"agreement, DreamWorks <quote>will acquire the rights to existing motion "
+"picture hits and classics, write new storylines and—with the use of "
+"stateof-the-art digital technology—insert Myers and other actors into "
+"the film, thereby creating an entirely new piece of entertainment.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5437
+#: freeculture.xml:5440
msgid ""
-"The announcement called this \"film sampling.\" As Myers explained, \"Film "
-"Sampling is an exciting way to put an original spin on existing films and "
-"allow audiences to see old movies in a new light. Rap artists have been "
-"doing this for years with music and now we are able to take that same "
-"concept and apply it to film.\" Steven Spielberg is quoted as saying, \"If "
-"anyone can create a way to bring old films to new audiences, it is Mike.\""
+"The announcement called this <quote>film sampling.</quote> As Myers "
+"explained, <quote>Film Sampling is an exciting way to put an original spin "
+"on existing films and allow audiences to see old movies in a new light. Rap "
+"artists have been doing this for years with music and now we are able to "
+"take that same concept and apply it to film.</quote> Steven Spielberg is "
+"quoted as saying, <quote>If anyone can create a way to bring old films to "
+"new audiences, it is Mike.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5446
+#: freeculture.xml:5449
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:5456
+#: freeculture.xml:5459
msgid ""
"This privilege becomes reserved for two sorts of reasons. The first "
-"continues the story of the last chapter: the vagueness of \"fair use.\" Much "
-"of \"sampling\" should be considered \"fair use.\" But few would rely upon "
-"so weak a doctrine to create. That leads to the second reason that the "
-"privilege is reserved for the few: The costs of negotiating the legal rights "
-"for the creative reuse of content are astronomically high. These costs "
-"mirror the costs with fair use: You either pay a lawyer to defend your fair "
-"use rights or pay a lawyer to track down permissions 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."
+"continues the story of the last chapter: the vagueness of <quote>fair "
+"use.</quote> Much of <quote>sampling</quote> should be considered "
+"<quote>fair use.</quote> But few would rely upon so weak a doctrine to "
+"create. That leads to the second reason that the privilege is reserved for "
+"the few: The costs of negotiating the legal rights for the creative reuse of "
+"content are astronomically high. These costs mirror the costs with fair "
+"use: You either pay a lawyer to defend your fair use rights or pay a lawyer "
+"to track down permissions 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."
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:5471
+#: freeculture.xml:5474
msgid "CHAPTER NINE: Collectors"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5473
+#: freeculture.xml:5476
msgid ""
-"In April 1996, millions of \"bots\"—computer codes designed to "
-"\"spider,\" or automatically search the Internet and copy "
+"In April 1996, millions of <quote>bots</quote>—computer codes designed "
+"to <quote>spider,</quote> or automatically search the Internet and copy "
"content—began running across the Net. Page by page, these bots copied "
"Internet-based information onto a small set of computers located in a "
"basement in San Francisco's Presidio. Once the bots finished the whole of "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5482
+#: freeculture.xml:5485
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 "
"copies created, the Internet Archive, was opened to the world. Using a "
-"technology called \"the Way Back Machine,\" you could enter a Web page, and "
-"see all of its copies going back to 1996, as well as when those pages "
-"changed."
+"technology called <quote>the Way Back Machine,</quote> you could enter a Web "
+"page, and see all of its copies going back to 1996, as well as when those "
+"pages changed."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5490
+#: freeculture.xml:5493
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:5498
+#: freeculture.xml:5501
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:5503
+#: freeculture.xml:5506
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 "
#. f1
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5516
+#: freeculture.xml:5519
msgid ""
"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, \"Combat Operations in Iraq Have Ended.\" That was later changed, "
-"without notice, to \"Major Combat Operations in Iraq Have Ended.\" E-mail "
-"from Brewster Kahle, 1 December 2003."
+"stated, <quote>Combat Operations in Iraq Have Ended.</quote> That was later "
+"changed, without notice, to <quote>Major Combat Operations in Iraq Have "
+"Ended.</quote> E-mail from Brewster Kahle, 1 December 2003."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5510
+#: freeculture.xml:5513
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><para>
-#: freeculture.xml:5524
+#: freeculture.xml:5527
msgid ""
"We take it 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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5535
+#: freeculture.xml:5538
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:5544
+#: freeculture.xml:5547
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:5555
+#: freeculture.xml:5558
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><para>
-#: freeculture.xml:5565
+#: freeculture.xml:5568
msgid ""
"The Way Back Machine is the largest archive of human knowledge in human "
-"history. At the end of 2002, it held \"two hundred and thirty terabytes of "
-"material\"—and was \"ten times larger than the Library of Congress.\" "
-"And this was just the first of the archives that Kahle set out to build. In "
-"addition to the Internet Archive, Kahle has been constructing the Television "
-"Archive. Television, it turns out, is even more ephemeral than the "
-"Internet. While much of twentieth-century culture was constructed through "
-"television, only a tiny proportion of that culture is available for anyone "
-"to see today. Three hours of news are recorded each evening by Vanderbilt "
-"University—thanks to a specific exemption in the copyright law. That "
-"content is indexed, and is available to scholars for a very low fee. \"But "
-"other than that, [television] is almost unavailable,\" Kahle told me. \"If "
-"you were Barbara Walters you could get access to [the archives], but if you "
-"are just a graduate student?\" As Kahle put it,"
+"history. At the end of 2002, it held <quote>two hundred and thirty terabytes "
+"of material</quote>—and was <quote>ten times larger than the Library "
+"of Congress.</quote> And this was just the first of the archives that Kahle "
+"set out to build. In addition to the Internet Archive, Kahle has been "
+"constructing the Television Archive. Television, it turns out, is even more "
+"ephemeral than the Internet. While much of twentieth-century culture was "
+"constructed through television, only a tiny proportion of that culture is "
+"available for anyone to see today. Three hours of news are recorded each "
+"evening by Vanderbilt University—thanks to a specific exemption in the "
+"copyright law. That content is indexed, and is available to scholars for a "
+"very low fee. <quote>But other than that, [television] is almost "
+"unavailable,</quote> Kahle told me. <quote>If you were Barbara Walters you "
+"could get access to [the archives], but if you are just a graduate "
+"student?</quote> As Kahle put it,"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><indexterm><primary>
-#: freeculture.xml:5582
+#: freeculture.xml:5585
msgid "Quayle, Dan"
msgstr ""
#. PAGE BREAK 122
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:5584
+#: freeculture.xml:5587
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><para>
-#: freeculture.xml:5596
+#: freeculture.xml:5599
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:5604
+#: freeculture.xml:5607
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 "
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5621
+#: freeculture.xml:5624
msgid ""
-"Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the "
-"Library of Congress,\" <citetitle>Film Library Quarterly</citetitle> 13 "
-"nos. 2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A "
-"History of Film Preservation in the United States</citetitle> ( Jefferson, "
-"N.C.: McFarland & Co., 1992), 36."
+"Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at "
+"the Library of Congress,</quote> <citetitle>Film Library "
+"Quarterly</citetitle> 13 nos. 2–3 (1980): 5; Anthony Slide, "
+"<citetitle>Nitrate Won't Wait: A History of Film Preservation in the United "
+"States</citetitle> ( Jefferson, N.C.: McFarland & Co., 1992), 36."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5612
+#: freeculture.xml:5615
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 "
"deposits were made. But the filmmaker was then allowed to borrow back the "
"deposits—for an unlimited time at no cost. In 1915 alone, there were "
-"more than 5,475 films deposited and \"borrowed back.\" 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"more than 5,475 films deposited and <quote>borrowed back.</quote> 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.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5629
+#: freeculture.xml:5632
msgid ""
"The same is generally true about television. Television broadcasts were "
"originally not copyrighted—there was no way to capture the broadcasts, "
-"so there was no fear of \"theft.\" But as technology enabled capturing, "
-"broadcasters relied increasingly upon the law. The law required they make a "
-"copy of each broadcast for the work to be \"copyrighted.\" But those copies "
-"were simply kept by 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."
+"so there was no fear of <quote>theft.</quote> But as technology enabled "
+"capturing, broadcasters relied increasingly upon the law. The law required "
+"they make a copy of each broadcast for the work to be "
+"<quote>copyrighted.</quote> But those copies were simply kept by 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."
msgstr ""
#. PAGE BREAK 123
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5640
+#: freeculture.xml:5643
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><para><indexterm><primary>
-#: freeculture.xml:5667
+#: freeculture.xml:5670
msgid "Movie Archive"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5651
+#: freeculture.xml:5654
msgid ""
"Kahle had the same idea with film. Working with Rick Prelinger, whose "
-"archive of film includes close to 45,000 \"ephemeral films\" (meaning films "
-"other than Hollywood movies, films that were never copyrighted), Kahle "
-"established the Movie Archive. Prelinger let Kahle digitize 1,300 films in "
-"this archive and post those films on the Internet to be downloaded for "
-"free. Prelinger's is a for-profit company. It sells copies of these films as "
-"stock footage. What he has discovered is that after he made a significant "
-"chunk available for free, his stock footage sales went up "
+"archive of film includes close to 45,000 <quote>ephemeral films</quote> "
+"(meaning films other than Hollywood movies, films that were never "
+"copyrighted), Kahle established the Movie Archive. Prelinger let Kahle "
+"digitize 1,300 films in this archive and post those films on the Internet to "
+"be downloaded for free. Prelinger's is a for-profit company. It sells copies "
+"of these films as stock footage. What he has discovered is that after he "
+"made a significant chunk available for free, his stock footage sales went up "
"dramatically. People could easily find the material they wanted to use. Some "
"downloaded that material and made films on their own. Others purchased "
"copies to enable other films to be made. Either way, the archive enabled "
"access to this important part of our culture. Want to see a copy of the "
-"\"Duck and Cover\" film that instructed children how to save themselves in "
-"the middle of nuclear attack? Go to archive.org, and you can download the "
-"film in a few minutes—for free. <placeholder type=\"indexterm\" "
-"id=\"0\"/>"
+"<quote>Duck and Cover</quote> film that instructed children how to save "
+"themselves in the middle of nuclear attack? Go to archive.org, and you can "
+"download the film in a few minutes—for free. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5670
+#: freeculture.xml:5673
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:5678
+#: freeculture.xml:5681
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:5686
+#: freeculture.xml:5689
msgid ""
"For here is an idea that we should more clearly recognize. Every bit of "
-"creative property goes through different \"lives.\" In its first life, if "
-"the creator is lucky, the content is sold. In such cases the commercial "
-"market is successful for the creator. The vast majority of creative property "
-"doesn't enjoy such success, but some clearly does. For that content, "
-"commercial life is extremely important. Without this commercial market, "
-"there would be, many argue, much less creativity."
+"creative property goes through different <quote>lives.</quote> In its first "
+"life, if the creator is lucky, the content is sold. In such cases the "
+"commercial market is successful for the creator. The vast majority of "
+"creative property doesn't enjoy such success, but some clearly does. For "
+"that content, commercial life is extremely important. Without this "
+"commercial market, there would be, many argue, much less creativity."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5698
+#: freeculture.xml:5701
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 "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5710
+#: freeculture.xml:5713
msgid ""
-"Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar "
-"Owner Starts a New Chapter by Adopting Business,\" <citetitle>Chicago "
-"Tribune</citetitle>, 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, \"The First Sale Doctrine in the Era of Digital Networks,\" "
-"<citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51."
+"Dave Barns, <quote>Fledgling Career in Antique Books: Woodstock Landlord, "
+"Bar Owner Starts a New Chapter by Adopting Business,</quote> "
+"<citetitle>Chicago Tribune</citetitle>, 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, <quote>The First Sale Doctrine in the Era of "
+"Digital Networks,</quote> <citetitle>Boston College Law Review</citetitle> "
+"44 (2003): 593 n. 51."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5707
+#: freeculture.xml:5710
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:5724
+#: freeculture.xml:5727
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:5735
+#: freeculture.xml:5738
msgid ""
"For most of the twentieth century, it was economics that made this so. It "
"would have been insanely expensive to collect and make accessible all "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5747
+#: freeculture.xml:5750
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:5755
+#: freeculture.xml:5758
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><para>
-#: freeculture.xml:5762
+#: freeculture.xml:5765
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:5776
+#: freeculture.xml:5779
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:5791
+#: freeculture.xml:5794
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 "
-"these \"archives,\" as warm as the idea of a \"library\" might seem, the "
-"\"content\" that is collected in these digital spaces is also someone's "
-"\"property.\" And the law of property restricts the freedoms that Kahle and "
-"others would exercise."
+"these <quote>archives,</quote> as warm as the idea of a "
+"<quote>library</quote> might seem, the <quote>content</quote> that is "
+"collected in these digital spaces is also someone's <quote>property.</quote> "
+"And the law of property restricts the freedoms that Kahle and others would "
+"exercise."
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:5801
-msgid "CHAPTER TEN: \"Property\""
+#: freeculture.xml:5804
+msgid "CHAPTER TEN: <quote>Property</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5810
+#: freeculture.xml:5813
msgid "Johnson, Lyndon"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:5811 freeculture.xml:9506
+#: freeculture.xml:5814 freeculture.xml:9509
msgid "Kennedy, John F."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5803
+#: freeculture.xml:5806
msgid ""
"Jack Valenti has been the president of the Motion Picture Association of "
"America since 1966. He first came to Washington, D.C., with Lyndon Johnson's "
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5824
+#: freeculture.xml:5827
msgid "Disney, Inc."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5825
+#: freeculture.xml:5828
msgid "Sony Pictures Entertainment"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5826
+#: freeculture.xml:5829
msgid "MGM"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5827
+#: freeculture.xml:5830
msgid "Paramount Pictures"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5828
+#: freeculture.xml:5831
msgid "Twentieth Century Fox"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:5829
+#: freeculture.xml:5832
msgid "Universal Pictures"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:5830 freeculture.xml:7224
+#: freeculture.xml:5833 freeculture.xml:7227
msgid "Warner Brothers"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5814
+#: freeculture.xml:5817
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:5834
+#: freeculture.xml:5837
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:5846
+#: freeculture.xml:5849
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 "
"system, it has probably avoided a great deal of speech-regulating harm. But "
"there is an aspect to the organization's mission that is both the most "
"radical and the most important. This is the organization's effort, "
-"epitomized in Valenti's every act, to redefine the meaning of \"creative "
-"property.\""
+"epitomized in Valenti's every act, to redefine the meaning of "
+"<quote>creative property.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5855
+#: freeculture.xml:5858
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:5869
+#: freeculture.xml:5872
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:5860
+#: freeculture.xml:5863
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:5879
+#: freeculture.xml:5882
msgid ""
"The strategy of this rhetoric, like the strategy of most of Valenti's "
"rhetoric, is brilliant and simple and brilliant because simple. The "
-"\"central theme\" to which \"reasonable men and women\" will return is this: "
-"\"Creative property owners must be accorded the same rights and protections "
-"resident in all other property owners in the nation.\" There are no "
-"second-class citizens, Valenti might have continued. There should be no "
-"second-class property owners."
+"<quote>central theme</quote> to which <quote>reasonable men and "
+"women</quote> will return is this: <quote>Creative property owners must be "
+"accorded the same rights and protections resident in all other property "
+"owners in the nation.</quote> There are no second-class citizens, Valenti "
+"might have continued. There should be no second-class property owners."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5890
+#: freeculture.xml:5893
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 "
"made by <emphasis>anyone</emphasis> who is serious in this debate than this "
"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is "
"perhaps the nation's foremost extremist when it comes to the nature and "
-"scope of \"creative property.\" His views have <emphasis>no</emphasis> "
-"reasonable connection to our actual legal tradition, even if the subtle pull "
-"of his Texan charm has slowly redefined that tradition, at least in "
-"Washington."
+"scope of <quote>creative property.</quote> His views have "
+"<emphasis>no</emphasis> reasonable connection to our actual legal tradition, "
+"even if the subtle pull of his Texan charm has slowly redefined that "
+"tradition, at least in Washington."
msgstr ""
#. f2
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:5905
+#: freeculture.xml:5908
msgid ""
-"Lawyers speak of \"property\" not as an absolute thing, but as a bundle of "
-"rights that are sometimes associated with a particular object. Thus, my "
-"\"property right\" to my car gives me the right to exclusive use, but not "
-"the right to drive at 150 miles an hour. For the best effort to connect the "
-"ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, "
-"<citetitle>Private Property and the Constitution</citetitle> (New Haven: "
-"Yale University Press, 1977), 26–27."
+"Lawyers speak of <quote>property</quote> not as an absolute thing, but as a "
+"bundle of rights that are sometimes associated with a particular "
+"object. Thus, my <quote>property right</quote> to my car gives me the right "
+"to exclusive use, but not the right to drive at 150 miles an hour. For the "
+"best effort to connect the ordinary meaning of <quote>property</quote> to "
+"<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property "
+"and the Constitution</citetitle> (New Haven: Yale University Press, 1977), "
+"26–27."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5902
+#: freeculture.xml:5905
msgid ""
-"While \"creative property\" is certainly \"property\" in a nerdy and precise "
-"sense that lawyers are trained to understand,<placeholder type=\"footnote\" "
-"id=\"0\"/> it has never been the case, nor should it be, that \"creative "
-"property owners\" have been \"accorded the same rights and protection "
-"resident in all other property owners.\" Indeed, if creative property owners "
-"were given the same rights as all other property owners, that would effect a "
-"radical, and radically undesirable, change in our tradition."
+"While <quote>creative property</quote> is certainly <quote>property</quote> "
+"in a nerdy and precise sense that lawyers are trained to "
+"understand,<placeholder type=\"footnote\" id=\"0\"/> it has never been the "
+"case, nor should it be, that <quote>creative property owners</quote> have "
+"been <quote>accorded the same rights and protection resident in all other "
+"property owners.</quote> Indeed, if creative property owners were given the "
+"same rights as all other property owners, that would effect a radical, and "
+"radically undesirable, change in our tradition."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5920
+#: freeculture.xml:5923
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:5928
+#: freeculture.xml:5931
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:5943
+#: freeculture.xml:5946
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:5955
+#: freeculture.xml:5958
msgid ""
-"The framers of our Constitution loved \"property.\" Indeed, so strongly did "
-"they love property that they built into the Constitution an important "
-"requirement. If the government takes your property—if it condemns your "
-"house, or acquires a slice of land from your farm—it is required, "
-"under the Fifth Amendment's \"Takings Clause,\" to pay you \"just "
-"compensation\" for that taking. The Constitution thus guarantees that "
-"property is, in a certain sense, sacred. It cannot <emphasis>ever</emphasis> "
-"be taken from the property owner unless the government pays for the "
-"privilege."
+"The framers of our Constitution loved <quote>property.</quote> Indeed, so "
+"strongly did they love property that they built into the Constitution an "
+"important requirement. If the government takes your property—if it "
+"condemns your house, or acquires a slice of land from your farm—it is "
+"required, under the Fifth Amendment's <quote>Takings Clause,</quote> to pay "
+"you <quote>just compensation</quote> for that taking. The Constitution thus "
+"guarantees that property is, in a certain sense, sacred. It cannot "
+"<emphasis>ever</emphasis> be taken from the property owner unless the "
+"government pays for the privilege."
msgstr ""
#. PAGE BREAK 131
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5966
+#: freeculture.xml:5969
msgid ""
"Yet the very same Constitution speaks very differently about what Valenti "
-"calls \"creative property.\" In the clause granting Congress the power to "
-"create \"creative property,\" the Constitution <emphasis>requires</emphasis> "
-"that after a \"limited time,\" Congress take back the rights that it has "
-"granted and set the \"creative property\" free to the public domain. Yet "
-"when Congress does this, when the expiration of a copyright term \"takes\" "
-"your copyright and turns it over to the public domain, Congress does not "
-"have any obligation to pay \"just compensation\" for this \"taking.\" "
-"Instead, the same Constitution that requires compensation for your land "
-"requires that you lose your \"creative property\" right without any "
-"compensation at all."
+"calls <quote>creative property.</quote> In the clause granting Congress the "
+"power to create <quote>creative property,</quote> the Constitution "
+"<emphasis>requires</emphasis> that after a <quote>limited time,</quote> "
+"Congress take back the rights that it has granted and set the "
+"<quote>creative property</quote> free to the public domain. Yet when "
+"Congress does this, when the expiration of a copyright term "
+"<quote>takes</quote> your copyright and turns it over to the public domain, "
+"Congress does not have any obligation to pay <quote>just "
+"compensation</quote> for this <quote>taking.</quote> Instead, the same "
+"Constitution that requires compensation for your land requires that you lose "
+"your <quote>creative property</quote> right without any compensation at all."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:5981
+#: freeculture.xml:5984
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:5990
+#: freeculture.xml:5993
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:6002
+#: freeculture.xml:6005
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:6010
+#: freeculture.xml:6013
msgid ""
"To answer this question, we need to get some perspective on the history of "
-"these \"creative property\" rights, and the control that they enabled. Once "
-"we see clearly how differently these rights have been defined, we will be in "
-"a better position to ask the question that should be at the core of this "
-"war: Not <emphasis>whether</emphasis> creative property should be protected, "
-"but how. Not <emphasis>whether</emphasis> we will enforce the rights the law "
-"gives to creative-property owners, but what the particular mix of rights "
-"ought to be. Not <emphasis>whether</emphasis> artists should be paid, but "
-"whether institutions designed to assure that artists get paid need also "
-"control how culture develops."
+"these <quote>creative property</quote> rights, and the control that they "
+"enabled. Once we see clearly how differently these rights have been "
+"defined, we will be in a better position to ask the question that should be "
+"at the core of this war: Not <emphasis>whether</emphasis> creative property "
+"should be protected, but how. Not <emphasis>whether</emphasis> we will "
+"enforce the rights the law gives to creative-property owners, but what the "
+"particular mix of rights ought to be. Not <emphasis>whether</emphasis> "
+"artists should be paid, but whether institutions designed to assure that "
+"artists get paid need also control how culture develops."
msgstr ""
#. PAGE BREAK 132
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6025
+#: freeculture.xml:6028
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><figure><title>
-#: freeculture.xml:6034
+#: freeculture.xml:6037
msgid ""
"How four different modalities of regulation interact to support or weaken "
"the right or regulation."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6035 freeculture.xml:6212 freeculture.xml:6515
+#: freeculture.xml:6038 freeculture.xml:6215 freeculture.xml:6518
msgid "<graphic fileref=\"images/1331.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6038
+#: freeculture.xml:6041
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><para>
-#: freeculture.xml:6055
+#: freeculture.xml:6058
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><para>
-#: freeculture.xml:6066
+#: freeculture.xml:6069
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><para>
-#: freeculture.xml:6076
+#: freeculture.xml:6079
msgid ""
"Finally, and for the moment, perhaps, most mysteriously, "
-"\"architecture\"—the physical world as one finds it—is a "
-"constraint on behavior. A fallen bridge might constrain your ability to get "
-"across a river. Railroad tracks might constrain the ability of a community "
-"to integrate its social life. As with the market, architecture does not "
-"effect its constraint through ex post punishments. Instead, also as with the "
-"market, architecture effects its constraint through simultaneous "
-"conditions. These conditions are imposed not by courts enforcing contracts, "
-"or by police punishing theft, but by nature, by \"architecture.\" If a "
-"500-pound boulder 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."
+"<quote>architecture</quote>—the physical world as one finds "
+"it—is a constraint on behavior. A fallen bridge might constrain your "
+"ability to get across a river. Railroad tracks might constrain the ability "
+"of a community to integrate its social life. As with the market, "
+"architecture does not effect its constraint through ex post "
+"punishments. Instead, also as with the market, architecture effects its "
+"constraint through simultaneous conditions. These conditions are imposed not "
+"by courts enforcing contracts, or by police punishing theft, but by nature, "
+"by <quote>architecture.</quote> If a 500-pound boulder 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."
msgstr ""
#. PAGE BREAK 134
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6093
+#: freeculture.xml:6096
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:6099
+#: freeculture.xml:6102
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:6108
+#: freeculture.xml:6111
msgid "driving speed, constraints on"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6111
+#: freeculture.xml:6114
msgid ""
-"So, for example, consider the \"freedom\" 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 times. It is in part "
-"restricted by architecture: speed bumps, for example, slow most rational "
-"drivers; governors in buses, as another example, set the maximum rate at "
-"which the driver can drive. The freedom is in part restricted by the market: "
-"Fuel efficiency drops as speed increases, thus the price of gasoline "
+"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 "
+"say how fast you can drive in particular places at particular times. It is "
+"in part restricted by architecture: speed bumps, for example, slow most "
+"rational drivers; governors in buses, as another example, set the maximum "
+"rate at which the driver can drive. The freedom is in part restricted by the "
+"market: Fuel efficiency drops as speed increases, thus the price of gasoline "
"indirectly constrains speed. And finally, the norms of a community may or "
"may not constrain the freedom to speed. Drive at 50 mph by a school in your "
"own neighborhood and you're likely to be punished by the neighbors. The same "
#. f3
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6129
+#: freeculture.xml:6132
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 "
"self-consciously to change the other three. The right of the other three is "
"more timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other "
"Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; "
-"Lawrence Lessig, \"The New Chicago School,\" <citetitle>Journal of Legal "
-"Studies</citetitle>, June 1998."
+"Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal "
+"of Legal Studies</citetitle>, June 1998."
msgstr ""
#. PAGE BREAK 135
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6125
+#: freeculture.xml:6128
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><title>
-#: freeculture.xml:6153
+#: freeculture.xml:6156
msgid "Law has a special role in affecting the three."
msgstr ""
#. type: Content of: <book><part><chapter><figure>
-#: freeculture.xml:6154
+#: freeculture.xml:6157
msgid "<graphic fileref=\"images/1361.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6194
+#: freeculture.xml:6197
msgid "Americans with Disabilities Act (1990)"
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6195
+#: freeculture.xml:6198
msgid "Commons, John R."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:6165
-msgid ""
-"Some people object to this way of talking about \"liberty.\" They object "
-"because their focus when considering the constraints that exist at any "
-"particular moment are constraints imposed exclusively by the government. For "
-"instance, if a storm destroys a bridge, these people think it is meaningless "
-"to say that one's liberty has been restrained. A bridge has washed out, and "
-"it's harder to get from one place to another. To talk about this as a loss "
-"of freedom, they say, is to confuse the stuff of politics with the vagaries "
-"of ordinary life. I don't mean to deny the value in this narrower view, "
-"which depends upon the context of the inquiry. I do, however, mean to argue "
-"against any insistence that this narrower view is the only proper view of "
-"liberty. As I argued in <citetitle>Code</citetitle>, we come from a long "
-"tradition of political thought with a broader focus than the narrow question "
-"of what the government did when. John Stuart Mill defended freedom of "
-"speech, for example, from the tyranny of narrow minds, not from the fear of "
-"government prosecution; John Stuart Mill, <citetitle>On Liberty</citetitle> "
-"(Indiana: Hackett Publishing Co., 1978), 19. John R. Commons famously "
-"defended the economic freedom of labor from constraints imposed by the "
-"market; John R. Commons, \"The Right to Work,\" in Malcom Rutherford and "
-"Warren J. Samuels, eds., <citetitle>John R. Commons: Selected "
-"Essays</citetitle> (London: Routledge: 1997), 62. The Americans with "
-"Disabilities Act increases the liberty of people with physical disabilities "
-"by changing the architecture of certain public places, thereby making access "
-"to those places easier; 42 <citetitle>United States Code</citetitle>, "
-"section 12101 (2000). Each of these interventions to change existing "
-"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. <placeholder "
+#: freeculture.xml:6168
+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 "
+"any particular moment are constraints imposed exclusively by the "
+"government. For instance, if a storm destroys a bridge, these people think "
+"it is meaningless to say that one's liberty has been restrained. A bridge "
+"has washed out, and it's harder to get from one place to another. To talk "
+"about this as a loss of freedom, they say, is to confuse the stuff of "
+"politics with the vagaries of ordinary life. I don't mean to deny the value "
+"in this narrower view, which depends upon the context of the inquiry. I do, "
+"however, mean to argue against any insistence that this narrower view is the "
+"only proper view of liberty. As I argued in <citetitle>Code</citetitle>, we "
+"come from a long tradition of political thought with a broader focus than "
+"the narrow question of what the government did when. John Stuart Mill "
+"defended freedom of speech, for example, from the tyranny of narrow minds, "
+"not from the fear of government prosecution; John Stuart Mill, <citetitle>On "
+"Liberty</citetitle> (Indiana: Hackett Publishing Co., 1978), 19. John "
+"R. Commons famously defended the economic freedom of labor from constraints "
+"imposed by the market; John R. Commons, <quote>The Right to Work,</quote> in "
+"Malcom Rutherford and Warren J. Samuels, eds., <citetitle>John R. Commons: "
+"Selected Essays</citetitle> (London: Routledge: 1997), 62. The Americans "
+"with Disabilities Act increases the liberty of people with physical "
+"disabilities by changing the architecture of certain public places, thereby "
+"making access to those places easier; 42 <citetitle>United States "
+"Code</citetitle>, section 12101 (2000). Each of these interventions to "
+"change existing 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. <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:6157
+#: freeculture.xml:6160
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:6199
+#: freeculture.xml:6202
msgid "Why Hollywood Is Right"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6201
+#: freeculture.xml:6204
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:6207
+#: freeculture.xml:6210
msgid "Let's say this is the picture of copyright's regulation before the Internet:"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:6211 freeculture.xml:6514
+#: freeculture.xml:6214 freeculture.xml:6517
msgid "Copyright's regulation before the Internet."
msgstr ""
#. PAGE BREAK 136
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6216
+#: freeculture.xml:6219
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><para>
-#: freeculture.xml:6228
+#: freeculture.xml:6231
msgid ""
"Enter the Internet, or, more precisely, technologies such as MP3s and p2p "
"sharing. Now the constraint of architecture changes dramatically, as does "
#. PAGE BREAK 137
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6236
+#: freeculture.xml:6239
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><title>
-#: freeculture.xml:6246
+#: freeculture.xml:6249
msgid "effective state of anarchy after the Internet."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6247
+#: freeculture.xml:6250
msgid "<graphic fileref=\"images/1381.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6250
+#: freeculture.xml:6253
msgid ""
"Neither this analysis nor the conclusions that follow are new to the "
-"warriors. Indeed, in a \"White Paper\" prepared by the Commerce Department "
-"(one heavily influenced by the copyright warriors) in 1995, this mix of "
-"regulatory modalities had already been identified and the strategy to "
+"warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce "
+"Department (one heavily influenced by the copyright warriors) in 1995, this "
+"mix of regulatory modalities had already been identified and the strategy to "
"respond already mapped. In response to the changes the Internet had "
"effected, the White Paper argued (1) Congress should strengthen intellectual "
"property law, (2) businesses should adopt innovative marketing techniques, "
#. PAGE BREAK 138
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6262
+#: freeculture.xml:6265
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:6279
+#: freeculture.xml:6282
msgid ""
"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 "
-"\"architecture of revenue.\""
+"<quote>architecture of revenue.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6286
+#: freeculture.xml:6289
msgid "railroad industry"
msgstr ""
#. f5
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6296
+#: freeculture.xml:6299
msgid ""
-"See Geoffrey Smith, \"Film vs. Digital: Can Kodak Build a Bridge?\" "
-"BusinessWeek online, 2 August 1999, available at <ulink "
+"See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a "
+"B
ridge?</quote> BusinessWeek online, 2 August 1999, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #23</ulink>. For a more recent "
-"analysis of Kodak's place in the market, see Chana R. Schoenberger, \"Can "
-"Kodak Make Up for Lost Moments?\" Forbes.com, 6 October 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #24</ulink>."
+"analysis of Kodak's place in the market, see Chana R. Schoenberger, "
+"<quote>Can Kodak Make Up for Lost Moments?</quote> Forbes.com, 6 October "
+"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#24</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6288
+#: freeculture.xml:6291
msgid ""
"But just because a particular interest asks for government support, it "
"doesn't follow that support should be granted. And just because technology "
"weakened the freight business for railroads. Does anyone think we should ban "
"trucks from roads <emphasis>for the purpose of</emphasis> protecting the "
"railroads? Closer to the subject of this book, remote channel changers have "
-"weakened the \"stickiness\" of television advertising (if a boring "
-"commercial comes on the TV, the remote makes it easy to surf ), and it may "
-"well be that this change has weakened the television advertising market. But "
-"does anyone believe we should regulate remotes to reinforce commercial "
-"television? (Maybe by limiting them to function only once a second, or to "
-"switch to only ten channels within an hour?)"
+"weakened the <quote>stickiness</quote> of television advertising (if a "
+"boring commercial comes on the TV, the remote makes it easy to surf ), and "
+"it may well be that this change has weakened the television advertising "
+"market. But does anyone believe we should regulate remotes to reinforce "
+"commercial television? (Maybe by limiting them to function only once a "
+"second, or to switch to only ten channels within an hour?)"
msgstr ""
#. f6
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6328
+#: freeculture.xml:6331
msgid ""
"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, "
"1994), 170–71."
msgstr ""
#. type: Content of: <book><chapter><para><indexterm><primary>
-#: freeculture.xml:6337 freeculture.xml:12794
+#: freeculture.xml:6340 freeculture.xml:12797
msgid "Gates, Bill"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6318
+#: freeculture.xml:6321
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, "
"others. Its role is not to pick winners and protect 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, \"established companies have an interest in excluding future "
-"competitors.\"<placeholder type=\"footnote\" id=\"0\"/> And relative to a "
-"startup, established companies also have the means. (Think RCA and FM "
+"patents, <quote>established companies have an interest in excluding future "
+"competitors.</quote><placeholder type=\"footnote\" id=\"0\"/> 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 not only the "
"market but also the government is a world in which competitors with new "
"ideas will not succeed. It is a world of stasis and increasingly "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6340
+#: freeculture.xml:6343
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><para>
-#: freeculture.xml:6350
+#: freeculture.xml:6353
msgid ""
"In the context of laws regulating speech—which include, obviously, "
"copyright law—that duty is even stronger. When the industry "
"wary of the request. It is always a bad deal for the government to get into "
"the business of regulating speech markets. The risks and dangers of that "
"game are precisely why our framers created the First Amendment to our "
-"Constitution: \"Congress shall make no law … abridging the freedom of "
-"speech.\" So when Congress is being asked to pass laws that would "
-"\"abridge\" the freedom of speech, it should ask— "
+"Constitution: <quote>Congress shall make no law … abridging the "
+"freedom of speech.</quote> So when Congress is being asked to pass laws that "
+"would <quote>abridge</quote> the freedom of speech, it should ask— "
"carefully—whether such regulation is justified."
msgstr ""
#. PAGE BREAK 140
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6364
+#: freeculture.xml:6367
msgid ""
"My argument just now, however, has nothing to do with whether the changes "
-"that are being pushed by the copyright warriors are \"justified.\" My "
-"argument is about their effect. For before we get to the question of "
-"justification, a hard question that depends a great deal upon your values, "
-"we should first ask whether we understand the effect of the changes the "
-"content industry wants."
+"that are being pushed by the copyright warriors are "
+"<quote>justified.</quote> My argument is about their effect. For before we "
+"get to the question of justification, a hard question that depends a great "
+"deal upon your values, we should first ask whether we understand the effect "
+"of the changes the content industry wants."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6373
+#: freeculture.xml:6376
msgid "Here's the metaphor that will capture the argument to follow."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:6376
+#: freeculture.xml:6379
msgid "DDT"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:6384
+#: freeculture.xml:6387
msgid "Müller, Paul Hermann"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6379
+#: freeculture.xml:6382
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:6387
+#: freeculture.xml:6390
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><para><indexterm><primary>
-#: freeculture.xml:6391 freeculture.xml:6397
+#: freeculture.xml:6394 freeculture.xml:6400
msgid "Carson, Rachel"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:6398
+#: freeculture.xml:6401
msgid "Silent Sprint (Carson)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6393
+#: freeculture.xml:6396
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:6401
+#: freeculture.xml:6404
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 "
#. f7
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6414
+#: freeculture.xml:6417
msgid ""
-"See, for example, James Boyle, \"A Politics of Intellectual Property: "
-"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 "
-"(1997): 87."
+"See, for example, James Boyle, <quote>A Politics of Intellectual Property: "
+"Environmentalism for the Net?</quote> <citetitle>Duke Law "
+"Journal</citetitle> 47 (1997): 87."
msgstr ""
#. PAGE BREAK 141
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6410
+#: freeculture.xml:6413
msgid ""
"It is to this image precisely that Duke University law professor James Boyle "
-"appeals when he argues that we need an \"environmentalism\" for "
+"appeals when he argues that we need an <quote>environmentalism</quote> for "
"culture.<placeholder type=\"footnote\" id=\"0\"/> 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 \"for free.\" The point is that some of the "
-"ways in which we might protect authors will have unintended consequences for "
-"the cultural environment, much like DDT had for the natural environment. And "
-"just as criticism of DDT is not an endorsement of malaria or an attack on "
-"farmers, so, too, is criticism of one particular set of regulations "
-"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."
+"that music should be given away <quote>for free.</quote> The point is that "
+"some of the ways in which we might protect authors will have unintended "
+"consequences for the cultural environment, much like DDT had for the natural "
+"environment. And just as criticism of DDT is not an endorsement of malaria "
+"or an attack on farmers, so, too, is criticism of one particular set of "
+"regulations 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6431
+#: freeculture.xml:6434
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:6442
+#: freeculture.xml:6445
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:6449
+#: freeculture.xml:6452
msgid "Beginnings"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6451
+#: freeculture.xml:6454
msgid ""
"America copied English copyright law. Actually, we copied and improved "
-"English copyright law. Our Constitution makes the purpose of \"creative "
-"property\" rights clear; its express limitations reinforce the English aim "
-"to avoid overly powerful publishers."
+"English copyright law. Our Constitution makes the purpose of <quote>creative "
+"property</quote> rights clear; its express limitations reinforce the English "
+"aim to avoid overly powerful publishers."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6457
+#: freeculture.xml:6460
msgid ""
-"The power to establish \"creative property\" rights is granted to Congress "
-"in a way that, for our Constitution, at least, is very odd. Article I, "
-"section 8, clause 8 of our Constitution states that:"
+"The power to establish <quote>creative property</quote> rights is granted to "
+"Congress in a way that, for our Constitution, at least, is very odd. Article "
+"I, section 8, clause 8 of our Constitution states that:"
msgstr ""
#. PAGE BREAK 142
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6462
+#: freeculture.xml:6465
msgid ""
"Congress has the power to promote the Progress of Science and useful Arts, "
"by securing for limited Times to Authors and Inventors the exclusive Right "
"to their respective Writings and Discoveries. We can call this the "
-"\"Progress Clause,\" for notice what this clause does not say. It does not "
-"say Congress has the power to grant \"creative property rights.\" It says "
-"that Congress has the power <emphasis>to promote progress</emphasis>. The "
-"grant of power is its purpose, and its purpose is a public one, not the "
-"purpose of enriching publishers, nor even primarily the purpose of rewarding "
-"authors."
+"<quote>Progress Clause,</quote> for notice what this clause does not say. It "
+"does not say Congress has the power to grant <quote>creative property "
+"rights.</quote> It says that Congress has the power <emphasis>to promote "
+"progress</emphasis>. The grant of power is its purpose, and its purpose is a "
+"public one, not the purpose of enriching publishers, nor even primarily the "
+"purpose of rewarding authors."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6475
+#: freeculture.xml:6478
msgid ""
"The Progress Clause expressly limits the term of copyrights. As we saw in "
"chapter <xref xrefstyle=\"select: labelnumber\" linkend=\"founders\"/>, the "
"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 \"to "
-"Authors\" only."
+"reinforced that objective, by requiring that copyrights extend <quote>to "
+"Authors</quote> only."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6485
+#: freeculture.xml:6488
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:6500
+#: freeculture.xml:6503
msgid ""
-"I doubt the framers would recognize the regulation we call \"copyright\" "
-"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 "
-"\"copyright\" in context: We need to see how it has changed in the 210 years "
-"since they first struck its design."
+"I doubt the framers would recognize the regulation we call "
+"<quote>copyright</quote> 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 <quote>copyright</quote> in context: We need to see how it has "
+"changed in the 210 years since they first struck its design."
msgstr ""
#. PAGE BREAK 143
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6507
+#: freeculture.xml:6510
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:6518
+#: freeculture.xml:6521
msgid "We will end here:"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:6521
-msgid ""Copyright" today."
+#: freeculture.xml:6524
+msgid "<quote>Copyright</quote> today."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6522
+#: freeculture.xml:6525
msgid "<graphic fileref=\"images/1442.png\"></graphic>"
msgstr ""
#. PAGE BREAK 144
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6525
+#: freeculture.xml:6528
msgid "Let me explain how."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:6530
+#: freeculture.xml:6533
msgid "Law: Duration"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:6546
+#: freeculture.xml:6549
msgid "Crosskey, William W."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6540
+#: freeculture.xml:6543
msgid ""
"William W. Crosskey, <citetitle>Politics and the Constitution in the History "
"of the United States</citetitle> (London: Cambridge University Press, 1953), "
-"vol. 1, 485–86: \"extinguish[ing], by plain implication of `the "
+"vol. 1, 485–86: <quote>extinguish[ing], by plain implication of `the "
"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, "
-"or were supposed by some to have, under the Common Law</emphasis>\" "
+"or were supposed by some to have, under the Common Law</emphasis></quote> "
"(emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6532
+#: freeculture.xml:6535
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><para>
-#: freeculture.xml:6556
+#: freeculture.xml:6559
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:6564
+#: freeculture.xml:6567
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:6579
+#: freeculture.xml:6582
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:6571
+#: freeculture.xml:6574
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:6595
+#: freeculture.xml:6598
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:6610
+#: freeculture.xml:6613
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 "
"a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, "
-"\"Study No. 31: Renewal of Copyright,\" <citetitle>Studies on "
+"<quote>Study No. 31: Renewal of Copyright,</quote> <citetitle>Studies on "
"Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), "
"618. For a more recent and comprehensive analysis, see William M. Landes and "
-"Richard A. Posner, \"Indefinitely Renewable Copyright,\" "
+"Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote> "
"<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, "
"498–501, and accompanying figures."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6604
+#: freeculture.xml:6607
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:6625
+#: freeculture.xml:6628
msgid "See Ringer, ch. 9, n. 2."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6621
+#: freeculture.xml:6624
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><section><para>
-#: freeculture.xml:6633
+#: freeculture.xml:6636
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><part><chapter><section><para>
-#: freeculture.xml:6641
+#: freeculture.xml:6644
msgid ""
"Then, beginning in 1962, Congress started a practice that has defined "
"copyright law since. Eleven times in the last forty years, Congress has "
#. PAGE BREAK 146
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6651
+#: freeculture.xml:6654
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:6662
+#: freeculture.xml:6665
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><para>
-#: freeculture.xml:6672
+#: freeculture.xml:6675
msgid ""
"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 \"natural\" authors, that term was life plus fifty years. For "
-"corporations, the term was seventy-five years. Then, in 1992, Congress "
-"abandoned the renewal requirement for all works created before 1978. All "
-"works still under copyright would be accorded the maximum term then "
-"available. After the Sonny Bono Act, that term was ninety-five years."
+"term. For <quote>natural</quote> authors, that term was life plus fifty "
+"years. For corporations, the term was seventy-five years. Then, in 1992, "
+"Congress abandoned the renewal requirement for all works created before "
+"1978. All works still under copyright would be accorded the maximum term "
+"then available. After the Sonny Bono Act, that term was ninety-five years."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6682
+#: freeculture.xml:6685
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 "
"indeed, after these changes, it is unclear whether it is even possible to "
"put works into the public domain. The public domain is orphaned by these "
-"changes in copyright law. Despite the requirement that terms be \"limited,\" "
-"we have no evidence that anything will limit them."
+"changes in copyright law. Despite the requirement that terms be "
+"<quote>limited,</quote> we have no evidence that anything will limit them."
msgstr ""
#. f12
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6699
+#: freeculture.xml:6702
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 "
"thirty-two years, and averaged thirty years. See Landes and Posner, "
-"\"Indefinitely Renewable Copyright,\" loc. cit."
+"<quote>Indefinitely Renewable Copyright,</quote> loc. cit."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6691
+#: freeculture.xml:6694
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:6708
+#: freeculture.xml:6711
msgid "Law: Scope"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6710
+#: freeculture.xml:6713
msgid ""
-"The \"scope\" 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."
+"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 "
+"changes are not necessarily bad. But we should understand the extent of the "
+"changes if we're to keep this debate in context."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6716
+#: freeculture.xml:6719
msgid ""
-"In 1790, that scope was very narrow. Copyright covered only \"maps, charts, "
-"and books.\" That means it didn't cover, for example, music or "
+"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 "
"architecture. More significantly, the right granted by a copyright gave the "
-"author the exclusive right to \"publish\" copyrighted works. That means "
-"someone else violated the copyright only if he republished the work without "
-"the copyright owner's permission. Finally, the right granted by a copyright "
-"was an exclusive right to that particular book. The right did not extend to "
-"what lawyers call \"derivative works.\" It would not, therefore, interfere "
-"with the right of someone other than the author to translate a copyrighted "
-"book, or to adapt the story to a different form (such as a drama based on a "
-"published book)."
+"author the exclusive right to <quote>publish</quote> copyrighted works. That "
+"means someone else violated the copyright only if he republished the work "
+"without the copyright owner's permission. Finally, the right granted by a "
+"copyright was an exclusive right to that particular book. The right did not "
+"extend to what lawyers call <quote>derivative works.</quote> It would not, "
+"therefore, interfere with the right of someone other than the author to "
+"translate a copyrighted book, or to adapt the story to a different form "
+"(such as a drama based on a published book)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6729
+#: freeculture.xml:6732
msgid ""
"This, too, has changed dramatically. While the contours of copyright today "
"are extremely hard to describe simply, in general terms, the right covers "
"practically any creative work that is reduced to a tangible form. It covers "
"music as well as architecture, drama as well as computer programs. It gives "
"the copyright owner of that creative work not only the exclusive right to "
-"\"publish\" the work, but also the exclusive right of control over any "
-"\"copies\" of that work. And most significant for our purposes here, the "
-"right gives the copyright owner control over not only his or her particular "
-"work, but also any \"derivative work\" that might grow out of the original "
-"work. In this way, the right covers more creative work, protects the "
-"creative work more broadly, and protects works that are based in a "
-"significant way on the initial creative work."
+"<quote>publish</quote> the work, but also the exclusive right of control "
+"over any <quote>copies</quote> of that work. And most significant for our "
+"purposes here, the right gives the copyright owner control over not only his "
+"or her particular work, but also any <quote>derivative work</quote> that "
+"might grow out of the original work. In this way, the right covers more "
+"creative work, protects the creative work more broadly, and protects works "
+"that are based in a significant way on the initial creative work."
msgstr ""
#. PAGE BREAK 148
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6744
+#: freeculture.xml:6747
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:6758
+#: freeculture.xml:6761
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><para>
-#: freeculture.xml:6772
+#: freeculture.xml:6775
msgid ""
-"All of these \"formalities\" 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."
+"All of these <quote>formalities</quote> 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6780
+#: freeculture.xml:6783
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:6791
+#: freeculture.xml:6794
msgid ""
-"See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of "
-"American Literature,\" 29 <citetitle>New York University Journal of "
-"International Law and Politics</citetitle> 255 (1997), and James Gilraeth, "
-"ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987)."
+"See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the "
+"Creation of American Literature,</quote> 29 <citetitle>New York University "
+"Journal of International Law and Politics</citetitle> 255 (1997), and James "
+"Gilraeth, ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., "
+"1987)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6784
+#: freeculture.xml:6787
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:6803
+#: freeculture.xml:6806
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:6812
+#: freeculture.xml:6815
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:6821
+#: freeculture.xml:6824
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:6826
+#: freeculture.xml:6829
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 "
-"that is not at all obvious. This is the protection of \"derivative rights.\" "
-"If you write a book, no one can make a movie out of your book without "
-"permission. No one can translate it without permission. CliffsNotes can't "
-"make an abridgment unless permission is granted. All of these derivative "
-"uses of your original work are controlled by the copyright holder. The "
-"copyright, in other words, is now not just an exclusive right to your "
-"writings, but an exclusive right to your writings and a large proportion of "
-"the writings inspired by them."
+"that is not at all obvious. This is the protection of <quote>derivative "
+"rights.</quote> If you write a book, no one can make a movie out of your "
+"book without permission. No one can translate it without permission. "
+"CliffsNotes can't make an abridgment unless permission is granted. All of "
+"these derivative uses of your original work are controlled by the copyright "
+"holder. The copyright, in other words, is now not just an exclusive right to "
+"your writings, but an exclusive right to your writings and a large "
+"proportion of the writings inspired by them."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6840
+#: freeculture.xml:6843
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:6862
+#: freeculture.xml:6865
msgid ""
-"Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal "
+"Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal "
"Affairs</citetitle>, July/August 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #26</ulink>. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6852
+#: freeculture.xml:6855
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:6884
+#: freeculture.xml:6887
msgid "Rubenfeld, Jeb"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6877
+#: freeculture.xml:6880
msgid ""
"Professor Rubenfeld has presented a powerful constitutional argument about "
"the difference that copyright law should draw (from the perspective of the "
-"First Amendment) between mere \"copies\" and derivative works. See Jed "
-"Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" "
-"<citetitle>Yale Law Journal</citetitle> 112 (2002): 1–60 (see "
-"especially pp. 53–59). <placeholder type=\"indexterm\" id=\"0\"/>"
+"First Amendment) between mere <quote>copies</quote> and derivative "
+"works. See Jed Rubenfeld, <quote>The Freedom of Imagination: Copyright's "
+"Constitutionality,</quote> <citetitle>Yale Law Journal</citetitle> 112 "
+"(2002): 1–60 (see especially pp. 53–59). <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6872
+#: freeculture.xml:6875
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:6889
+#: freeculture.xml:6892
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 "
-"paying me or crediting me? Or if Disney creates a creature called \"Mickey "
-"Mouse,\" why should you be able to make Mickey Mouse toys and be the one to "
-"trade on the value that Disney originally created?"
+"paying me or crediting me? Or if Disney creates a creature called "
+"<quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse "
+"toys and be the one to trade on the value that Disney originally created?"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6897
+#: freeculture.xml:6900
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:6904
+#: freeculture.xml:6907
msgid "Law and Architecture: Reach"
msgstr ""
#. f16
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6911
+#: freeculture.xml:6914
msgid ""
"This is a simplification of the law, but not much of one. The law certainly "
-"regulates more than \"copies\"—a public performance of a copyrighted "
-"song, for example, is regulated even though performance per se doesn't make "
-"a copy; 17 <citetitle>United States Code</citetitle>, section 106(4). And it "
-"certainly sometimes doesn't regulate a \"copy\"; 17 <citetitle>United States "
-"Code</citetitle>, section 112(a). But the presumption under the existing law "
-"(which regulates \"copies;\" 17 <citetitle>United States Code</citetitle>, "
-"section 102) is that if there is a copy, there is a right."
+"regulates more than <quote>copies</quote>—a public performance of a "
+"copyrighted song, for example, is regulated even though performance per se "
+"doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section "
+"106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; "
+"17 <citetitle>United States Code</citetitle>, section 112(a). But the "
+"presumption under the existing law (which regulates <quote>copies;</quote> "
+"17 <citetitle>United States Code</citetitle>, section 102) is that if there "
+"is a copy, there is a right."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6906
+#: freeculture.xml:6909
msgid ""
"Whereas originally the law regulated only publishers, the change in "
"copyright's scope means that the law today regulates publishers, users, and "
#. PAGE BREAK 151
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6923
+#: freeculture.xml:6926
msgid ""
-"\"Copies.\" That certainly sounds like the obvious thing for "
+"<quote>Copies.</quote> That certainly sounds like the obvious thing for "
"<emphasis>copy</emphasis>right law to regulate. But as with Jack Valenti's "
-"argument at the start of this chapter, that \"creative property\" deserves "
-"the \"same rights\" as all other property, it is the "
+"argument at the start of this chapter, that <quote>creative property</quote> "
+"deserves the <quote>same rights</quote> as all other property, it is the "
"<emphasis>obvious</emphasis> that we need to be most careful about. For "
"while it may be obvious that in the world before the Internet, copies were "
"the obvious trigger for copyright law, upon reflection, it should be obvious "
#. f17
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:6941
+#: freeculture.xml:6944
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:6936
+#: freeculture.xml:6939
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:6952
+#: freeculture.xml:6955
msgid ""
"We can see this point abstractly by beginning with this largely empty "
"circle."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:6956
+#: freeculture.xml:6959
msgid "All potential uses of a book."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6957
+#: freeculture.xml:6960
msgid "<graphic fileref=\"images/1521.png\"></graphic>"
msgstr ""
#. PAGE BREAK 152
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6961
+#: freeculture.xml:6964
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><title>
-#: freeculture.xml:6974
+#: freeculture.xml:6977
msgid "Examples of unregulated uses of a book."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6975
+#: freeculture.xml:6978
msgid "<graphic fileref=\"images/1531.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6978
+#: freeculture.xml:6981
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:6986
+#: freeculture.xml:6989
msgid ""
"Finally, there is a tiny sliver of otherwise regulated copying uses that "
-"remain unregulated because the law considers these \"fair uses.\""
+"remain unregulated because the law considers these <quote>fair uses.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:6991
+#: freeculture.xml:6994
msgid ""
"Republishing stands at the core of this circle of possible uses of a "
"copyrighted work."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:6992
+#: freeculture.xml:6995
msgid "<graphic fileref=\"images/1541.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:6995
+#: freeculture.xml:6998
msgid ""
"These are uses that themselves involve copying, but which the law treats as "
"unregulated because public policy demands that they remain unregulated. You "
"without my permission, even though that quoting makes a copy. That copy "
"would ordinarily give the copyright owner the exclusive right to say whether "
"the copy is allowed or not, but the law denies the owner any exclusive right "
-"over such \"fair uses\" for public policy (and possibly First Amendment) "
-"reasons."
+"over such <quote>fair uses</quote> for public policy (and possibly First "
+"Amendment) reasons."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:7005
-msgid "Unregulated copying considered "fair uses.""
+#: freeculture.xml:7008
+msgid "Unregulated copying considered <quote>fair uses.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7006
+#: freeculture.xml:7009
msgid "<graphic fileref=\"images/1542.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:7010
+#: freeculture.xml:7013
msgid ""
"Uses that before were presumptively unregulated are now presumptively "
"regulated."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7011
+#: freeculture.xml:7014
msgid "<graphic fileref=\"images/1551.png\"></graphic>"
msgstr ""
#. PAGE BREAK 154
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7015
+#: freeculture.xml:7018
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 "
-"are nonetheless deemed \"fair\" regardless of the copyright owner's views."
+"are nonetheless deemed <quote>fair</quote> regardless of the copyright "
+"owner's views."
msgstr ""
#. f18
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7023
+#: freeculture.xml:7026
msgid ""
-"I don't mean \"nature\" 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."
+"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 "
+"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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7020
+#: freeculture.xml:7023
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:7041
+#: freeculture.xml:7044
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><para>
-#: freeculture.xml:7053
+#: freeculture.xml:7056
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><para>
-#: freeculture.xml:7065
+#: freeculture.xml:7068
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:7071
+#: freeculture.xml:7074
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:7079
+#: freeculture.xml:7082
msgid ""
"Second, this shift is especially troubling in the context of transformative "
"uses of creative content. Again, we can all understand the wrong in "
"commercial piracy. But the law now purports to regulate "
"<emphasis>any</emphasis> transformation you make of creative work using a "
-"machine. \"Copy and paste\" and \"cut and paste\" become crimes. Tinkering "
-"with a story and releasing it to others exposes the tinkerer to at least a "
-"requirement of justification. However troubling the expansion with respect "
-"to copying a particular work, it is extraordinarily troubling with respect "
-"to transformative uses of creative work."
+"machine. <quote>Copy and paste</quote> and <quote>cut and paste</quote> "
+"become crimes. Tinkering with a story and releasing it to others exposes the "
+"tinkerer to at least a requirement of justification. However troubling the "
+"expansion with respect to copying a particular work, it is extraordinarily "
+"troubling with respect to transformative uses of creative work."
msgstr ""
#. PAGE BREAK 156
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7091
+#: freeculture.xml:7094
msgid ""
"Third, this shift from category 1 to category 2 puts an extraordinary burden "
-"on category 3 (\"fair use\") that fair use never before had to bear. If a "
-"copyright owner now tried to control how many times I could read a book "
-"on-line, the natural response would be to argue that this is a violation of "
-"my fair use rights. But there has never been any litigation about whether I "
-"have a fair use right to read, because before the Internet, reading did not "
-"trigger the application of copyright law and hence the need for a fair use "
-"defense. The right to read was effectively protected before because reading "
-"was not regulated."
+"on category 3 (<quote>fair use</quote>) that fair use never before had to "
+"bear. If a copyright owner now tried to control how many times I could read "
+"a book on-line, the natural response would be to argue that this is a "
+"violation of my fair use rights. But there has never been any litigation "
+"about whether I have a fair use right to read, because before the Internet, "
+"reading did not trigger the application of copyright law and hence the need "
+"for a fair use defense. The right to read was effectively protected before "
+"because reading was not regulated."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7105
+#: freeculture.xml:7108
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><para>
-#: freeculture.xml:7115
+#: freeculture.xml:7118
msgid ""
"The case of Video Pipeline is a good example. Video Pipeline was in the "
-"business of making \"trailer\" 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."
+"business of making <quote>trailer</quote> 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7122
+#: freeculture.xml:7125
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 "
-"idea was to expand their \"selling by sampling\" technique by giving on-line "
-"stores the same ability to enable \"browsing.\" 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."
+"idea was to expand their <quote>selling by sampling</quote> technique by "
+"giving on-line stores the same ability to enable <quote>browsing.</quote> "
+"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."
msgstr ""
#. PAGE BREAK 157
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7131
+#: freeculture.xml:7134
msgid ""
"In 1998, Video Pipeline informed Disney and other film distributors that it "
"intended to distribute the trailers through the Internet (rather than "
"content as a way to help sell Disney films; he had customers who depended "
"upon his delivering this content. Disney would agree to talk only if Video "
"Pipeline stopped the distribution immediately. Video Pipeline thought it "
-"was within their \"fair use\" 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."
+"was within their <quote>fair use</quote> 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7146
+#: freeculture.xml:7149
msgid ""
"Disney countersued—for $100 million in damages. Those damages were "
-"predicated upon a claim that Video Pipeline had \"willfully infringed\" on "
-"Disney's copyright. When a court makes a finding of willful infringement, it "
-"can award damages not on the basis of the actual harm to the copyright "
-"owner, but on the basis of an amount set in the statute. Because Video "
-"Pipeline had distributed seven hundred clips of Disney movies to enable "
-"video stores to sell copies of those movies, Disney was now suing Video "
-"Pipeline for $100 million."
+"predicated upon a claim that Video Pipeline had <quote>willfully "
+"infringed</quote> on Disney's copyright. When a court makes a finding of "
+"willful infringement, it can award damages not on the basis of the actual "
+"harm to the copyright owner, but on the basis of an amount set in the "
+"statute. Because Video Pipeline had distributed seven hundred clips of "
+"Disney movies to enable video stores to sell copies of those movies, Disney "
+"was now suing Video Pipeline for $100 million."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7156
+#: freeculture.xml:7159
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><para>
-#: freeculture.xml:7165
+#: freeculture.xml:7168
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 "
"Disney this power. Before the Internet, Disney couldn't really control how "
"people got access to their content. Once a video was in the marketplace, the "
-"\"first-sale doctrine\" would free the seller to use the video as he wished, "
-"including showing portions of it in order to engender sales of the entire "
-"movie video. But with the Internet, it becomes possible for Disney to "
-"centralize control over access to this content. Because each use of the "
-"Internet produces a copy, use on the Internet becomes subject to the "
+"<quote>first-sale doctrine</quote> would free the seller to use the video as "
+"he wished, including showing portions of it in order to engender sales of "
+"the entire movie video. But with the Internet, it becomes possible for "
+"Disney to centralize control over access to this content. Because each use "
+"of the Internet produces a 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."
msgstr ""
#. PAGE BREAK 158
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7180
+#: freeculture.xml:7183
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:7195
+#: freeculture.xml:7198
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:7204
+#: freeculture.xml:7207
msgid "Architecture and Law: Force"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7206
+#: freeculture.xml:7209
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><para>
-#: freeculture.xml:7212
+#: freeculture.xml:7215
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:7219
+#: freeculture.xml:7222
msgid "Casablanca"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7221 freeculture.xml:7400
+#: freeculture.xml:7224 freeculture.xml:7403
msgid "Marx Brothers"
msgstr ""
#. f19
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7235
+#: freeculture.xml:7238
msgid ""
-"See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and "
-"Contemporary Problems</citetitle> 44 (1981): 172–73."
+"See David Lange, <quote>Recognizing the Public Domain,</quote> "
+"<citetitle>Law and Contemporary Problems</citetitle> 44 (1981): "
+"172–73."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7227
+#: freeculture.xml:7230
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:7244
+#: freeculture.xml:7247
msgid ""
"Ibid. See also Vaidhyanathan, <citetitle>Copyrights and "
"Copywrongs</citetitle>, 1–3. <placeholder type=\"indexterm\" "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7240
+#: freeculture.xml:7243
msgid ""
"This led the Marx Brothers to respond in kind. They warned Warner Brothers "
-"that the Marx Brothers \"were brothers long before you were.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word "
-"<citetitle>brothers</citetitle>, and if Warner Brothers insisted on trying "
-"to control <citetitle>Casablanca</citetitle>, then the Marx Brothers would "
-"insist on control over <citetitle>brothers</citetitle>."
+"that the Marx Brothers <quote>were brothers long before you "
+"were.</quote><placeholder type=\"footnote\" id=\"0\"/> The Marx Brothers "
+"therefore owned the word <citetitle>brothers</citetitle>, and if Warner "
+"Brothers insisted on trying to control <citetitle>Casablanca</citetitle>, "
+"then the Marx Brothers would insist on control over "
+"<citetitle>brothers</citetitle>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7254
+#: freeculture.xml:7257
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:7260
+#: freeculture.xml:7263
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:7273
+#: freeculture.xml:7276
msgid "Adobe eBook Reader"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7276
+#: freeculture.xml:7279
msgid "Consider the life of my Adobe eBook Reader."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7279
+#: freeculture.xml:7282
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:7286
+#: freeculture.xml:7289
msgid "On the next page is a picture of an old version of my Adobe eBook Reader."
msgstr ""
#. PAGE BREAK 160
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7290
+#: freeculture.xml:7293
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><title>
-#: freeculture.xml:7303
+#: freeculture.xml:7306
msgid "Picture of an old version of Adobe eBook Reader"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7304
+#: freeculture.xml:7307
msgid "<graphic fileref=\"images/1611.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7307
+#: freeculture.xml:7310
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><title>
-#: freeculture.xml:7311
+#: freeculture.xml:7314
msgid "List of the permissions that the publisher purports to grant."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7312
+#: freeculture.xml:7315
msgid "<graphic fileref=\"images/1612.png\"></graphic>"
msgstr ""
#. PAGE BREAK 161
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7316
+#: freeculture.xml:7319
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><para><indexterm><primary>
-#: freeculture.xml:7326
+#: freeculture.xml:7329
msgid "Aristotle"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7327
+#: freeculture.xml:7330
msgid "<citetitle>Politics</citetitle>, (Aristotle)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7324
+#: freeculture.xml:7327
msgid ""
"Here's the e-book for another work in the public domain (including the "
"translation): Aristotle's <citetitle>Politics</citetitle>. <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><section><figure><title>
-#: freeculture.xml:7330
-msgid "E-book of Aristotle;s "Politics""
+#: freeculture.xml:7333
+msgid "E-book of Aristotle;s <quote>Politics</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7331
+#: freeculture.xml:7334
msgid "<graphic fileref=\"images/1621.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7334
+#: freeculture.xml:7337
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><title>
-#: freeculture.xml:7339
-msgid "List of the permissions for Aristotle;s "Politics"."
+#: freeculture.xml:7342
+msgid "List of the permissions for Aristotle;s <quote>Politics</quote>."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7340
+#: freeculture.xml:7343
msgid "<graphic fileref=\"images/1622.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7343
+#: freeculture.xml:7346
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><title>
-#: freeculture.xml:7349
-msgid "List of the permissions for "The Future of Ideas"."
+#: freeculture.xml:7352
+msgid "List of the permissions for <quote>The Future of Ideas</quote>."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7350
+#: freeculture.xml:7353
msgid "<graphic fileref=\"images/1631.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7353
+#: freeculture.xml:7356
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:7363
+#: freeculture.xml:7366
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:7356
+#: freeculture.xml:7359
msgid ""
-"Now, the Adobe eBook Reader calls these controls \"permissions\"— as "
-"if the publisher has the power to control how 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.<placeholder type=\"footnote\" "
-"id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> 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 "
-"publisher to control how I use the book on my computer, far beyond the "
-"control that the law would enable."
+"Now, the Adobe eBook Reader calls these controls "
+"<quote>permissions</quote>— as if the publisher has the power to "
+"control how 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.<placeholder type=\"footnote\" id=\"0\"/> When my e-book of "
+"<citetitle>Middlemarch</citetitle> 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 publisher to control how I use the "
+"book on my computer, far beyond the control that the law would enable."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7378
+#: freeculture.xml:7381
msgid ""
"The control comes instead from the code—from the technology within "
-"which the e-book \"lives.\" Though the e-book says that these are "
-"permissions, they are not the sort of \"permissions\" that most of us deal "
-"with. When a teenager gets \"permission\" to stay out till midnight, she "
-"knows (unless she's Cinderella) that she can stay out till 2 A.M., but will "
-"suffer a punishment if she's caught. But when the Adobe eBook Reader says I "
-"have the permission to make ten copies of the text into the computer's "
-"memory, that means that after I've made ten copies, the computer will not "
-"make any more. The same with the printing restrictions: After ten pages, the "
-"eBook Reader will not print any more pages. It's the same with the silly "
-"restriction that says that you can't use the Read Aloud button to read my "
-"book 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."
+"which the e-book <quote>lives.</quote> Though the e-book says that these are "
+"permissions, they are not the sort of <quote>permissions</quote> that most "
+"of us deal with. When a teenager gets <quote>permission</quote> to stay out "
+"till midnight, she knows (unless she's Cinderella) that she can stay out "
+"till 2 A.M., but will suffer a punishment if she's caught. But when the "
+"Adobe eBook Reader says I have the permission to make ten copies of the text "
+"into the computer's memory, that means that after I've made ten copies, the "
+"computer will not make any more. The same with the printing restrictions: "
+"After ten pages, the eBook Reader will not print any more pages. It's the "
+"same with the silly restriction that says that you can't use the Read Aloud "
+"button to read my book 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."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7396
+#: freeculture.xml:7399
msgid ""
"These are <emphasis>controls</emphasis>, not permissions. Imagine a world "
"where the Marx Brothers sold word processing software that, when you tried "
-"to type \"Warner Brothers,\" erased \"Brothers\" from the sentence. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from "
+"
the sentence. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7403
+#: freeculture.xml:7406
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:7412
+#: freeculture.xml:7415
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:7419
+#: freeculture.xml:7422
msgid ""
"We've only scratched the surface of this story. Return to the Adobe eBook "
"Reader."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7429
+#: freeculture.xml:7432
msgid "Alice's Adventures in Wonderland (Carroll)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7423
+#: freeculture.xml:7426
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><title>
-#: freeculture.xml:7432
-msgid "List of the permissions for "Alice's Adventures in Wonderland"."
+#: freeculture.xml:7435
+msgid "List of the permissions for <quote>Alice's Adventures in Wonderland</quote>."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7434
+#: freeculture.xml:7437
msgid "<graphic fileref=\"images/1641.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7438
+#: freeculture.xml:7441
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 \"permissions\" "
-"indicated, not allowed to \"read aloud\"!"
+"not allowed to lend, not allowed to give, and, as the "
+"<quote>permissions</quote> indicated, not allowed to <quote>read "
+"aloud</quote>!"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7443
+#: freeculture.xml:7446
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:7451
+#: freeculture.xml:7454
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:7464
+#: freeculture.xml:7467
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:7473
+#: freeculture.xml:7476
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:7477 freeculture.xml:7626 freeculture.xml:7697 freeculture.xml:7803
+#: freeculture.xml:7480 freeculture.xml:7629 freeculture.xml:7700 freeculture.xml:7806
msgid "Aibo robotic dog"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7480 freeculture.xml:7629 freeculture.xml:7698 freeculture.xml:7804
+#: freeculture.xml:7483 freeculture.xml:7632 freeculture.xml:7701 freeculture.xml:7807
msgid "robotic dog"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:7483 freeculture.xml:7632 freeculture.xml:7700 freeculture.xml:7806
+#: freeculture.xml:7486 freeculture.xml:7635 freeculture.xml:7703 freeculture.xml:7809
msgid "Sony"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><secondary>
-#: freeculture.xml:7484 freeculture.xml:7633 freeculture.xml:7701 freeculture.xml:7807
+#: freeculture.xml:7487 freeculture.xml:7636 freeculture.xml:7704 freeculture.xml:7810
msgid "Aibo robotic dog produced by"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7487
+#: freeculture.xml:7490
msgid ""
-"Consider the robotic dog made by Sony named \"Aibo.\" The Aibo learns "
-"tricks, cuddles, and follows you around. It eats only electricity and that "
-"doesn't leave that much of a mess (at least in your house)."
+"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 "
+"that doesn't leave that much of a mess (at least in your house)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7492
+#: freeculture.xml:7495
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:7501
+#: freeculture.xml:7504
msgid ""
-"\"Teach\" here has a special meaning. Aibos are just cute computers. You "
-"teach a computer how to do something by programming it differently. So to "
-"say that aibopet.com was giving information about 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 \"dog\" to make it do new "
-"tricks (thus, aibohack.com)."
+"<quote>Teach</quote> here has a special meaning. Aibos are just cute "
+"computers. You teach a computer how to do something by programming it "
+"differently. So to say that aibopet.com was giving information about 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 "
+"<quote>dog</quote> to make it do new tricks (thus, aibohack.com)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7509
+#: freeculture.xml:7512
msgid ""
"If you're not a programmer or don't know many programmers, the word "
"<citetitle>hack</citetitle> has a particularly unfriendly "
"term. <citetitle>Hack</citetitle> just means code that enables the program "
"to do something it wasn't originally intended or enabled to do. If you buy a "
"new printer for an old computer, you might find the old computer doesn't "
-"run, or \"drive,\" the printer. If you discovered that, you'd later be happy "
-"to discover a hack on the Net by someone who has written a driver to enable "
-"the computer to drive the printer you just bought."
+"run, or <quote>drive,</quote> the printer. If you discovered that, you'd "
+"later be happy to discover a hack on the Net by someone who has written a "
+"driver to enable the computer to drive the printer you just bought."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7523
+#: freeculture.xml:7526
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:7530
+#: freeculture.xml:7533
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:7540
+#: freeculture.xml:7543
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><para>
-#: freeculture.xml:7556
+#: freeculture.xml:7559
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><para><indexterm><primary>
-#: freeculture.xml:7579 freeculture.xml:10049
+#: freeculture.xml:7582 freeculture.xml:10052
msgid "Electronic Frontier Foundation"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7569
-msgid ""
-"See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" "
-"<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, \"Play "
-"Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks,\" "
-"<citetitle>American Prospect</citetitle>, January 2002; \"Court Dismisses "
-"Computer Scientists' Challenge to DMCA,\" <citetitle>Intellectual Property "
-"Litigation Reporter</citetitle>, 11 December 2001; Bill Holland, \"Copyright "
-"Act Raising Free-Speech Concerns,\" <citetitle>Billboard</citetitle>, May "
-"2001; Janelle Brown, \"Is the RIAA Running Scared?\" Salon.com, April 2001; "
-"Electronic Frontier Foundation, \"Frequently Asked Questions about "
+#: freeculture.xml:7572
+msgid ""
+"See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to "
+"Science,</quote> <citetitle>Science</citetitle> 293 (2001): 2028; Brendan "
+"I. Koerner, <quote>Play Dead: Sony Muzzles the Techies Who Teach a Robot Dog "
+"New Tricks,</quote> <citetitle>American Prospect</citetitle>, January 2002; "
+"<quote>Court Dismisses Computer Scientists' Challenge to DMCA,</quote> "
+"<citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 "
+"December 2001; Bill Holland, <quote>Copyright Act Raising Free-Speech "
+"Concerns,</quote> <citetitle>Billboard</citetitle>, May 2001; Janelle Brown, "
+"<quote>Is the RIAA Running Scared?</quote> Salon.com, April 2001; Electronic "
+"Frontier Foundation, <quote>Frequently Asked Questions about "
"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> "
-"Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>"
+"Legal Case,</quote> available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #27</ulink>. <placeholder "
+"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7567
+#: freeculture.xml:7570
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:7587
+#: freeculture.xml:7590
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 "
"originally stood, granted them. Using encryption, SDMI hoped to develop a "
-"standard that would allow the content owner to say \"this music cannot be "
-"copied,\" and have a computer respect that command. The technology was to "
-"be part of a \"trusted system\" of control that would get content owners to "
-"trust the system of the Internet much more."
+"standard that would allow the content owner to say <quote>this music cannot "
+"be copied,</quote> and have a computer respect that command. The technology "
+"was to be part of a <quote>trusted system</quote> of control that would get "
+"content owners to trust the system of the Internet much more."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7597
+#: freeculture.xml:7600
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:7604
+#: freeculture.xml:7607
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:7610
+#: freeculture.xml:7613
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:7618
+#: freeculture.xml:7621
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:7636
+#: freeculture.xml:7639
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:7643
+#: freeculture.xml:7646
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:7652
+#: freeculture.xml:7655
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:7658
+#: freeculture.xml:7661
msgid ""
"Any disclosure of information gained from participating in the Public "
"Challenge would be outside the scope of activities permitted by the "
"Agreement and could subject you and your research team to actions under the "
-"Digital Millennium Copyright Act (\"DMCA\")."
+"Digital Millennium Copyright Act (<quote>DMCA</quote>)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7666
+#: freeculture.xml:7669
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:7671
+#: freeculture.xml:7674
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:7682
+#: freeculture.xml:7685
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:7689
+#: freeculture.xml:7692
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:7704
+#: freeculture.xml:7707
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:7716
+#: freeculture.xml:7719
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:7723 freeculture.xml:7756
+#: freeculture.xml:7726 freeculture.xml:7759
msgid "Rogers, Fred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7733 freeculture.xml:7769 freeculture.xml:7801
+#: freeculture.xml:7736 freeculture.xml:7772 freeculture.xml:7804
msgid "Conrad, Paul"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7725
+#: freeculture.xml:7728
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 "
"be banned because it was a copyright-infringing technology: It enabled "
"consumers to copy films without the permission of the copyright owner. No "
"doubt there were uses of the technology that were legal: Fred Rogers, aka "
-"\"<citetitle>Mr. Rogers</citetitle>,\" for example, had testified in that "
-"case that he wanted people to feel free to tape Mr. Rogers' Neighborhood. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"<quote><citetitle>Mr. Rogers</citetitle>,</quote> for example, had testified "
+"in that case that he wanted people to feel free to tape Mr. Rogers' "
+"
Neighborhood. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:7752
+#: freeculture.xml:7755
msgid ""
"<citetitle>Sony Corporation of America</citetitle> v. <citetitle>Universal "
"City Studios, Inc</citetitle>., 464 U.S. 417, 455 fn. 27 (1984). Rogers "
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:7737
+#: freeculture.xml:7740
msgid ""
"Some public stations, as well as commercial stations, program the "
-"\"Neighborhood\" at hours when some children cannot use it. I think that "
-"it's a real service to families to be able to record such programs and show "
-"them at appropriate times. I have always felt that with the advent of all of "
-"this new technology that allows people to tape the \"Neighborhood\" "
-"off-the-air, and I'm speaking for the \"Neighborhood\" because that's what I "
-"produce, that they then become much more active in the programming of their "
-"family's television life. Very frankly, I am opposed to people being "
-"programmed by others. My whole approach in broadcasting has always been "
-"\"You are an important person just the way you are. You can make healthy "
-"decisions.\" 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"<quote>Neighborhood</quote> at hours when some children cannot use it. I "
+"think that it's a real service to families to be able to record such "
+"programs and show them at appropriate times. I have always felt that with "
+"the advent of all of this new technology that allows people to tape the "
+"<quote>Neighborhood</quote> off-the-air, and I'm speaking for the "
+"<quote>Neighborhood</quote> because that's what I produce, that they then "
+"become much more active in the programming of their family's television "
+"life. Very frankly, I am opposed to people being programmed by others. My "
+"whole approach in broadcasting has always been <quote>You are an important "
+"person just the way you are. You can make healthy decisions.</quote> 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.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 170
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7762
+#: freeculture.xml:7765
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:7767
+#: freeculture.xml:7770
msgid ""
"This led Conrad to draw the cartoon below, which we can adopt to the DMCA. "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7772
+#: freeculture.xml:7775
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:7775
+#: freeculture.xml:7778
msgid ""
"The anticircumvention provisions of the DMCA target copyright circumvention "
"technologies. Circumvention technologies can be used for different "
#. PAGE BREAK 171
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7783
+#: freeculture.xml:7786
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:7791
+#: freeculture.xml:7794
msgid "VCR/handgun cartoon."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:7792
+#: freeculture.xml:7795
msgid "<graphic fileref=\"images/1711.png\"></graphic>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7795
+#: freeculture.xml:7798
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:7810
+#: freeculture.xml:7813
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:7818
+#: freeculture.xml:7821
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:7830
+#: freeculture.xml:7833
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:7849
+#: freeculture.xml:7852
msgid ""
-"For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, "
-"Copyright, Fan Fiction, and a New Common Law,\" <citetitle>Loyola of Los "
-"Angeles Entertainment Law Journal</citetitle> 17 (1997): 651."
+"For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal "
+"Fictions, Copyright, Fan Fiction, and a New Common Law,</quote> "
+"<citetitle>Loyola of Los Angeles Entertainment Law Journal</citetitle> 17 "
+"(1997): 651."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7843
+#: freeculture.xml:7846
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:7855
+#: freeculture.xml:7858
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:7862
+#: freeculture.xml:7865
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:7872
+#: freeculture.xml:7875
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:7881
+#: freeculture.xml:7884
msgid "Market: Concentration"
msgstr ""
#. PAGE BREAK 173
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7883
+#: freeculture.xml:7886
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:7901
+#: freeculture.xml:7904
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:7908
+#: freeculture.xml:7911
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:7919
+#: freeculture.xml:7922
msgid "These changes are of two sorts: the scope of concentration, and its nature."
msgstr ""
#. f25
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7927
+#: freeculture.xml:7930
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:7934
+#: freeculture.xml:7937
msgid ""
-"Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" "
-"<citetitle>New York Times</citetitle>, 23 December 2002."
+"Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to "
+"Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002."
msgstr ""
#. f27
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:7940
+#: freeculture.xml:7943
msgid ""
-"Molly Ivins, \"Media Consolidation Must Be Stopped,\" <citetitle>Charleston "
-"Gazette</citetitle>, 31 May 2003."
+"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><indexterm><primary>
-#: freeculture.xml:7943
+#: freeculture.xml:7946
msgid "BMG"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7944 freeculture.xml:9283
+#: freeculture.xml:7947 freeculture.xml:9286
msgid "EMI"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7945
+#: freeculture.xml:7948
msgid "McCain, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7946 freeculture.xml:9284
+#: freeculture.xml:7949 freeculture.xml:9287
msgid "Universal Music Group"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:7947
+#: freeculture.xml:7950
msgid "Warner Music Group"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7923
+#: freeculture.xml:7926
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, \"five "
-"companies control 85 percent of our media sources.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" "
-"id=\"1\"/> The \"five largest cable companies pipe programming to 74 percent "
-"of the cable subscribers nationwide.\"<placeholder type=\"footnote\" "
-"
id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> <placeholder "
-"type=\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" id=\"5\"/> "
-"<placeholder type=\"indexterm\" id=\"
6\"/> <placeholder type=\"indexterm\" "
-"id=\"7\"/>"
+"summarized the data produced in the FCC's review of media ownership, "
+"<quote>five companies control 85 percent of our media "
+"sources.</quote><placeholder type=\"footnote\" id=\"0\"/> 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.<placeholder "
+"type=\"footnote\" id=\"1\"/> The <quote>five largest cable companies pipe "
+"programming to 74 percent of the cable subscribers "
+"
nationwide.</quote><placeholder type=\"footnote\" id=\"2\"/> <placeholder "
+"type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> "
+"<placeholder type=\"indexterm\" id=\"
5\"/> <placeholder type=\"indexterm\" "
+"id=\"6\"/> <placeholder type=\"indexterm\" id=\"7\"/>"
msgstr ""
#. PAGE BREAK 174
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7950
+#: freeculture.xml:7953
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:7961
+#: freeculture.xml:7964
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:7975 freeculture.xml:7992
+#: freeculture.xml:7978 freeculture.xml:7995
msgid "Fallows, James"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:7972
+#: freeculture.xml:7975
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:7990
+#: freeculture.xml:7993
msgid ""
-"James Fallows, \"The Age of Murdoch,\" <citetitle>Atlantic "
+"James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic "
"Monthly</citetitle> (September 2003): 89. <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:7979
+#: freeculture.xml:7982
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:7997
+#: freeculture.xml:8000
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><title>
-#: freeculture.xml:8003
+#: freeculture.xml:8006
msgid "Pattern of modern media ownership."
msgstr ""
#. type: Content of: <book><part><chapter><section><figure>
-#: freeculture.xml:8004
+#: freeculture.xml:8007
msgid "<graphic fileref=\"images/1761.png\"></graphic>"
msgstr ""
#. PAGE BREAK 175
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8008
+#: freeculture.xml:8011
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:8013
+#: freeculture.xml:8016
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:8019
+#: freeculture.xml:8022
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:8022
+#: freeculture.xml:8025
msgid "Lear, Norman"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:8024 freeculture.xml:8087
+#: freeculture.xml:8027 freeculture.xml:8090
msgid "All in the Family"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8026
+#: freeculture.xml:8029
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:8038
+#: freeculture.xml:8041
msgid ""
-"Leonard Hill, \"The Axis of Access,\" remarks before Weidenbaum Center "
-"Forum, \"Entertainment Economics: The Movie Industry,\" St. Louis, Missouri, "
-"3 April 2003 (transcript of prepared remarks available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the Lear story, "
-"not included in the prepared remarks, see <ulink "
+"Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum "
+"Center Forum, <quote>Entertainment Economics: The Movie Industry,</quote> "
+"St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #28</ulink>; for the "
+"
Lear story, not included in the prepared remarks, see <ulink "
"url=\"http://free-culture.cc/notes/\">link #29</ulink>)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8033
+#: freeculture.xml:8036
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:8049
+#: freeculture.xml:8052
msgid ""
"The network did not control those copyrights because the law forbade the "
"networks from controlling the content they syndicated. The law required a "
"separation between the networks and the content producers; that separation "
"would guarantee Lear freedom. And as late as 1992, because of these rules, "
"the vast majority of prime time television—75 percent of it—was "
-"\"independent\" of the networks."
+"<quote>independent</quote> of the networks."
msgstr ""
#. f30
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8068
+#: freeculture.xml:8071
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:8058
+#: freeculture.xml:8061
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 "
"twenty-five independent television production studios; in 2002, only five "
-"independent television studios remained. \"In 1992, only 15 percent of new "
-"series were produced for a network by a company it controlled. Last year, "
-"the percentage of shows produced by controlled companies more than "
-"quintupled to 77 percent.\" \"In 1992, 16 new series were produced "
-"independently of conglomerate control, last year there was "
-"one.\"<placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of prime "
-"time television was owned by the networks that ran it. \"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%.\"<placeholder type=\"footnote\" id=\"1\"/>"
+"independent television studios remained. <quote>In 1992, only 15 percent of "
+"new series were produced for a network by a company it controlled. Last "
+"year, the percentage of shows produced by controlled companies more than "
+"quintupled to 77 percent.</quote> <quote>In 1992, 16 new series were "
+"produced independently of conglomerate control, last year there was "
+"one.</quote><placeholder type=\"footnote\" id=\"0\"/> In 2002, 75 percent of "
+"prime time television was owned by the networks that ran it. <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%.</quote><placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8089
+#: freeculture.xml:8092
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><para><indexterm><primary>
-#: freeculture.xml:8098
+#: freeculture.xml:8101
msgid "Diller, Barry"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:8099
+#: freeculture.xml:8102
msgid "Moyers, Bill"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8095
+#: freeculture.xml:8098
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:8112
+#: freeculture.xml:8115
msgid ""
-"\"Barry Diller Takes on Media Deregulation,\" <citetitle>Now with Bill "
-"Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>."
+"<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with "
+"Bill Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript "
+"a
vailable at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:8103
+#: freeculture.xml:8106
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:8119
+#: freeculture.xml:8122
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:8130
+#: freeculture.xml:8133
msgid "Clark, Kim B."
msgstr ""
#. f33
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8139
+#: freeculture.xml:8142
msgid ""
"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The "
"Revolutionary National Bestseller that Changed the Way We Do "
"Business</citetitle> (Cambridge: Harvard Business School Press, "
"1997). Christensen acknowledges that the idea was first suggested by Dean "
-"Kim Clark. See Kim B. Clark, \"The Interaction of Design Hierarchies and "
-"Market Concepts in Technological Evolution,\" <citetitle>Research "
+"Kim Clark. See Kim B. Clark, <quote>The Interaction of Design Hierarchies "
+"and Market Concepts in Technological Evolution,</quote> <citetitle>Research "
"Policy</citetitle> 14 (1985): 235–51. For a more recent study, see "
"Richard Foster and Sarah Kaplan, <citetitle>Creative Destruction: Why "
"Companies That Are Built to Last Underperform the Market—and How to "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8132
+#: freeculture.xml:8135
msgid ""
"Economics itself offers a parallel that explains why this integration "
-"affects creativity. Clay Christensen has written about the \"Innovator's "
-"Dilemma\": 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.<placeholder "
-"type=\"footnote\" id=\"0\"/> 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. <placeholder type=\"indexterm\" id=\"1\"/>"
+"affects creativity. Clay Christensen has written about the "
+"<quote>Innovator's Dilemma</quote>: 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.<placeholder type=\"footnote\" id=\"0\"/> 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. <placeholder type=\"indexterm\" "
+"id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8156
+#: freeculture.xml:8159
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:8162
+#: freeculture.xml:8165
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:8166
+#: freeculture.xml:8169
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:8171
+#: freeculture.xml:8174
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:8190
+#: freeculture.xml:8193
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><para>
-#: freeculture.xml:8196
+#: freeculture.xml:8199
msgid ""
"Beginning in 1998, the Office of National Drug Control Policy launched a "
-"media campaign as part of the \"war on drugs.\" The campaign produced scores "
-"of short film clips about issues related to illegal drugs. In one series "
-"(the Nick and Norm series) two men are in a bar, discussing the idea of "
-"legalizing drugs as a way to avoid some of the collateral damage from the "
-"war. One advances an argument in favor of drug legalization. The other "
-"responds in a powerful and effective way against the argument of the "
-"first. In the end, the first guy changes his mind (hey, it's "
+"media campaign as part of the <quote>war on drugs.</quote> The campaign "
+"produced scores of short film clips about issues related to illegal "
+"drugs. In one series (the Nick and Norm series) two men are in a bar, "
+"discussing the idea of legalizing drugs as a way to avoid some of the "
+"collateral damage from the war. One advances an argument in favor of drug "
+"legalization. The other responds in a powerful and effective way against the "
+"argument of the first. In the end, the first guy changes his mind (hey, it's "
"television). The plug at the end is a damning attack on the pro-legalization "
"campaign."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8208
+#: freeculture.xml:8211
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:8212
+#: freeculture.xml:8215
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:8218
+#: freeculture.xml:8221
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><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8260
+#: freeculture.xml:8263
msgid "Comcast"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8261
+#: freeculture.xml:8264
msgid "Marijuana Policy Project"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8262
+#: freeculture.xml:8265
msgid "NBC"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8263
+#: freeculture.xml:8266
msgid "WJOA"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8264
+#: freeculture.xml:8267
msgid "WRC"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8235
+#: freeculture.xml:8238
msgid ""
"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 \"against [their] "
-"policy.\" The local NBC affiliate, WRC, rejected the ads without reviewing "
-"them. The local ABC affiliate, WJOA, originally agreed to run the ads and "
-"accepted payment to do so, but later decided not to run the ads and returned "
-"the collected fees. Interview with Neal Levine, 15 October 2003. These "
-"restrictions are, of course, not limited to drug policy. See, for example, "
-"Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection "
-"from TV Networks,\" <citetitle>New York Times</citetitle>, 13 March 2003, "
-"C4. Outside of election-related air time there is very little that the FCC "
-"or the courts are willing to do to even the playing field. For a general "
-"overview, see Rhonda Brown, \"Ad Hoc Access: The Regulation of Editorial "
-"Advertising on Television and Radio,\" <citetitle>Yale Law and Policy "
-"Review</citetitle> 6 (1988): 449–79, and for a more recent summary of "
-"the stance of the FCC and the courts, see <citetitle>Radio-Television News "
-"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d "
-"872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as "
-"the networks. In a recent example from San Francisco, the San Francisco "
-"transit authority rejected an ad that criticized its Muni diesel "
-"buses. Phillip Matier and Andrew Ross, \"Antidiesel Group Fuming After Muni "
-"Rejects Ad,\" SFGate.com, 16 June 2003, available at <ulink "
+"Washington, D.C., area. Comcast rejected the ads as <quote>against [their] "
+"policy.</quote> The local NBC affiliate, WRC, rejected the ads without "
+"reviewing them. The local ABC affiliate, WJOA, originally agreed to run the "
+"ads and accepted payment to do so, but later decided not to run the ads and "
+"returned the collected fees. Interview with Neal Levine, 15 October 2003. "
+"These restrictions are, of course, not limited to drug policy. See, for "
+"example, Nat Ives, <quote>On the Issue of an Iraq War, Advocacy Ads Meet "
+"with Rejection from TV Networks,</quote> <citetitle>New York "
+"Times</citetitle>, 13 March 2003, C4. Outside of election-related air time "
+"there is very little that the FCC or the courts are willing to do to even "
+"the playing field. For a general overview, see Rhonda Brown, <quote>Ad Hoc "
+"Access: The Regulation of Editorial Advertising on Television and "
+"Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): "
+"449–79, and for a more recent summary of the stance of the FCC and the "
+"courts, see <citetitle>Radio-Television News Directors "
+"Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872 "
+"(D.C. Cir. 1999). Municipal authorities exercise the same authority as the "
+"networks. In a recent example from San Francisco, the San Francisco transit "
+"authority rejected an ad that criticized its Muni diesel buses. Phillip "
+"Matier and Andrew Ross, <quote>Antidiesel Group Fuming After Muni Rejects "
+"Ad,</quote> SFGate.com, 16 June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #32</ulink>. The ground was that "
-"the criticism was \"too controversial.\" <placeholder type=\"indexterm\" "
-"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder "
-"type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> "
-"<placeholder type=\"indexterm\" id=\"4\"/> <placeholder type=\"indexterm\" "
-"id=\"5\"/>"
+"the criticism was <quote>too controversial.</quote> <placeholder "
+"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
+"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
+"id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/> <placeholder "
+"type=\"indexterm\" id=\"5\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8225
+#: freeculture.xml:8228
msgid ""
"No. You cannot. Television stations have a general policy of avoiding "
-"\"controversial\" ads. Ads sponsored by the government are deemed "
+"<quote>controversial</quote> ads. Ads sponsored by the government are deemed "
"uncontroversial; ads disagreeing with the government are controversial. "
"This selectivity might be thought inconsistent with the First Amendment, but "
"the Supreme Court has held that stations have the right to choose what they "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8268
+#: freeculture.xml:8271
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:8280
+#: freeculture.xml:8283
msgid "Together"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8282
+#: freeculture.xml:8285
msgid ""
"There is something innocent and obvious about the claim of the copyright "
-"warriors that the government should \"protect my property.\" In the "
-"abstract, it is obviously true and, ordinarily, totally harmless. No sane "
-"sort who is not an anarchist could disagree."
+"warriors that the government should <quote>protect my property.</quote> In "
+"the abstract, it is obviously true and, ordinarily, totally harmless. No "
+"sane sort who is not an anarchist could disagree."
msgstr ""
#. PAGE BREAK 180
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8288
+#: freeculture.xml:8291
msgid ""
-"But when we see how dramatically this \"property\" has changed— when "
-"we recognize how it might now interact with both technology and markets to "
-"mean that the effective constraint on the liberty to cultivate our culture "
-"is dramatically different—the claim begins to seem less innocent and "
-"obvious. Given (1) the power of technology to supplement the law's control, "
-"and (2) the power of concentrated markets to weaken the opportunity for "
-"dissent, if strictly enforcing the massively expanded \"property\" rights "
-"granted by copyright fundamentally changes the freedom within this culture "
-"to cultivate and build upon our past, then we have to ask whether this "
-"property should be redefined."
+"But when we see how dramatically this <quote>property</quote> has "
+"changed— when we recognize how it might now interact with both "
+"technology and markets to mean that the effective constraint on the liberty "
+"to cultivate our culture is dramatically different—the claim begins to "
+"seem less innocent and obvious. Given (1) the power of technology to "
+"supplement the law's control, and (2) the power of concentrated markets to "
+"weaken the opportunity for dissent, if strictly enforcing the massively "
+"expanded <quote>property</quote> rights granted by copyright fundamentally "
+"changes the freedom within this culture to cultivate and build upon our "
+"past, then we have to ask whether this property should be redefined."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8304
+#: freeculture.xml:8307
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:8310
+#: freeculture.xml:8313
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:8322
+#: freeculture.xml:8325
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:8334
+#: freeculture.xml:8337
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:8358
+#: freeculture.xml:8361
msgid ""
-"Siva Vaidhyanathan captures a similar point in his \"four surrenders\" of "
-"copyright law in the digital age. See Vaidhyanathan, 159–60. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"Siva Vaidhyanathan captures a similar point in his <quote>four "
+"surrenders</quote> of copyright law in the digital age. See Vaidhyanathan, "
+"
159–60. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8343
+#: freeculture.xml:8346
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:8364
+#: freeculture.xml:8367
msgid "This has been a long chapter. Its point can now be briefly stated."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8367
+#: freeculture.xml:8370
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:8379 freeculture.xml:8416
+#: freeculture.xml:8382 freeculture.xml:8419
msgid "PUBLISH"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><thead><row><entry>
-#: freeculture.xml:8380 freeculture.xml:8417 freeculture.xml:8455 freeculture.xml:8487
+#: freeculture.xml:8383 freeculture.xml:8420 freeculture.xml:8458 freeculture.xml:8490
msgid "TRANSFORM"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:8385 freeculture.xml:8422 freeculture.xml:8460 freeculture.xml:8492
+#: freeculture.xml:8388 freeculture.xml:8425 freeculture.xml:8463 freeculture.xml:8495
msgid "Commercial"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:8386 freeculture.xml:8423 freeculture.xml:8424 freeculture.xml:8461 freeculture.xml:8462 freeculture.xml:8493 freeculture.xml:8494 freeculture.xml:8498 freeculture.xml:8499
+#: freeculture.xml:8389 freeculture.xml:8426 freeculture.xml:8427 freeculture.xml:8464 freeculture.xml:8465 freeculture.xml:8496 freeculture.xml:8497 freeculture.xml:8501 freeculture.xml:8502
msgid "©"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:8387 freeculture.xml:8391 freeculture.xml:8392 freeculture.xml:8428 freeculture.xml:8429 freeculture.xml:8467
+#: freeculture.xml:8390 freeculture.xml:8394 freeculture.xml:8395 freeculture.xml:8431 freeculture.xml:8432 freeculture.xml:8470
msgid "Free"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:8390 freeculture.xml:8427 freeculture.xml:8465 freeculture.xml:8497
+#: freeculture.xml:8393 freeculture.xml:8430 freeculture.xml:8468 freeculture.xml:8500
msgid "Noncommercial"
msgstr ""
#. PAGE BREAK 182
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8399
+#: freeculture.xml:8402
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:8408
+#: freeculture.xml:8411
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:8436
+#: freeculture.xml:8439
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:8442
+#: freeculture.xml:8445
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:8454 freeculture.xml:8486
+#: freeculture.xml:8457 freeculture.xml:8489
msgid "COPY"
msgstr ""
#. type: Content of: <book><part><chapter><section><informaltable><tgroup><tbody><row><entry>
-#: freeculture.xml:8466
+#: freeculture.xml:8469
msgid "©/Free"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8474
+#: freeculture.xml:8477
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:8506
+#: freeculture.xml:8509
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:8514
+#: freeculture.xml:8517
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:8520
+#: freeculture.xml:8523
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:8544
+#: freeculture.xml:8547
msgid "legal realist movement"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8538
+#: freeculture.xml:8541
msgid ""
"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, \"The Disintegration of "
-"Property,\" in <citetitle>Nomos XXII: Property</citetitle>, J. Roland "
+"and private interests. See Thomas C. Grey, <quote>The Disintegration of "
+"Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland "
"Pennock and John W. Chapman, eds. (New York: New York University Press, "
"1980). <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8532
+#: freeculture.xml:8535
msgid ""
"The issue is therefore not simply whether copyright is property. Of course "
-"copyright is a kind of \"property,\" 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<placeholder "
-"type=\"footnote\" id=\"0\"/>) 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 technologies. And for almost half of our tradition, the "
-"\"copyright\" did not control <emphasis>at all</emphasis> the freedom of "
-"others to 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."
+"copyright is a kind of <quote>property,</quote> 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<placeholder type=\"footnote\" id=\"0\"/>) 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 technologies. And for almost half of our "
+"tradition, the <quote>copyright</quote> did not control <emphasis>at "
+"all</emphasis> the freedom of others to 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."
msgstr ""
#. PAGE BREAK 184
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8556
+#: freeculture.xml:8559
msgid ""
"We achieved that free culture because our law respected important limits on "
-"the scope of the interests protected by \"property.\" The very birth of "
-"\"copyright\" as a statutory right recognized those limits, by granting "
-"copyright owners protection for a limited time only (the story of chapter "
-"6). The tradition of \"fair use\" is animated by a similar concern that is "
-"increasingly under strain as the costs of exercising any fair use right "
-"become unavoidably high (the story of chapter 7). Adding statutory rights "
-"where markets might stifle innovation is another familiar limit on the "
-"property right that copyright is (chapter 8). And granting archives and "
-"libraries a broad freedom to collect, claims of property notwithstanding, is "
-"a crucial part of guaranteeing the soul of a culture (chapter 9). Free "
-"cultures, like free markets, are built with property. But the nature of the "
-"property that builds a free culture is very different from the extremist "
-"vision that dominates the debate today."
+"the scope of the interests protected by <quote>property.</quote> The very "
+"birth of <quote>copyright</quote> as a statutory right recognized those "
+"limits, by granting copyright owners protection for a limited time only (the "
+"story of chapter 6). The tradition of <quote>fair use</quote> is animated by "
+"a similar concern that is increasingly under strain as the costs of "
+"exercising any fair use right become unavoidably high (the story of chapter "
+"7). Adding statutory rights where markets might stifle innovation is another "
+"familiar limit on the property right that copyright is (chapter 8). And "
+"granting archives and libraries a broad freedom to collect, claims of "
+"property notwithstanding, is a crucial part of guaranteeing the soul of a "
+"culture (chapter 9). Free cultures, like free markets, are built with "
+"property. But the nature of the property that builds a free culture is very "
+"different from the extremist vision that dominates the debate today."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8575
+#: freeculture.xml:8578
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:8592
+#: freeculture.xml:8595
msgid "PUZZLES"
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:8596
+#: freeculture.xml:8599
msgid "CHAPTER ELEVEN: Chimera"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:8598
+#: freeculture.xml:8601
msgid "chimeras"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:8601
+#: freeculture.xml:8604
msgid "Wells, H. G."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:8604
-msgid ""Country of the Blind, The" (Wells)"
+#: freeculture.xml:8607
+msgid "<quote>Country of the Blind, The</quote> (Wells)"
msgstr ""
#. f1.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:8612
+#: freeculture.xml:8615
msgid ""
-"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, "
-"<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael "
-"Sherborne, ed. (New York: Oxford University Press, 1996)."
+"H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See "
+"H. G. Wells, <citetitle>The Country of the Blind and Other "
+"Stories</citetitle>, Michael Sherborne, ed. (New York: Oxford University "
+"Press, 1996)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8608
+#: freeculture.xml:8611
msgid ""
"In a well-known 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.<placeholder type=\"footnote\" id=\"0\"/> The valley is "
-"extraordinarily beautiful, with \"sweet water, pasture, an even climate, "
-"slopes of rich brown soil with tangles of a shrub that bore an excellent "
-"fruit.\" But the villagers are all blind. Nunez takes this as an "
-"opportunity. \"In the Country of the Blind,\" he tells himself, \"the "
-"One-Eyed Man is King.\" So he resolves to live with the villagers to explore "
-"life as a king."
+"extraordinarily beautiful, with <quote>sweet water, pasture, an even "
+"climate, slopes of rich brown soil with tangles of a shrub that bore an "
+"excellent fruit.</quote> But the villagers are all blind. Nunez takes this "
+"as an opportunity. <quote>In the Country of the Blind,</quote> he tells "
+"himself, <quote>the One-Eyed Man is King.</quote> So he resolves to live "
+"with the villagers to explore life as a king."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8624
+#: freeculture.xml:8627
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 \"blind.\" "
-"They don't have the word <citetitle>blind</citetitle>. They think he's just "
-"thick. Indeed, as they increasingly notice the things he can't do (hear the "
-"sound of grass being stepped on, for example), they increasingly try to "
-"control him. He, in turn, becomes increasingly frustrated. \"`You don't "
-"understand,' he cried, in a voice that was meant to be great and resolute, "
-"and which broke. `You are blind and I can see. Leave me alone!'\""
+"to the villagers. They don't understand. He tells them they are "
+"<quote>blind.</quote> They don't have the word "
+"<citetitle>blind</citetitle>. They think he's just thick. Indeed, as they "
+"increasingly notice the things he can't do (hear the sound of grass being "
+"stepped on, for example), they increasingly try to control him. He, in turn, "
+"becomes increasingly frustrated. <quote>`You don't understand,' he cried, in "
+"a voice that was meant to be great and resolute, and which broke. `You are "
+"blind and I can see. Leave me alone!'</quote>"
msgstr ""
#. PAGE BREAK 187
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8636
+#: freeculture.xml:8639
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, "
-"a young woman who to him seems \"the most beautiful thing in the whole of "
-"creation,\" understands the beauty of sight. Nunez's description of what he "
-"sees \"seemed to her the most poetical of fancies, and she listened to his "
-"description of the stars and the mountains and her own sweet white-lit "
-"beauty as though it was a guilty indulgence.\" \"She did not believe,\" "
-"Wells tells us, and \"she could only half understand, but she was "
-"mysteriously delighted.\""
+"a young woman who to him seems <quote>the most beautiful thing in the whole "
+"of creation,</quote> understands the beauty of sight. Nunez's description of "
+"what he sees <quote>seemed to her the most poetical of fancies, and she "
+"listened to his description of the stars and the mountains and her own sweet "
+"white-lit beauty as though it was a guilty indulgence.</quote> <quote>She "
+"did not believe,</quote> Wells tells us, and <quote>she could only half "
+"understand, but she was mysteriously delighted.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8647
+#: freeculture.xml:8650
msgid ""
-"When Nunez announces his desire to marry his \"mysteriously delighted\" "
-"love, the father and the village object. \"You see, my dear,\" her father "
-"instructs, \"he's an idiot. He has delusions. He can't do anything right.\" "
-"They take Nunez to the village doctor."
+"When Nunez announces his desire to marry his <quote>mysteriously "
+"delighted</quote> love, the father and the village object. <quote>You see, "
+"my dear,</quote> her father instructs, <quote>he's an idiot. He has "
+"delusions. He can't do anything right.</quote> They take Nunez to the "
+"village doctor."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8653
+#: freeculture.xml:8656
msgid ""
-"After a careful examination, the doctor gives his opinion. \"His brain is "
-"affected,\" he reports."
+"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:8657
+#: freeculture.xml:8660
msgid ""
-"\"What affects it?\" the father asks. \"Those queer things that are called "
-"the eyes … are diseased … in such a way as to affect his "
-"brain.\""
+"<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 "
+"affect his brain.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8662
+#: freeculture.xml:8665
msgid ""
-"The doctor continues: \"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 easy "
-"surgical operation—namely, to remove these irritant bodies [the "
-"eyes].\""
+"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 "
+"easy surgical operation—namely, to remove these irritant bodies [the "
+"eyes].</quote>"
msgstr ""
#. PAGE BREAK 188
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8668
+#: freeculture.xml:8671
msgid ""
-"\"Thank Heaven for science!\" says the father to the doctor. They inform "
-"Nunez of this condition necessary for him to be allowed his bride. (You'll "
-"have to read the original to learn what happens in the end. I believe in "
-"free culture, but never in giving away the end of a story.) It sometimes "
-"happens that the eggs of twins fuse in the mother's womb. That fusion "
-"produces a \"chimera.\" A chimera is a single creature with two sets of "
-"DNA. The DNA in the blood, for example, might be different from the DNA of "
-"the skin. This possibility is an underused plot for murder mysteries. \"But "
-"the DNA shows with 100 percent certainty that she was not the person whose "
-"blood was at the scene. …\""
+"<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. "
+"(You'll have to read the original to learn what happens in the end. I "
+"believe in free culture, but never in giving away the end of a story.) It "
+"sometimes happens that the eggs of twins fuse in the mother's womb. That "
+"fusion produces a <quote>chimera.</quote> A chimera is a single creature "
+"with two sets of DNA. The DNA in the blood, for example, might be different "
+"from the DNA of the skin. This possibility is an underused plot for murder "
+"mysteries. <quote>But the DNA shows with 100 percent certainty that she was "
+"not the person whose blood was at the scene. …</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8685
+#: freeculture.xml:8688
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 "
"the code of an individual. Yet in fact, not only can two individuals have "
"the same set of DNA (identical twins), but one person can have two different "
-"sets of DNA (a chimera). Our understanding of a \"person\" should reflect "
-"this reality."
+"sets of DNA (a chimera). Our understanding of a <quote>person</quote> should "
+"reflect this reality."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8693
+#: freeculture.xml:8696
msgid ""
"The more I work to understand the current struggle over copyright and "
"culture, which I've sometimes called unfairly, and sometimes not unfairly "
-"enough, \"the copyright wars,\" the more I think we're dealing with a "
-"chimera. For example, in the battle over the question \"What is p2p file "
-"sharing?\" both sides have it right, and both sides have it wrong. One side "
-"says, \"File sharing is just like two kids taping each others' "
-"records—the sort of thing we've been doing for the last thirty years "
-"without any question at all.\" That's true, at least in part. When I tell my "
-"best friend to try out a new CD that I've bought, but rather than just send "
-"the CD, I point him to my p2p server, that is, in all relevant respects, "
-"just like what every executive in every recording company no doubt did as a "
-"kid: sharing music."
+"enough, <quote>the copyright wars,</quote> the more I think we're dealing "
+"with a chimera. For example, in the battle over the question <quote>What is "
+"p2p file sharing?</quote> both sides have it right, and both sides have it "
+"wrong. One side says, <quote>File sharing is just like two kids taping each "
+"others' records—the sort of thing we've been doing for the last thirty "
+"years without any question at all.</quote> That's true, at least in "
+"part. When I tell my best friend to try out a new CD that I've bought, but "
+"rather than just send the CD, I point him to my p2p server, that is, in all "
+"relevant respects, just like what every executive in every recording company "
+"no doubt did as a kid: sharing music."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8707
+#: freeculture.xml:8710
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 "
-"friends can get access, but it stretches the meaning of \"friends\" beyond "
-"recognition to say \"my ten thousand best friends\" can get access. Whether "
-"or not sharing my music with my best friend is what \"we have always been "
-"allowed to do,\" we have not always been allowed to share music with \"our "
-"ten thousand best friends.\""
+"friends can get access, but it stretches the meaning of "
+"<quote>friends</quote> beyond recognition to say <quote>my ten thousand best "
+"friends</quote> can get access. Whether or not sharing my music with my best "
+"friend is what <quote>we have always been allowed to do,</quote> we have not "
+"always been allowed to share music with <quote>our ten thousand best "
+"friends.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8716
+#: freeculture.xml:8719
msgid ""
-"Likewise, when the other side says, \"File sharing is just like walking into "
-"a Tower Records and taking a CD off the shelf and walking out with it,\" "
-"that's true, at least in part. If, after Lyle Lovett (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. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"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 "
+"it,</quote> that's true, at least in part. If, after Lyle Lovett (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. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 189
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8727
+#: freeculture.xml:8730
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:8737
+#: freeculture.xml:8740
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><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8783
+#: freeculture.xml:8786
msgid "Conyers, John, Jr."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8784 freeculture.xml:9488
+#: freeculture.xml:8787 freeculture.xml:9491
msgid "Berman, Howard L."
msgstr ""
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:8753
+#: freeculture.xml:8756
msgid ""
"For an excellent summary, see the report prepared by GartnerG2 and the "
-"Berkman Center for Internet and Society at Harvard Law School, \"Copyright "
-"and Digital Media in a Post-Napster World,\" 27 June 2003, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #33</ulink>. Reps. John "
-"Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill "
-"that would treat unauthorized on-line copying as a felony offense with "
-"punishments ranging as high as five years imprisonment; see Jon Healey, "
-"\"House Bill Aims to Up Stakes on Piracy,\" <citetitle>Los Angeles "
-"Times</citetitle>, 17 July 2003, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #34</ulink>. Civil penalties are "
-"currently set at $150,000 per copied song. For a recent (and unsuccessful) "
-"legal challenge to the RIAA's demand that an ISP reveal the identity of a "
-"user accused of sharing more than 600 songs through a family computer, see "
-"<citetitle>RIAA</citetitle> v. <citetitle>Verizon Internet Services (In "
-"re. Verizon Internet Services)</citetitle>, 240 F. Supp. 2d 24 "
-"(D.D.C. 2003). Such a user could face liability ranging as high as $90 "
-"million. Such astronomical figures furnish the RIAA with a powerful arsenal "
-"in its prosecution of file sharers. Settlements ranging from $12,000 to "
-"$17,500 for four students accused of heavy file sharing on university "
-"networks must have seemed a mere pittance next to the $98 billion the RIAA "
-"could seek should the matter proceed to court. See Elizabeth Young, "
-"\"Downloading Could Lead to Fines,\" redandblack.com, August 2003, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #35</ulink>. For an "
-"example of the RIAA's targeting of student file sharing, and of the "
-"subpoenas issued to universities to reveal student file-sharer identities, "
-"see James Collins, \"RIAA Steps Up Bid to Force BC, MIT to Name Students,\" "
+"Berkman Center for Internet and Society at Harvard Law School, "
+"<quote>Copyright and Digital Media in a Post-Napster World,</quote> 27 June "
+"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#33</ulink>. Reps. John Conyers Jr. (D-Mich.) and Howard L. Berman "
+"(D-Calif.) have introduced a bill that would treat unauthorized on-line "
+"copying as a felony offense with punishments ranging as high as five years "
+"imprisonment; see Jon Healey, <quote>House Bill Aims to Up Stakes on "
+"Piracy,</quote> <citetitle>Los Angeles Times</citetitle>, 17 July 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#34</ulink>. Civil penalties are currently set at $150,000 per copied "
+"song. For a recent (and unsuccessful) legal challenge to the RIAA's demand "
+"that an ISP reveal the identity of a user accused of sharing more than 600 "
+"songs through a family computer, see <citetitle>RIAA</citetitle> "
+"v. <citetitle>Verizon Internet Services (In re. Verizon Internet "
+"Services)</citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could "
+"face liability ranging as high as $90 million. Such astronomical figures "
+"furnish the RIAA with a powerful arsenal in its prosecution of file "
+"sharers. Settlements ranging from $12,000 to $17,500 for four students "
+"accused of heavy file sharing on university networks must have seemed a mere "
+"pittance next to the $98 billion the RIAA could seek should the matter "
+"proceed to court. See Elizabeth Young, <quote>Downloading Could Lead to "
+"Fines,</quote> redandblack.com, August 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #35</ulink>. For an example of "
+"the RIAA's targeting of student file sharing, and of the subpoenas issued to "
+"universities to reveal student file-sharer identities, see James Collins, "
+"<quote>RIAA Steps Up Bid to Force BC, MIT to Name Students,</quote> "
"<citetitle>Boston Globe</citetitle>, 8 August 2003, D3, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #36</ulink>. <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8744
+#: freeculture.xml:8747
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:8790
+#: freeculture.xml:8793
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:8797
+#: freeculture.xml:8800
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:8809
+#: freeculture.xml:8812
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:8817
+#: freeculture.xml:8820
msgid ""
-"I'm not talking about the opportunities for kids to \"steal\" music. My "
-"focus instead is the commercial and cultural innovation that this war will "
-"also kill. We have never seen the power to innovate spread so broadly among "
-"our citizens, and we have just begun to see the innovation that this power "
-"will unleash. Yet the Internet has already seen the passing of one cycle of "
-"innovation around technologies to distribute content. The law is responsible "
-"for this passing. As the vice president for global public policy at one of "
-"these new innovators, eMusic.com, put it when criticizing the DMCA's added "
-"protection for copyrighted material,"
+"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 "
+"war will also kill. We have never seen the power to innovate spread so "
+"broadly among our citizens, and we have just begun to see the innovation "
+"that this power will unleash. Yet the Internet has already seen the passing "
+"of one cycle of innovation around technologies to distribute content. The "
+"law is responsible for this passing. As the vice president for global public "
+"policy at one of these new innovators, eMusic.com, put it when criticizing "
+"the DMCA's added protection for copyrighted material,"
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:8830
+#: freeculture.xml:8833
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:8834
+#: freeculture.xml:8837
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:8851
+#: freeculture.xml:8854
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:8841
+#: freeculture.xml:8844
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:8865 freeculture.xml:9216
+#: freeculture.xml:8868 freeculture.xml:9219
msgid "Vivendi Universal"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8862
+#: freeculture.xml:8865
msgid ""
-"In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the "
-"major labels.\" Its position on these matters has now changed. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"In April 2001, eMusic.com was purchased by Vivendi Universal, one of "
+"<quote>the major labels.</quote> Its position on these matters has now "
+"changed. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8868
+#: freeculture.xml:8871
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:8876
+#: freeculture.xml:8879
msgid "CHAPTER TWELVE: Harms"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8878
+#: freeculture.xml:8881
msgid ""
-"To fight \"piracy,\" to protect \"property,\" the content industry has "
-"launched a war. Lobbying and lots of campaign contributions have now brought "
-"the government into this war. As with any war, this one will have both "
-"direct and collateral damage. As with any war of prohibition, these damages "
-"will be suffered most by our own people."
+"To fight <quote>piracy,</quote> to protect <quote>property,</quote> the "
+"content industry has launched a war. Lobbying and lots of campaign "
+"contributions have now brought the government into this war. As with any "
+"war, this one will have both direct and collateral damage. As with any war "
+"of prohibition, these damages will be suffered most by our own people."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8885
+#: freeculture.xml:8888
msgid ""
"My aim so far has been to describe the consequences of this war, in "
-"particular, the consequences for \"free culture.\" But my aim now is to "
-"extend this description of consequences into an argument. Is this war "
+"particular, the consequences for <quote>free culture.</quote> But my aim now "
+"is to extend this description of consequences into an argument. Is this war "
"justified?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8891
+#: freeculture.xml:8894
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 "
-"the property called \"intellectual property\" is at its greatest in our "
-"history."
+"the property called <quote>intellectual property</quote> is at its greatest "
+"in our history."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8899
+#: freeculture.xml:8902
msgid ""
-"Yet \"common sense\" 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 "
-"\"piracy\" still has play."
+"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 "
+"claims of control in the name of property still resonate; the uncritical "
+"rejection of <quote>piracy</quote> still has play."
msgstr ""
#. PAGE BREAK 193
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:8906
+#: freeculture.xml:8909
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:8913
+#: freeculture.xml:8916
msgid "Constraining Creators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8915
+#: freeculture.xml:8918
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:8930
+#: freeculture.xml:8933
msgid ""
-"This digital \"capturing and sharing\" is in part an extension of the "
-"capturing and sharing that has always been integral to our culture, and in "
-"part it is something new. It is continuous with the Kodak, but it explodes "
-"the boundaries of Kodak-like technologies. The technology of digital "
-"\"capturing and sharing\" promises a world of extraordinarily diverse "
-"creativity that can be easily and broadly shared. And as that creativity is "
-"applied to democracy, it will enable a broad range of citizens to use "
-"technology to express and criticize and contribute to the culture all "
-"around."
+"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 "
+"in part it is something new. It is continuous with the Kodak, but it "
+"explodes the boundaries of Kodak-like technologies. The technology of "
+"digital <quote>capturing and sharing</quote> promises a world of "
+"extraordinarily diverse creativity that can be easily and broadly "
+"shared. And as that creativity is applied to democracy, it will enable a "
+"broad range of citizens to use technology to express and criticize and "
+"contribute to the culture all around."
msgstr ""
#. PAGE BREAK 194
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8941
+#: freeculture.xml:8944
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:8951
+#: freeculture.xml:8954
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><indexterm><primary>
-#: freeculture.xml:8979 freeculture.xml:9000
+#: freeculture.xml:8982 freeculture.xml:9003
msgid "Worldcom"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8974
+#: freeculture.xml:8977
msgid ""
"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at "
"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; "
-"for details of the settlement, see MCI press release, \"MCI Wins "
-"U.S. District Court Approval for SEC Settlement\" (7 July 2003), available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. "
+"for details of the settlement, see MCI press release, <quote>MCI Wins "
+"U.S. District Court Approval for SEC Settlement</quote> (7 July 2003), "
+"a
vailable at <ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. "
"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:8995
+#: freeculture.xml:8998
msgid "Bush, George W."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:8986
+#: freeculture.xml:8989
msgid ""
"The bill, modeled after California's tort reform model, was passed in the "
"House of Representatives but defeated in a Senate vote in July 2003. For an "
-"overview, see Tanya Albert, \"Measure Stalls in Senate: `We'll Be Back,' Say "
-"Tort Reformers,\" amednews.com, 28 July 2003, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #38</ulink>, and \"Senate Turns "
-"Back Malpractice Caps,\" CBSNews.com, 9 July 2003, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #39</ulink>. President Bush has "
-"continued to urge tort reform in recent months. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be "
+"Back,' Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at "
+"<ulink url=\"http://free-culture.cc/notes/\">link #38</ulink>, and "
+"<quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#39</ulink>. President Bush has continued to urge tort reform in recent "
+"months. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:8962
+#: freeculture.xml:8965
msgid ""
"That presumption will increasingly chill creativity, as the examples of "
"extreme penalties for vague infringements continue to proliferate. It is "
#. f3.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9022
+#: freeculture.xml:9025
msgid ""
-"See Danit Lidor, \"Artists Just Wanna Be Free,\" "
+"See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> "
"<citetitle>Wired</citetitle>, 7 July 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #40</ulink>. For an overview of "
"the exhibition, see <ulink url=\"http://free-culture.cc/notes/\">link "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9003
+#: freeculture.xml:9006
msgid ""
"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 this creative "
-"process underground by branding the modern-day Walt Disneys \"pirates.\" We "
-"make it impossible for businesses to rely upon a public domain, because the "
-"boundaries of the public domain are designed to be unclear. It never pays to "
-"do anything except pay for the right to create, and hence only those who can "
-"pay are allowed to create. As was the case in the Soviet Union, though for "
-"very different reasons, we will begin to see a world of underground "
-"art—not because the 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 \"illegal art\" tour the United "
-"States.<placeholder type=\"footnote\" id=\"0\"/> In what does their "
-"\"illegality\" consist? In the act of mixing the culture around us with an "
-"expression that is critical or reflective."
+"process underground by branding the modern-day Walt Disneys "
+"<quote>pirates.</quote> We make it impossible for businesses to rely upon a "
+"public domain, because the boundaries of the public domain are designed to "
+"be unclear. It never pays to do anything except pay for the right to create, "
+"and hence only those who can pay are allowed to create. As was the case in "
+"the Soviet Union, though for very different reasons, we will begin to see a "
+"world of underground art—not because the 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 <quote>illegal "
+"art</quote> tour the United States.<placeholder type=\"footnote\" id=\"0\"/> "
+"In what does their <quote>illegality</quote> consist? In the act of mixing "
+"the culture around us with an expression that is critical or reflective."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9032
+#: freeculture.xml:9035
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:9044
+#: freeculture.xml:9047
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:9055
+#: freeculture.xml:9058
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:9066
+#: freeculture.xml:9069
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:9076
+#: freeculture.xml:9079
msgid ""
"Judges and lawyers can tell themselves that fair use provides adequate "
-"\"breathing room\" between regulation by the law and the access the law "
-"should allow. But it is a measure of how out of touch our legal system has "
-"become that anyone actually believes this. The rules that publishers impose "
-"upon writers, the rules that film distributors impose upon filmmakers, the "
-"rules that newspapers impose upon journalists— these are the real laws "
-"governing creativity. And these rules have little relationship to the "
-"\"law\" with which judges comfort themselves."
+"<quote>breathing room</quote> between regulation by the law and the access "
+"the law should allow. But it is a measure of how out of touch our legal "
+"system has become that anyone actually believes this. The rules that "
+"publishers impose upon writers, the rules that film distributors impose upon "
+"filmmakers, the rules that newspapers impose upon journalists— these "
+"are the real laws governing creativity. And these rules have little "
+"relationship to the <quote>law</quote> with which judges comfort themselves."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9087
+#: freeculture.xml:9090
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 "
"against a copyright infringement claim, and which would never return to the "
"wrongfully accused defendant anything of the costs she suffered to defend "
"her right to speak—in that world, the astonishingly broad regulations "
-"that pass under the name \"copyright\" silence speech and creativity. And in "
-"that world, it takes a studied blindness for people to continue to believe "
-"they live in a culture that is free."
+"that pass under the name <quote>copyright</quote> silence speech and "
+"creativity. And in that world, it takes a studied blindness for people to "
+"continue to believe they live in a culture that is free."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9098
+#: freeculture.xml:9101
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:9102
+#: freeculture.xml:9105
msgid ""
"We're losing [creative] opportunities right and left. Creative people are "
"being forced not to express themselves. Thoughts are not being "
"expressed. And while a lot of stuff may [still] be created, it still won't "
"get distributed. Even if the stuff gets made … you're not going to "
"get it distributed in the mainstream media unless you've got a little note "
-"from a lawyer saying, \"This has been cleared.\" You're not even going to "
-"get it on PBS without that kind of permission. That's the point at which "
-"they control it."
+"from a lawyer saying, <quote>This has been cleared.</quote> You're not even "
+"going to get it on PBS without that kind of permission. That's the point at "
+"which they control it."
msgstr ""
#. type: Content of: <book><part><chapter><section><title>
-#: freeculture.xml:9115
+#: freeculture.xml:9118
msgid "Constraining Innovators"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9117
+#: freeculture.xml:9120
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:9125
+#: freeculture.xml:9128
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 "
"ideologue. And if you're one of these sorts (and a special one at that, 188 "
"pages into a book like this), then you can see this other aspect by "
-"substituting \"free market\" every place I've spoken of \"free culture.\" "
-"The point is the same, even if the interests affecting culture are more "
-"fundamental."
+"substituting <quote>free market</quote> every place I've spoken of "
+"<quote>free culture.</quote> The point is the same, even if the interests "
+"affecting culture are more fundamental."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9134
+#: freeculture.xml:9137
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:9146 freeculture.xml:9254
+#: freeculture.xml:9149 freeculture.xml:9257
msgid "Barry, Hank"
msgstr ""
#. PAGE BREAK 198
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9148
+#: freeculture.xml:9151
msgid ""
"This is the single most dramatic effect of the shift in regulatory strategy "
"that I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"sign-off from last generation's dominant industries. That lesson has been "
"taught through a series of cases that were designed and executed to teach "
"venture capitalists a lesson. That lesson—what former Napster CEO Hank "
-"Barry calls a \"nuclear pall\" that has fallen over the Valley—has "
-"been learned."
+"Barry calls a <quote>nuclear pall</quote> that has fallen over the "
+"Valley—has been learned."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9161
+#: freeculture.xml:9164
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:9165
+#: freeculture.xml:9168
msgid "Roberts, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9167
+#: freeculture.xml:9170
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><para>
-#: freeculture.xml:9175
+#: freeculture.xml:9178
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:9183
+#: freeculture.xml:9186
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:9195
+#: freeculture.xml:9198
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:9204
+#: freeculture.xml:9207
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><para>
-#: freeculture.xml:9219
+#: freeculture.xml:9222
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:9229
+#: freeculture.xml:9232
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:9232
+#: freeculture.xml:9235
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:9242
+#: freeculture.xml:9245
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:9253
+#: freeculture.xml:9256
msgid "Hummer, John"
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9255
+#: freeculture.xml:9258
msgid "Hummer Winblad"
msgstr ""
#. f4.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9263
+#: freeculture.xml:9266
msgid ""
-"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" <citetitle>Los "
-"Angeles Times</citetitle>, 23 April 2003. For a parallel argument about the "
-"effects on innovation in the distribution of music, see Janelle Brown, \"The "
-"Music Revolution Will Not Be Digitized,\" Salon.com, 1 June 2001, available "
-"at <ulink url=\"http://free-culture.cc/notes/\">link #42</ulink>. See also "
-"Jon Healey, \"Online Music Services Besieged,\" <citetitle>Los Angeles "
-"Times</citetitle>, 28 May 2001."
+"See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> "
+"<citetitle>Los Angeles Times</citetitle>, 23 April 2003. For a parallel "
+"argument about the effects on innovation in the distribution of music, see "
+"Janelle Brown, <quote>The Music Revolution Will Not Be Digitized,</quote> "
+"Salon.com, 1 June 2001, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #42</ulink>. See also Jon "
+"Healey, <quote>Online Music Services Besieged,</quote> <citetitle>Los "
+"Angeles Times</citetitle>, 28 May 2001."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9257
+#: freeculture.xml:9260
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><indexterm><primary>
-#: freeculture.xml:9287
+#: freeculture.xml:9290
msgid "BMW"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9302
+#: freeculture.xml:9305
msgid "Needleman, Rafe"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para><footnote><para>
-#: freeculture.xml:9298
+#: freeculture.xml:9301
msgid ""
-"Rafe Needleman, \"Driving in Cars with MP3s,\" <citetitle>Business "
-"2.0</citetitle>, 16 June 2003, available at <ulink "
+"Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> "
+"
<citetitle>Business 2.0</citetitle>, 16 June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #43</ulink>. I am grateful to "
"Dr. Mohammad Al-Ubaydli for this example. <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:9289
+#: freeculture.xml:9292
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:9307
+#: freeculture.xml:9310
msgid ""
-"This is the world of the mafia—filled with \"your money or your life\" "
-"offers, governed in the end not by courts but by the threats that the law "
-"empowers copyright holders to exercise. It is a system that will obviously "
-"and necessarily stifle new innovation. It is hard enough to start a "
-"company. It is impossibly hard if that company is constantly threatened by "
-"litigation."
+"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 "
+"that the law empowers copyright holders to exercise. It is a system that "
+"will obviously and necessarily stifle new innovation. It is hard enough to "
+"start a company. It is impossibly hard if that company is constantly "
+"threatened by litigation."
msgstr ""
#. PAGE BREAK 201
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9317
+#: freeculture.xml:9320
msgid ""
"The point is not that businesses should have a right to start illegal "
-"enterprises. The point is the definition of \"illegal.\" The law is a mess "
-"of uncertainty. We have no good way to know how it should apply to new "
-"technologies. Yet by reversing our tradition of judicial deference, and by "
-"embracing the astonishingly high penalties that copyright law imposes, that "
-"uncertainty now yields a reality which is far more conservative than is "
+"enterprises. The point is the definition of <quote>illegal.</quote> The law "
+"is a mess of uncertainty. We have no good way to know how it should apply to "
+"new technologies. Yet by reversing our tradition of judicial deference, and "
+"by embracing the astonishingly high penalties that copyright law imposes, "
+"that uncertainty now yields a reality which is far more conservative than is "
"right. If the law imposed the death penalty for parking tickets, we'd not "
"only have fewer parking tickets, we'd also have much less driving. The same "
"principle applies to innovation. If innovation is constantly checked by this "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9331
+#: freeculture.xml:9334
msgid ""
"The point is directly parallel to the crunchy-lefty point about fair "
-"use. Whatever the \"real\" law is, realism about the effect of law in both "
-"contexts is the same. This wildly punitive system of regulation will "
-"systematically stifle creativity and innovation. It will protect some "
+"use. Whatever the <quote>real</quote> law is, realism about the effect of "
+"law in both contexts is the same. This wildly punitive system of regulation "
+"will systematically stifle creativity and innovation. It will protect some "
"industries and some creators, but it will harm industry and creativity "
"generally. Free market and free culture depend upon vibrant competition. "
"Yet the effect of the law today is to stifle just this kind of competition. "
#. PAGE BREAK 202
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9343
+#: freeculture.xml:9346
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:9365
+#: freeculture.xml:9368
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 "
"design. But from the perspective of the content industry, this feature is a "
-"\"bug.\" The efficient spread of content means that content distributors "
-"have a harder time controlling the distribution of content. One obvious "
-"response to this efficiency is thus to make the Internet less efficient. If "
-"the Internet enables \"piracy,\" then, this response says, we should break "
-"the kneecaps of the Internet."
+"<quote>bug.</quote> The efficient spread of content means that content "
+"distributors have a harder time controlling the distribution of content. "
+"One obvious response to this efficiency is thus to make the Internet less "
+"efficient. If the Internet enables <quote>piracy,</quote> then, this "
+"response says, we should break the kneecaps of the Internet."
msgstr ""
#. f6.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9379
+#: freeculture.xml:9382
msgid ""
-"\"Copyright and Digital Media in a Post-Napster World,\" GartnerG2 and the "
-"Berkman Center for Internet and Society at Harvard Law School (2003), "
-"33–35, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#44</ulink>."
+"<quote>Copyright and Digital Media in a Post-Napster World,</quote> "
+"GartnerG2 and the Berkman Center for Internet and Society at Harvard Law "
+"School (2003), 33–35, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #44</ulink>."
msgstr ""
#. f7.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9392
+#: freeculture.xml:9395
msgid "GartnerG2, 26–27."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9375
+#: freeculture.xml:9378
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 "
"require computers to determine whether the content they access is protected "
"or not, and to disable the spread of protected content.<placeholder "
"type=\"footnote\" id=\"0\"/> Congress has already launched proceedings to "
-"explore a mandatory \"broadcast flag\" 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.<placeholder "
+"explore a mandatory <quote>broadcast flag</quote> 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.<placeholder "
"type=\"footnote\" id=\"1\"/>"
msgstr ""
#. PAGE BREAK 203
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9396
+#: freeculture.xml:9399
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 "
#. f8.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9410
+#: freeculture.xml:9413
msgid ""
-"See David McGuire, \"Tech Execs Square Off Over Piracy,\" Newsbytes, "
-"February 2002 (Entertainment)."
+"See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> "
+"Newsbytes, February 2002 (Entertainment)."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:9416 freeculture.xml:11232
+#: freeculture.xml:9419 freeculture.xml:11235
msgid "Intel"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9406
+#: freeculture.xml:9409
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:9419
+#: freeculture.xml:9422
msgid ""
"There is one more obvious way in which this war has harmed "
"innovation—again, a story that will be quite familiar to the free "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9424
+#: freeculture.xml:9427
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>
-#: freeculture.xml:9436
+#: freeculture.xml:9439
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:9430
+#: freeculture.xml:9433
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:9447
+#: freeculture.xml:9450
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 "
#. f10.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9456
+#: freeculture.xml:9459
msgid ""
"The only circuit court exception is found in <citetitle>Recording Industry "
"Association of America (RIAA)</citetitle> v. <citetitle>Diamond Multimedia "
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9489
+#: freeculture.xml:9492
msgid "Hollings, Fritz"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9474
+#: freeculture.xml:9477
msgid ""
"For example, in July 2002, Representative Howard Berman introduced the "
"Peer-to-Peer Piracy Prevention Act (H.R. 5211), which would immunize "
"copyright holders use technology to stop copyright infringement. In August "
"2002, Representative Billy Tauzin introduced a bill to mandate that "
"technologies capable of rebroadcasting digital copies of films broadcast on "
-"TV (i.e., computers) respect a \"broadcast flag\" that would disable copying "
-"of that content. And in March of the same year, Senator Fritz Hollings "
-"introduced the Consumer Broadband and Digital Television Promotion Act, "
-"which mandated copyright protection technology in all digital media "
-"devices. See GartnerG2, \"Copyright and Digital Media in a Post-Napster "
-"
World,\" 27 June 2003, 33–34, available at <ulink "
+"TV (i.e., computers) respect a <quote>broadcast flag</quote> that would "
+"disable copying of that content. And in March of the same year, Senator "
+"Fritz Hollings introduced the Consumer Broadband and Digital Television "
+"Promotion Act, which mandated copyright protection technology in all digital "
+"media devices. See GartnerG2, <quote>Copyright and Digital Media in a "
+"
Post-Napster World,</quote> 27 June 2003, 33–34, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #44</ulink>. <placeholder "
"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9454
+#: freeculture.xml:9457
msgid ""
"The response by the courts has been fairly universal.<placeholder "
"type=\"footnote\" id=\"0\"/> It has been mirrored in the responses "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9497
+#: freeculture.xml:9500
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"pirates\"/>, when a radio station plays a song, the recording "
-"artist doesn't get paid for that \"radio performance\" unless he or she is "
-"also the composer. So, for example if Marilyn Monroe had recorded a version "
-"of \"Happy Birthday\"—to memorialize her famous performance before "
-"President Kennedy at Madison Square Garden— then whenever that "
-"recording was played on the radio, the current copyright owners of \"Happy "
-"Birthday\" would get some money, whereas Marilyn Monroe would not. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"artist doesn't get paid for that <quote>radio performance</quote> unless he "
+"or she is also the composer. So, for example if Marilyn Monroe had recorded "
+"a version of <quote>Happy Birthday</quote>—to memorialize her famous "
+"performance before President Kennedy at Madison Square Garden— then "
+"whenever that recording was played on the radio, the current copyright "
+"owners of <quote>Happy Birthday</quote> would get some money, whereas "
+"
Marilyn Monroe would not. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9509
+#: freeculture.xml:9512
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:9520
+#: freeculture.xml:9523
msgid ""
"Enter Internet radio. Like regular radio, Internet radio is a technology to "
"stream content from a broadcaster to a listener. The broadcast travels "
"across the Internet, not across the ether of radio spectrum. Thus, I can "
-"\"tune in\" to an Internet radio station in Berlin while sitting in San "
-"Francisco, even though there's no way for me to tune in to a regular radio "
-"station much beyond the San Francisco metropolitan area."
+"<quote>tune in</quote> to an Internet radio station in Berlin while sitting "
+"in San Francisco, even though there's no way for me to tune in to a regular "
+"radio station much beyond the San Francisco metropolitan area."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9529
+#: freeculture.xml:9532
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:9544
+#: freeculture.xml:9547
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:9568
+#: freeculture.xml:9571
msgid "Lessing, 239."
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:9554
+#: freeculture.xml:9557
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:9578
+#: freeculture.xml:9581
msgid "Ibid., 229."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9573
+#: freeculture.xml:9576
msgid ""
"This potential for FM radio was never realized—not because Armstrong "
"was wrong about the technology, but because he underestimated the power of "
-"
\"vested interests, habits, customs and legislation\"<placeholder "
+"
<quote>vested interests, habits, customs and legislation</quote><placeholder "
"type=\"footnote\" id=\"0\"/> to retard the growth of this competing "
"technology."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9583
+#: freeculture.xml:9586
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 "
#. PAGE BREAK 206
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9591
+#: freeculture.xml:9594
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 "
"radio in 1995, the lobbyists had primed Congress to adopt a different rule "
"for Internet radio than the rule that applies to terrestrial radio. While "
"terrestrial radio does not have to pay our hypothetical Marilyn Monroe when "
-"it plays her hypothetical recording of \"Happy Birthday\" on the air, "
-"<emphasis>Internet radio does</emphasis>. Not only is the law not neutral "
-"toward Internet radio—the law actually burdens Internet radio more "
-"than it burdens terrestrial radio."
+"it plays her hypothetical recording of <quote>Happy Birthday</quote> on the "
+"air, <emphasis>Internet radio does</emphasis>. Not only is the law not "
+"neutral toward Internet radio—the law actually burdens Internet radio "
+"more than it burdens terrestrial radio."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para><indexterm><primary>
-#: freeculture.xml:9630
+#: freeculture.xml:9633
msgid "CARP (Copyright Arbitration Royalty Panel)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9613
+#: freeculture.xml:9616
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 "
"Zittrain, Digital Performance Right in Sound Recordings and Ephemeral "
"Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent "
-"analysis making a similar point, see Randal C. Picker, \"Copyright as Entry "
-"Policy: The Case of Digital Distribution,\" <citetitle>Antitrust "
-"Bulletin</citetitle> (Summer/Fall 2002): 461: \"This was not confusion, "
+"analysis making a similar point, see Randal C. Picker, <quote>Copyright as "
+"Entry Policy: The Case of Digital Distribution,</quote> <citetitle>Antitrust "
+"Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was not confusion, "
"these are just old-fashioned entry barriers. Analog radio stations are "
"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.\" <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
-"type=\"indexterm\" id=\"1\"/>"
+"media-neutral way.</quote> <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9606
+#: freeculture.xml:9609
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:9637
+#: freeculture.xml:9640
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:9645
+#: freeculture.xml:9648
msgid "name of the service;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9648
+#: freeculture.xml:9651
msgid "channel of the program (AM/FM stations use station ID);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9651
+#: freeculture.xml:9654
msgid "type of program (archived/looped/live);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9654
+#: freeculture.xml:9657
msgid "date of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9657
+#: freeculture.xml:9660
msgid "time of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9660
+#: freeculture.xml:9663
msgid "time zone of origination of transmission;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9663
+#: freeculture.xml:9666
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:9666
+#: freeculture.xml:9669
msgid "duration of transmission (to nearest second);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9669
+#: freeculture.xml:9672
msgid "sound recording title;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9672
+#: freeculture.xml:9675
msgid "ISRC code of the recording;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9675
+#: freeculture.xml:9678
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:9678
+#: freeculture.xml:9681
msgid "featured recording artist;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9681
+#: freeculture.xml:9684
msgid "retail album title;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9684
+#: freeculture.xml:9687
msgid "recording label;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9687
+#: freeculture.xml:9690
msgid "UPC code of the retail album;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9690
+#: freeculture.xml:9693
msgid "catalog number;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9693
+#: freeculture.xml:9696
msgid "copyright owner information;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9696
+#: freeculture.xml:9699
msgid "musical genre of the channel or program (station format);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9699
+#: freeculture.xml:9702
msgid "name of the service or entity;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9702
+#: freeculture.xml:9705
msgid "channel or program;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9705
+#: freeculture.xml:9708
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:9708
+#: freeculture.xml:9711
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:9711
+#: freeculture.xml:9714
msgid "time zone where the signal was received (user);"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9714
+#: freeculture.xml:9717
msgid "unique user identifier;"
msgstr ""
#. type: Content of: <book><part><chapter><section><orderedlist><listitem><para>
-#: freeculture.xml:9717
+#: freeculture.xml:9720
msgid "the country in which the user received the transmissions."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9722
+#: freeculture.xml:9725
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:9730
+#: freeculture.xml:9733
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:9735 freeculture.xml:14313
+#: freeculture.xml:9738 freeculture.xml:14316
msgid "Real Networks"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9737
+#: freeculture.xml:9740
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:9743
+#: freeculture.xml:9746
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 "
"it was much higher. It was ten times higher than what radio stations pay to "
"perform the same songs for the same period of time. And so the attorneys "
-"representing the webcasters asked the RIAA, … \"How do you come up "
-"with a rate that's so much higher? Why is it worth more than radio? Because "
-"here we have hundreds of thousands of webcasters who want to pay, and 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. …\""
+"representing the webcasters asked the RIAA, … <quote>How do you come "
+"up with a rate that's so much higher? Why is it worth more than radio? "
+"Because here we have hundreds of thousands of webcasters who want to pay, "
+"and 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. …</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:9758
+#: freeculture.xml:9761
msgid ""
-"And the RIAA experts said, \"Well, we don't really model this as an industry "
-"with thousands of webcasters, <emphasis>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</emphasis>.\" (Emphasis added.)"
+"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 "
+"industry with, you know, five or seven big players who can pay a high rate "
+"and it's a stable, predictable market</emphasis>.</quote> (Emphasis added.)"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9766
+#: freeculture.xml:9769
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:9776
+#: freeculture.xml:9779
msgid "Corrupting Citizens"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9778
+#: freeculture.xml:9781
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:9784
+#: freeculture.xml:9787
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:9793
+#: freeculture.xml:9796
msgid ""
-"Mike Graziano and Lee Rainie, \"The Music Downloading Deluge,\" Pew Internet "
-"and American Life Project (24 April 2001), available at <ulink "
+"Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> "
+"
Pew Internet and American Life Project (24 April 2001), available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #46</ulink>. The Pew Internet "
"and American Life Project reported that 37 million Americans had downloaded "
"music files from the Internet by early 2001."
#. PAGE BREAK 209
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9789
+#: freeculture.xml:9792
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:9827
+#: freeculture.xml:9830
msgid ""
-"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" "
-"<citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business."
+"Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA "
+"Case,</quote> <citetitle>Los Angeles Times</citetitle>, 10 September 2003, "
+"Business."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9814
+#: freeculture.xml:9817
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 "
#. f17.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9849
+#: freeculture.xml:9852
msgid ""
-"Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During "
-"Prohibition,\" <citetitle>American Economic Review</citetitle> 81, no. 2 "
-"(1991): 242."
+"Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During "
+"Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, "
+"no. 2 (1991): 242."
msgstr ""
#. f18.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:9857
+#: freeculture.xml:9860
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:9867
+#: freeculture.xml:9870
msgid ""
-"See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "
-"<citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey "
-"of compliance literature)."
+"See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax "
+"Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 "
+"(1998): 818 (survey of compliance literature)."
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:9874
+#: freeculture.xml:9877
msgid "alcohol prohibition"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9839
+#: freeculture.xml:9842
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 "
"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.<placeholder "
-"type=\"footnote\" id=\"2\"/> We pride ourselves on our \"free society,\" 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. <placeholder type=\"indexterm\" id=\"3\"/>"
+"type=\"footnote\" id=\"2\"/> We pride ourselves on our <quote>free "
+"society,</quote> 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. <placeholder type=\"indexterm\" "
+"id=\"3\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:9892
+#: freeculture.xml:9895
msgid "law schools"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9877
+#: freeculture.xml:9880
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 "
-"about the importance of \"ethics.\" As my colleague Charlie Nesson told a "
-"class at Stanford, each year law schools admit thousands of students who "
-"have illegally downloaded music, illegally consumed alcohol and sometimes "
-"drugs, illegally worked without paying taxes, illegally driven cars. These "
-"are kids for whom behaving illegally is increasingly the norm. And then we, "
-"as law professors, are supposed to teach them how to behave "
-"ethically—how to say no to bribes, or keep client funds separate, or "
-"honor a demand to disclose a document that will mean that your case is "
-"over. Generations of Americans—more significantly in some parts of "
-"America than in others, but still, everywhere in America today—can't "
-"live their lives both normally and legally, since \"normally\" entails a "
-"certain degree of illegality. <placeholder type=\"indexterm\" id=\"0\"/>"
+"about the importance of <quote>ethics.</quote> As my colleague Charlie "
+"Nesson told a class at Stanford, each year law schools admit thousands of "
+"students who have illegally downloaded music, illegally consumed alcohol and "
+"sometimes drugs, illegally worked without paying taxes, illegally driven "
+"cars. These are kids for whom behaving illegally is increasingly the "
+"norm. And then we, as law professors, are supposed to teach them how to "
+"behave ethically—how to say no to bribes, or keep client funds "
+"separate, or honor a demand to disclose a document that will mean that your "
+"case is over. Generations of Americans—more significantly in some "
+"parts of America than in others, but still, everywhere in America "
+"today—can't live their lives both normally and legally, since "
+"<quote>normally</quote> entails a certain degree of illegality. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9895
+#: freeculture.xml:9898
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:9908
+#: freeculture.xml:9911
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:9915
+#: freeculture.xml:9918
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 "
"incarcerate the rapist. But I do care whether my students respect the "
"law. And I do care if the rules of law sow increasing disrespect because of "
"the extreme of regulation they impose. Twenty million Americans have come "
-"of age since the Internet introduced this different idea of \"sharing.\" We "
-"need to be able to call these twenty million Americans \"citizens,\" not "
-"\"felons.\""
+"of age since the Internet introduced this different idea of "
+"<quote>sharing.</quote> We need to be able to call these twenty million "
+"Americans <quote>citizens,</quote> not <quote>felons.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9929
+#: freeculture.xml:9932
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:9941
+#: freeculture.xml:9944
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:9944
+#: freeculture.xml:9947
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 "
"protects our right to buy and sell that plastic: It is not a copyright "
"infringement for me to sell all my classical records at a used record store "
-"and buy jazz records to replace them. That \"use\" of the recordings is "
-"free."
+"and buy jazz records to replace them. That <quote>use</quote> of the "
+"recordings is free."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9955
+#: freeculture.xml:9958
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 "
-"copy-protection technologies, I am \"free\" to copy, or \"rip,\" music from "
-"my records onto a computer hard disk. Indeed, Apple Corporation went so far "
-"as to suggest that \"freedom\" was a right: In a series of commercials, "
-"Apple endorsed the \"Rip, Mix, Burn\" capacities of digital technologies."
+"copy-protection technologies, I am <quote>free</quote> to copy, or "
+"<quote>rip,</quote> music from my records onto a computer hard disk. Indeed, "
+"Apple Corporation went so far as to suggest that <quote>freedom</quote> was "
+"a right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, "
+"Burn</quote> capacities of digital technologies."
msgstr ""
#. type: Content of: <book><part><chapter><section><indexterm><primary>
-#: freeculture.xml:9963
+#: freeculture.xml:9966
msgid "Adromeda"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9965
+#: freeculture.xml:9968
msgid ""
-"This \"use\" 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 program called "
-"Andromeda, we can build different play lists of our music: Bach, Baroque, "
-"Love Songs, Love Songs of Significant Others—the potential is "
+"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 "
+"them in one archive. Then, using Apple's iTunes, or a wonderful program "
+"called Andromeda, we can build different play lists of our music: Bach, "
+"Baroque, Love Songs, Love Songs of Significant Others—the potential is "
"endless. And by reducing the costs of mixing play lists, these technologies "
"help build a creativity with play lists that is itself independently "
"valuable. Compilations of songs are creative and meaningful in their own "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:9976
+#: freeculture.xml:9979
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:9986
+#: freeculture.xml:9989
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, "
"protection technologies would effectively destroy the archiving use of "
"CDs. The technology, in other words, would force us all back to the world "
"where we either listened to music by manipulating pieces of plastic or were "
-"part of a massively complex \"digital rights management\" system."
+"part of a massively complex <quote>digital rights management</quote> system."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10000
+#: freeculture.xml:10003
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:10009
+#: freeculture.xml:10012
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:10020
+#: freeculture.xml:10023
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:10029
+#: freeculture.xml:10032
msgid ""
"Except that this generation's buggy manufacturers have already saddled "
"Congress, and are riding the law to protect themselves against this new form "
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10035
+#: freeculture.xml:10038
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; "
"important as our tradition of free culture. There's one more aspect to this "
"corruption that is particularly important to civil liberties, and follows "
"directly from any war of prohibition. As Electronic Frontier Foundation "
-"attorney Fred von Lohmann describes, this is the \"collateral damage\" that "
-"\"arises whenever you turn a very large percentage of the population into "
-"criminals.\" This is the collateral damage to civil liberties generally. "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"attorney Fred von Lohmann describes, this is the <quote>collateral "
+"damage</quote> that <quote>arises whenever you turn a very large percentage "
+"of the population into criminals.</quote> This is the collateral damage to "
+"
civil liberties generally. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para><indexterm><primary>
-#: freeculture.xml:10054 freeculture.xml:10163
+#: freeculture.xml:10057 freeculture.xml:10166
msgid "von Lohmann, Fred"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10052
+#: freeculture.xml:10055
msgid ""
-"\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains, "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"<quote>If you can treat someone as a putative lawbreaker,</quote> von "
+"
Lohmann explains, <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10058
+#: freeculture.xml:10061
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 "
"hope to have any privacy rights? If you're a copyright infringer, how can "
"you hope to be secure against seizures of your computer? How can you hope to "
"continue to receive Internet access? … Our sensibilities change as "
-"soon as we think, \"Oh, well, but that person's a criminal, a lawbreaker.\" "
-"Well, what this campaign against file sharing has done is turn a remarkable "
-"percentage of the American Internet-using population into \"lawbreakers.\""
+"soon as we think, <quote>Oh, well, but that person's a criminal, a "
+"lawbreaker.</quote> Well, what this campaign against file sharing has done "
+"is turn a remarkable percentage of the American Internet-using population "
+"into <quote>lawbreakers.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10070
+#: freeculture.xml:10073
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:10075
+#: freeculture.xml:10078
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:10093
-msgid ""
-"See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in "
-"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington "
-"Post</citetitle>, 10 September 2003, E1; Chris Cobbs, \"Worried Parents Pull "
-"Plug on File `Stealing'; With the Music Industry Cracking Down on File "
-"Swapping, Parents are Yanking Software from Home PCs to Avoid Being Sued,\" "
-"<citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; "
-"Jefferson Graham, \"Recording Industry Sues Parents,\" <citetitle>USA "
-"Today</citetitle>, 15 September 2003, 4D; John Schwartz, \"She Says She's No "
-"Music Pirate. No Snoop Fan, Either,\" <citetitle>New York Times</citetitle>, "
-"25 September 2003, C1; Margo Varadi, \"Is Brianna a Criminal?\" "
+#: freeculture.xml:10096
+msgid ""
+"See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single "
+"Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote> "
+"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, "
+"<quote>Worried Parents Pull Plug on File `Stealing'; With the Music Industry "
+"Cracking Down on File Swapping, Parents are Yanking Software from Home PCs "
+"to Avoid Being Sued,</quote> <citetitle>Orlando Sentinel "
+"Tribune</citetitle>, 30 August 2003, C1; Jefferson Graham, <quote>Recording "
+"Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 "
+"September 2003, 4D; John Schwartz, <quote>She Says She's No Music Pirate. No "
+"Snoop Fan, Either,</quote> <citetitle>New York Times</citetitle>, 25 "
+"September 2003, C1; Margo Varadi, <quote>Is Brianna a Criminal?</quote> "
"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10084
+#: freeculture.xml:10087
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:10111
+#: freeculture.xml:10114
msgid ""
-"See \"Revealed: How RIAA Tracks Downloaders: Music Industry Discloses Some "
-"
Methods Used,\" CNN.com, available at <ulink "
+"See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses "
+"
Some Methods Used,</quote> CNN.com, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #47</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10107
+#: freeculture.xml:10110
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 "
"to track Napster users.<placeholder type=\"footnote\" id=\"0\"/> 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 \"fingerprint.\""
+"MP3s will have the same <quote>fingerprint.</quote>"
msgstr ""
#. f22.
#. type: Content of: <book><part><chapter><section><para><footnote><para>
-#: freeculture.xml:10132
-msgid ""
-"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" "
-"<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank "
-"Ahrens, \"Four Students Sued over Music Sites; Industry Group Targets File "
-"Sharing at Colleges,\" <citetitle>Washington Post</citetitle>, 4 April 2003, "
-"E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at Their Own Risk,\" "
+#: freeculture.xml:10135
+msgid ""
+"See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not "
+"Penitent,</quote> <citetitle>Boston Globe</citetitle>, 18 May 2003, City "
+"Weekly, 1; Frank Ahrens, <quote>Four Students Sued over Music Sites; "
+"Industry Group Targets File Sharing at Colleges,</quote> "
+"<citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth "
+"Armstrong, <quote>Students `Rip, Mix, Burn' at Their Own Risk,</quote> "
"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; "
-"Robert Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two "
-"Students Names Are Handed Over; Lawsuit Possible,\" <citetitle>Chicago "
-"Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, \"RIAA Trains Antipiracy "
-"Guns on Universities,\" <citetitle>Internet News</citetitle>, 30 January "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#48</ulink>; Benny Evangelista, \"Download Warning 101: Freshman Orientation "
-"This Fall to Include Record Industry Warnings Against File Sharing,\" "
-"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; \"Raid, "
-"Letters Are Weapons at Universities,\" <citetitle>USA Today</citetitle>, 26 "
+"Robert Becker and Angela Rozas, <quote>Music Pirate Hunt Turns to Loyola; "
+"Two Students Names Are Handed Over; Lawsuit Possible,</quote> "
+"<citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, "
+"<quote>RIAA Trains Antipiracy Guns on Universities,</quote> "
+"<citetitle>Internet News</citetitle>, 30 January 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #48</ulink>; Benny Evangelista, "
+"<quote>Download Warning 101: Freshman Orientation This Fall to Include "
+"Record Industry Warnings Against File Sharing,</quote> <citetitle>San "
+"Francisco Chronicle</citetitle>, 11 August 2003, E11; <quote>Raid, Letters "
+"Are Weapons at Universities,</quote> <citetitle>USA Today</citetitle>, 26 "
"September 2000, 3D."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10120
+#: freeculture.xml:10123
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 "
"used to make as a kid. You don't know, and neither does your daughter, where "
"these songs came from. But she copies these songs onto her computer. She "
"then takes her computer to college and connects it to a college network, and "
-"if the college network is \"cooperating\" with the RIAA's espionage, and she "
-"hasn't 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 \"criminal.\" And under the rules that universities are beginning to "
-"deploy,<placeholder type=\"footnote\" id=\"0\"/> your daughter can lose the "
-"right to use the university's computer network. She can, in some cases, be "
-"expelled."
+"if the college network is <quote>cooperating</quote> with the RIAA's "
+"espionage, and she hasn't 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 <quote>criminal.</quote> And under the rules "
+"that universities are beginning to deploy,<placeholder type=\"footnote\" "
+"id=\"0\"/> your daughter can lose the right to use the university's computer "
+"network. She can, in some cases, be expelled."
msgstr ""
#. type: Content of: <book><part><chapter><section><para>
-#: freeculture.xml:10151
+#: freeculture.xml:10154
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 "
"she didn't know anything about the source of the songs or that they came "
"from Napster. And it may well be that the university believes her. But the "
-"university might not believe her. It might treat this \"contraband\" as "
-"presumptive of guilt. And as any number of college students have already "
-"learned, our presumptions about innocence disappear in the middle of wars of "
-"prohibition. This war is no different. Says von Lohmann, <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"university might not believe her. It might treat this "
+"<quote>contraband</quote> as presumptive of guilt. And as any number of "
+"college students have already learned, our presumptions about innocence "
+"disappear in the middle of wars of prohibition. This war is no different. "
+"Says von Lohmann, <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><section><blockquote><para>
-#: freeculture.xml:10167
+#: freeculture.xml:10170
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:10187
+#: freeculture.xml:10190
msgid ""
-"When forty to sixty million Americans are considered \"criminals\" under the "
-"law, and when the law could achieve the same objective— securing "
-"rights to authors—without these millions being considered "
-"\"criminals,\" 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?"
+"When forty to sixty million Americans are considered "
+"<quote>criminals</quote> under the law, and when the law could achieve the "
+"same objective— securing rights to authors—without these "
+"millions being considered <quote>criminals,</quote> 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?"
msgstr ""
#. type: Content of: <book><part><title>
-#: freeculture.xml:10200
+#: freeculture.xml:10203
msgid "BALANCES"
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:10205
+#: freeculture.xml:10208
msgid ""
"So here's 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 "
msgstr ""
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:10211
+#: freeculture.xml:10214
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:10219
+#: freeculture.xml:10222
msgid ""
"A war about copyright rages all around—and we're all focusing on the "
"wrong thing. No doubt, current technologies threaten existing businesses. "
#. PAGE BREAK 219
#. type: Content of: <book><part><partintro><para>
-#: freeculture.xml:10228
+#: freeculture.xml:10231
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:10236
+#: freeculture.xml:10239
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:10241
+#: freeculture.xml:10244
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:10247
+#: freeculture.xml:10250
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:10257
+#: freeculture.xml:10260
msgid "CHAPTER THIRTEEN: Eldred"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:10259
+#: freeculture.xml:10262
msgid "Hawthorne, Nathaniel"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10262
+#: freeculture.xml:10265
msgid ""
"In 1995, 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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10271
+#: freeculture.xml:10274
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:10278
+#: freeculture.xml:10281
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><para>
-#: freeculture.xml:10289
+#: freeculture.xml:10292
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 "
#. f1.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10313
+#: freeculture.xml:10316
msgid ""
"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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10302
+#: freeculture.xml:10305
msgid ""
"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 discovered this "
"platform of expression and now use it to share works that are, by law, free "
-"for the taking. This has produced what we might call the \"noncommercial "
-"publishing industry,\" which before the 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.<placeholder type=\"footnote\" id=\"0\"/>"
+"for the taking. This has produced what we might call the "
+"<quote>noncommercial publishing industry,</quote> which before the 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.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10330
+#: freeculture.xml:10333
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 "
#. f2.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10351
+#: freeculture.xml:10354
msgid ""
-"The full text is: \"Sonny [Bono] wanted the term of copyright protection to "
-"last forever. I am informed by staff that such a change would violate the "
-"Constitution. I invite all of you to work with me to strengthen our "
-"copyright laws in all of the ways available to us. As you know, there is "
+"The full text is: <quote>Sonny [Bono] wanted the term of copyright "
+"protection to last forever. I am informed by staff that such a change would "
+"violate the Constitution. I invite all of you to work with me to strengthen "
+"our copyright laws in all of the ways available to us. As you know, there is "
"also Jack Valenti's proposal for a term to last forever less one "
-"day. Perhaps the Committee may look at that next Congress,\" 144 "
+"day. Perhaps the Committee may look at that next Congress,</quote> 144 "
"Cong. Rec. H9946, 9951-2 (October 7, 1998)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10346
+#: freeculture.xml:10349
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, "
-"Mary Bono, says, believed that \"copyrights should be forever.\"<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+"Mary Bono, says, believed that <quote>copyrights should be "
+"forever.</quote><placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10362
+#: freeculture.xml:10365
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><para>
-#: freeculture.xml:10371
+#: freeculture.xml:10374
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:10382
+#: freeculture.xml:10385
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:10388
+#: freeculture.xml:10391
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 "
"to Congress simply says Congress has the power to do something—for "
-"example, to regulate \"commerce among the several states\" or \"declare "
-"War.\" But here, the \"something\" is something quite specific—to "
-"\"promote … Progress\"—through means that are also "
-"specific— by \"securing\" \"exclusive Rights\" (i.e., copyrights) "
-"\"for limited Times.\""
+"example, to regulate <quote>commerce among the several states</quote> or "
+"<quote>declare War.</quote> But here, the <quote>something</quote> is "
+"something quite specific—to <quote>promote … "
+"Progress</quote>—through means that are also specific— by "
+"<quote>securing</quote> <quote>exclusive Rights</quote> (i.e., copyrights) "
+"<quote>for limited Times.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:10407 freeculture.xml:11864
+#: freeculture.xml:10410 freeculture.xml:11867
msgid "Jaszi, Peter"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10398
+#: freeculture.xml:10401
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 "
"Congress has the power to extend existing terms, then the Constitution's "
-"requirement that terms be \"limited\" will have no practical effect. If "
-"every time a copyright is about to expire, Congress has the power to extend "
-"its term, then Congress can achieve what the Constitution plainly "
-"forbids—perpetual terms \"on the installment plan,\" as Professor "
-"Peter Jaszi so nicely put it. <placeholder type=\"indexterm\" id=\"0\"/>"
+"requirement that terms be <quote>limited</quote> will have no practical "
+"effect. If every time a copyright is about to expire, Congress has the power "
+"to extend its term, then Congress can achieve what the Constitution plainly "
+"forbids—perpetual terms <quote>on the installment plan,</quote> as "
+"Professor Peter Jaszi so nicely put it. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10410
+#: freeculture.xml:10413
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:10421
+#: freeculture.xml:10424
msgid ""
"For this is the core of the corruption in our present system of "
-"government. \"Corruption\" not in the sense that representatives are "
-"bribed. Rather, \"corruption\" in the sense that the system induces the "
-"beneficiaries of Congress's acts to raise and give money to Congress to "
-"induce it to act. There's only so much time; there's only so much Congress "
-"can do. Why not limit its actions to those things it must do—and those "
-"things that pay? Extending copyright terms pays."
+"government. <quote>Corruption</quote> not in the sense that representatives "
+"are bribed. Rather, <quote>corruption</quote> in the sense that the system "
+"induces the beneficiaries of Congress's acts to raise and give money to "
+"Congress to induce it to act. There's only so much time; there's only so "
+"much Congress can do. Why not limit its actions to those things it must "
+"do—and those things that pay? Extending copyright terms pays."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10430
+#: freeculture.xml:10433
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:10440
+#: freeculture.xml:10443
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:10447
+#: freeculture.xml:10450
msgid ""
-"\"Next year,\" the adviser announces, \"our copyrights in works A, B, and C "
-"will expire. That means that after next year, we will no longer be receiving "
-"the annual royalty check of $100,000 from the publishers of those works."
+"<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 "
+"longer be receiving the annual royalty check of $100,000 from the publishers "
+"of those works.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10455
+#: freeculture.xml:10458
msgid ""
-"\"There's a proposal in Congress, however,\" she continues, \"that could "
-"change this. A few congressmen are floating a bill to extend the terms of "
-"copyright by twenty years. That bill would be extraordinarily valuable to "
-"us. So we should hope this bill passes.\""
+"<quote>There's a proposal in Congress, however,</quote> she continues, "
+"<quote>that could change this. A few congressmen are floating a bill to "
+"extend the terms of copyright by twenty years. That bill would be "
+"extraordinarily valuable to us. So we should hope this bill passes.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10461
+#: freeculture.xml:10464
msgid ""
-"\"Hope?\" a fellow board member says. \"Can't we be doing something about "
-"it?\""
+"<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:10465
+#: freeculture.xml:10468
msgid ""
-"\"Well, obviously, yes,\" the adviser responds. \"We could contribute to the "
-"campaigns of a number of representatives to try to assure that they support "
-"the bill.\""
+"<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could "
+"contribute to the campaigns of a number of representatives to try to assure "
+"that they support the bill.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10470
+#: freeculture.xml:10473
msgid ""
"You hate politics. You hate contributing to campaigns. So you want to know "
-"whether this disgusting practice is worth it. \"How much would we get if "
-"this extension were passed?\" you ask the adviser. \"How much is it worth?\""
+"whether this disgusting practice is worth it. <quote>How much would we get "
+"if this extension were passed?</quote> you ask the adviser. <quote>How much "
+"is it worth?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10476
+#: freeculture.xml:10479
msgid ""
-"\"Well,\" the adviser says, \"if you're confident that you will continue to "
-"get at least $100,000 a year from these copyrights, and you use the "
-"`discount rate' that we use to evaluate estate investments (6 percent), then "
-"this law would be worth $1,146,000 to the estate.\""
+"<quote>Well,</quote> the adviser says, <quote>if you're confident that you "
+"will continue to get at least $100,000 a year from these copyrights, and you "
+"use the `discount rate' that we use to evaluate estate investments (6 "
+"percent), then this law would be worth $1,146,000 to the estate.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10482
+#: freeculture.xml:10485
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:10486
+#: freeculture.xml:10489
msgid ""
-"\"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 contributions would "
-"assure that the bill was passed?\""
+"<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 "
+"contributions would assure that the bill was passed?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10492
+#: freeculture.xml:10495
msgid ""
-"\"Absolutely,\" the adviser responds. \"It is worth it to you to contribute "
-"up to the `present value' of the income you expect from these "
-"copyrights. Which for us means over $1,000,000.\""
+"<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to "
+"you to contribute up to the `present value' of the income you expect from "
+"these copyrights. Which for us means over $1,000,000.</quote>"
msgstr ""
#. PAGE BREAK 225
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10498
+#: freeculture.xml:10501
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:10509
+#: freeculture.xml:10512
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:10521
+#: freeculture.xml:10524
msgid ""
-"Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse "
-"Effort; Congress OKs Bill Granting Creators 20 More Years,\" "
+"Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey "
+"Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote> "
"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22."
msgstr ""
#. f4.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10528
+#: freeculture.xml:10531
msgid ""
-"See Nick Brown, \"Fair Use No More?: Copyright in the Information Age,\" "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #49</ulink>."
+"See Nick Brown, <quote>Fair Use No More?: Copyright in the Information "
+"Age,</quote> available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#49</ulink>."
msgstr ""
#. f5.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10536
+#: freeculture.xml:10539
msgid ""
-"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" "
+"Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote> "
"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10514
+#: freeculture.xml:10517
msgid ""
"In the lobbying that led to the passage of the Sonny Bono Copyright Term "
-"Extension Act, this \"theory\" about incentives was proved 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.<placeholder type=\"footnote\" "
-"id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/> "
-"Disney is estimated to have contributed more than $800,000 to reelection "
-"campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>"
+"Extension Act, this <quote>theory</quote> about incentives was proved "
+"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.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" "
+"id=\"1\"/> Disney is estimated to have contributed more than $800,000 to "
+"
reelection campaigns in the cycle.<placeholder type=\"footnote\" id=\"2\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10543
+#: freeculture.xml:10546
msgid ""
"Constitutional law is not oblivious to the obvious. Or at least, it need not "
"be. So when I was considering Eldred's complaint, this reality about the "
"thinking. In my view, a pragmatic court committed to interpreting and "
"applying the Constitution of our framers would see that if Congress has the "
"power to extend existing terms, then there would be no effective "
-"constitutional requirement that terms be \"limited.\" If they could extend "
-"it once, they would extend it again and again and again."
+"constitutional requirement that terms be <quote>limited.</quote> If they "
+"could extend it once, they would extend it again and again and again."
msgstr ""
#. PAGE BREAK 226
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10556
+#: freeculture.xml:10559
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:10569
+#: freeculture.xml:10572
msgid ""
"Since 1937, the Supreme Court had interpreted Congress's granted powers very "
"broadly; so, while the Constitution grants Congress the power to regulate "
-"only \"commerce among the several states\" (aka \"interstate commerce\"), "
-"the Supreme Court had interpreted that power to include the power to "
-"regulate any activity that merely affected interstate commerce."
+"only <quote>commerce among the several states</quote> (aka <quote>interstate "
+"commerce</quote>), the Supreme Court had interpreted that power to include "
+"the power to regulate any activity that merely affected interstate commerce."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10579
+#: freeculture.xml:10582
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:10585 freeculture.xml:11361
+#: freeculture.xml:10588 freeculture.xml:11364
msgid "Rehnquist, William H."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10587
+#: freeculture.xml:10590
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:10602
+#: freeculture.xml:10605
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:10609
+#: freeculture.xml:10612
msgid ""
"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 "
"U.S. 598 (2000)."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10600
+#: freeculture.xml:10603
msgid ""
-"\"We pause to consider the implications of the government's arguments,\" the "
-"Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> 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 "
-"<citetitle>Lopez</citetitle> was reaffirmed five years later in "
-"<citetitle>United States</citetitle> "
+"<quote>We pause to consider the implications of the government's "
+"arguments,</quote> the Chief Justice wrote.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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 <citetitle>Lopez</citetitle> was "
+"reaffirmed five years later in <citetitle>United States</citetitle> "
"v. <citetitle>Morrison</citetitle>.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""
#. f8.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10616
+#: freeculture.xml:10619
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 "
"limitation to interstate commerce notwithstanding. The same point is true in "
"the context of the Copyright Clause. Here, too, the government's "
"interpretation would allow the government unending power to regulate "
-"copyrights—the limitation to \"limited times\" notwithstanding."
+"copyrights—the limitation to <quote>limited times</quote> "
+"notwithstanding."
msgstr ""
#. PAGE BREAK 227
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10613
+#: freeculture.xml:10616
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\" "
"id=\"0\"/> And if it is applied to the Progress Clause, the principle should "
"yield the conclusion that Congress can't extend an existing term. If "
-"Congress could extend an existing term, then there would be no \"stopping "
-"point\" to Congress's power over terms, though the Constitution expressly "
-"states that there is such a limit. Thus, the same principle applied to the "
-"power to grant copyrights should entail that Congress is not allowed to "
-"extend the term of existing copyrights."
+"Congress could extend an existing term, then there would be no "
+"<quote>stopping point</quote> to Congress's power over terms, though the "
+"Constitution expressly states that there is such a limit. Thus, the same "
+"principle applied to the power to grant copyrights should entail that "
+"Congress is not allowed to extend the term of existing copyrights."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10637
+#: freeculture.xml:10640
msgid ""
"<emphasis>If</emphasis>, that is, the principle announced in "
"<citetitle>Lopez</citetitle> stood for a principle. Many believed the "
"conservative Supreme Court, which believed in states' rights, using its "
"power over Congress to advance its own personal political preferences. But I "
"rejected that view of the Supreme Court's decision. Indeed, shortly after "
-"the decision, I wrote an article demonstrating the \"fidelity\" in such an "
-"interpretation of the Constitution. The idea that the Supreme Court decides "
-"cases based upon 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."
+"the decision, I wrote an article demonstrating the <quote>fidelity</quote> "
+"in such an interpretation of the Constitution. The idea that the Supreme "
+"Court decides cases based upon 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."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10650
+#: freeculture.xml:10653
msgid ""
"Now let's pause for a moment to make sure we understand what the argument in "
"<citetitle>Eldred</citetitle> was not about. By insisting on the "
#. f9.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10673
+#: freeculture.xml:10676
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><indexterm><primary>
-#: freeculture.xml:10681
+#: freeculture.xml:10684
msgid "Nashville Songwriters Association"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10667
+#: freeculture.xml:10670
msgid ""
"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 \"legal piracy.\"<placeholder type=\"footnote\" "
-"id=\"0\"/> But it is not piracy when the law allows it; and in our "
-"constitutional system, our law requires it. Some may not like the "
+"domain is nothing more than <quote>legal piracy.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> 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 charter. <placeholder type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10684
+#: freeculture.xml:10687
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:10696
+#: freeculture.xml:10699
msgid ""
"It is valuable copyrights that are responsible for terms being extended. "
-"Mickey Mouse and \"Rhapsody in Blue.\" These works are too valuable for "
-"copyright owners to ignore. But the real harm to our society from copyright "
-"extensions is not that Mickey Mouse remains Disney's. Forget Mickey "
-"Mouse. Forget Robert Frost. Forget all the works from the 1920s and 1930s "
-"that have continuing commercial value. The real harm of term extension comes "
-"not from these famous works. The real harm is to the works that are not "
-"famous, not commercially exploited, and no longer available as a result."
+"Mickey Mouse and <quote>Rhapsody in Blue.</quote> These works are too "
+"valuable for copyright owners to ignore. But the real harm to our society "
+"from copyright extensions is not that Mickey Mouse remains Disney's. Forget "
+"Mickey Mouse. Forget Robert Frost. Forget all the works from the 1920s and "
+"1930s that have continuing commercial value. The real harm of term extension "
+"comes not from these famous works. The real harm is to the works that are "
+"not famous, not commercially exploited, and no longer available as a result."
msgstr ""
#. f10.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10717
+#: freeculture.xml:10720
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:10711
+#: freeculture.xml:10714
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:10726
+#: freeculture.xml:10729
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:10738
+#: freeculture.xml:10741
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:10746
+#: freeculture.xml:10749
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:10750
+#: freeculture.xml:10753
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:10757
+#: freeculture.xml:10760
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:10766
+#: freeculture.xml:10769
msgid ""
-"\"But there isn't a list of who owns property generally,\" the apologists "
-"for the system respond. \"Why should there be a list of copyright owners?\""
+"<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 "
+"copyright owners?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10771
+#: freeculture.xml:10774
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:10780
+#: freeculture.xml:10783
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:10795
+#: freeculture.xml:10798
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:10807
+#: freeculture.xml:10810
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:10812
+#: freeculture.xml:10815
msgid "Agee, Michael"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:10813 freeculture.xml:11244
+#: freeculture.xml:10816 freeculture.xml:11247
msgid "Hal Roach Studios"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:10814
+#: freeculture.xml:10817
msgid "Laurel and Hardy Films"
msgstr ""
#. f11.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:10827
+#: freeculture.xml:10830
msgid ""
-"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" "
-"<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, "
-"\"Classic Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today "
-"on Striking Down Copyright Extension,\" <citetitle>Orlando Sentinel "
-"Tribune</citetitle>, 9 October 2002."
+"See David G. Savage, <quote>High Court Scene of Showdown on Copyright "
+"Law,</quote> <citetitle>Los Angeles Times</citetitle>, 6 October 2002; David "
+"Streitfeld, <quote>Classic Movies, Songs, Books at Stake; Supreme Court "
+"Hears Arguments Today on Striking Down Copyright Extension,</quote> "
+"<citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:10833
+#: freeculture.xml:10836
msgid "Lucky Dog, The"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10816
+#: freeculture.xml:10819
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 "
"Dog</citetitle>, is currently out of copyright. But for the CTEA, films made "
"after 1923 would have begun entering the public domain. Because Agee "
"controls the exclusive rights for these popular films, he makes a great deal "
-"of money. According to one estimate, \"Roach has sold about 60,000 "
-"videocassettes and 50,000 DVDs of the duo's silent films.\"<placeholder "
-"type=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"of money. According to one estimate, <quote>Roach has sold about 60,000 "
+"videocassettes and 50,000 DVDs of the duo's silent "
+"films.</quote><placeholder type=\"footnote\" id=\"0\"/> <placeholder "
+"type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10836
+#: freeculture.xml:10839
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:10842
+#: freeculture.xml:10845
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:10860
+#: freeculture.xml:10863
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:10853
+#: freeculture.xml:10856
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:10870
+#: freeculture.xml:10873
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:10878
+#: freeculture.xml:10881
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:10886
+#: freeculture.xml:10889
msgid ""
-"\"But can't you just restore the film, distribute it, and then pay the "
-"copyright owner when she shows up?\" Sure, if you want to commit a "
+"<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 "
"felony. And even if you're not worried about committing a felony, when she "
"does show up, she'll have the right to sue you for all the profits you have "
"made. So, if you're successful, you can be fairly confident you'll be "
#. PAGE BREAK 232
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10897
+#: freeculture.xml:10900
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:10907
+#: freeculture.xml:10910
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:10915
+#: freeculture.xml:10918
msgid ""
"Of all the creative work produced by humans anywhere, a tiny fraction has "
"continuing commercial value. For that tiny fraction, the copyright is a "
"crucially important legal device. For that tiny fraction, the copyright "
"creates incentives to produce and distribute the creative work. For that "
-"tiny fraction, the copyright acts as an \"engine of free expression.\""
+"tiny fraction, the copyright acts as an <quote>engine of free "
+"expression.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10924
+#: freeculture.xml:10927
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:10934
+#: freeculture.xml:10937
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:10947
+#: freeculture.xml:10950
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:10954
+#: freeculture.xml:10957
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:10965
+#: freeculture.xml:10968
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:10974
+#: freeculture.xml:10977
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:10980
+#: freeculture.xml:10983
msgid "But this situation has now changed."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:10983
+#: freeculture.xml:10986
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:10996
+#: freeculture.xml:10999
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:11006
+#: freeculture.xml:11009
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:11017
+#: freeculture.xml:11020
msgid ""
-"You may well ask, \"But if digital technologies lower the costs for Brewster "
-"Kahle, then they will lower the costs for Random House, too. So won't "
-"Random House do as well as Brewster Kahle in spreading culture widely?\""
+"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 "
+"won't Random House do as well as Brewster Kahle in spreading culture "
+"widely?</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11023
+#: freeculture.xml:11026
msgid ""
"Maybe. Someday. But there is absolutely no evidence to suggest that "
"publishers would be as complete as libraries. If Barnes & Noble offered "
"to lend books from its stores for a low price, would that eliminate the need "
"for libraries? Only if you think that the only role of a library is to serve "
-"what \"the market\" would demand. But if you think the role of a library is "
-"bigger than this—if you think its 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."
+"what <quote>the market</quote> would demand. But if you think the role of a "
+"library is bigger than this—if you think its 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."
msgstr ""
#. f13.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11046
+#: freeculture.xml:11049
msgid ""
-"Jason Schultz, \"The Myth of the 1976 Copyright `Chaos' Theory,\" 20 "
-"December 2002, available at <ulink "
+"Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> "
+"
20 December 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #54</ulink>."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11034
+#: freeculture.xml:11037
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:11053
+#: freeculture.xml:11056
msgid ""
"In January 1999, we filed a lawsuit on Eric Eldred's behalf in federal "
"district court in Washington, D.C., asking the court to declare the Sonny "
"Bono Copyright Term Extension Act unconstitutional. The two central claims "
"that we made were (1) that extending existing terms violated the "
-"Constitution's \"limited Times\" requirement, and (2) that extending terms "
-"by another twenty years violated the First Amendment."
+"Constitution's <quote>limited Times</quote> requirement, and (2) that "
+"extending terms by another twenty years violated the First Amendment."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11061
+#: freeculture.xml:11064
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:11068
+#: freeculture.xml:11071
msgid ""
"Judge David Sentelle said the CTEA violated the requirement that copyrights "
-"be for \"limited Times\" only. His argument was as elegant as it was simple: "
-"If Congress can extend existing terms, then there is no \"stopping point\" "
-"to Congress's power under the Copyright Clause. The power to extend existing "
-"terms means Congress is not required to grant terms that are \"limited.\" "
-"Thus, Judge Sentelle argued, the court had to interpret the term \"limited "
-"Times\" to give it meaning. And the best interpretation, Judge Sentelle "
-"argued, would be to deny Congress the power to extend existing terms."
+"be for <quote>limited Times</quote> only. His argument was as elegant as it "
+"was simple: If Congress can extend existing terms, then there is no "
+"<quote>stopping point</quote> to Congress's power under the Copyright "
+"Clause. The power to extend existing terms means Congress is not required to "
+"grant terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, "
+"the court had to interpret the term <quote>limited Times</quote> to give it "
+"meaning. And the best interpretation, Judge Sentelle argued, would be to "
+"deny Congress the power to extend existing terms."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11079
+#: freeculture.xml:11082
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 "
"cases or cases that raise issues specific to the circuit as a whole, where "
-"the court will sit \"en banc\" to hear the case."
+"the court will sit <quote>en banc</quote> to hear the case."
msgstr ""
#. PAGE BREAK 236
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11085
+#: freeculture.xml:11088
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:11094
+#: freeculture.xml:11097
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:11101
+#: freeculture.xml:11104
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:11107
+#: freeculture.xml:11110
msgid ""
"It is over a year later as I write these words. It is still astonishingly "
"hard. If you know anything at all about this story, you know that we lost "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11117
+#: freeculture.xml:11120
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:11122 freeculture.xml:11136
+#: freeculture.xml:11125 freeculture.xml:11139
msgid "Steward, Geoffrey"
msgstr ""
#. PAGE BREAK 237
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11124
+#: freeculture.xml:11127
msgid ""
"The mistake was made early, though it became obvious only at the very "
"end. Our case had been supported from the very beginning by an extraordinary "
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11134 freeculture.xml:11484 freeculture.xml:11500 freeculture.xml:11593 freeculture.xml:11807 freeculture.xml:11838 freeculture.xml:11931
+#: freeculture.xml:11137 freeculture.xml:11487 freeculture.xml:11503 freeculture.xml:11596 freeculture.xml:11810 freeculture.xml:11841 freeculture.xml:11934
msgid "Ayer, Don"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11135
+#: freeculture.xml:11138
msgid "Bromberg, Dan"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11138
+#: freeculture.xml:11141
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 "
"involved. Bromberg and Ayer in particular had a common view about how this "
"case would be won: We would only win, they repeatedly told me, if we could "
-"make the issue seem \"important\" to the Supreme Court. It had to seem as if "
-"dramatic harm were being done to free speech and free culture; otherwise, "
-"they would never vote against \"the most powerful media companies in the "
-"world.\""
+"make the issue seem <quote>important</quote> to the Supreme Court. It had to "
+"seem as if dramatic harm were being done to free speech and free culture; "
+"otherwise, they would never vote against <quote>the most powerful media "
+"companies in the world.</quote>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11148
+#: freeculture.xml:11151
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 "
"is. But the idea that the Supreme Court decides the law based on how "
-"important they believe the issues are is just wrong. It might be \"right\" "
-"as in \"true,\" I thought, but it is \"wrong\" as in \"it just shouldn't be "
-"that way.\" As I believed that any faithful interpretation of what the "
-"framers of our Constitution did would yield the conclusion that the CTEA was "
+"important they believe the issues are is just wrong. It might be "
+"<quote>right</quote> as in <quote>true,</quote> I thought, but it is "
+"<quote>wrong</quote> as in <quote>it just shouldn't be that way.</quote> As "
+"I believed that any faithful interpretation of what the framers of our "
+"Constitution did would yield the conclusion that the CTEA was "
"unconstitutional, and as I believed that any faithful interpretation of what "
"the First Amendment means would yield the conclusion that the power to "
"extend existing copyright terms is unconstitutional, I was not persuaded "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11169
+#: freeculture.xml:11172
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:11177
+#: freeculture.xml:11180
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><para><indexterm><primary>
-#: freeculture.xml:11208 freeculture.xml:11234
+#: freeculture.xml:11211 freeculture.xml:11237
msgid "Eagle Forum"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:11209
+#: freeculture.xml:11212
msgid "Schlafly, Phyllis"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11196
+#: freeculture.xml:11199
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. "
"Mrs. Schlafly viewed the CTEA as a sellout by Congress. In November 1998, "
"she wrote a stinging editorial attacking the Republican Congress for "
-"allowing the law to pass. As she wrote, \"Do you sometimes wonder why bills "
-"that create a financial windfall to narrow special interests slide easily "
-"through the intricate legislative process, while bills that benefit the "
-"general public seem to get bogged down?\" The answer, as the editorial "
-"documented, was the power of money. Schlafly enumerated Disney's "
+"allowing the law to pass. As she wrote, <quote>Do you sometimes wonder why "
+"bills that create a financial windfall to narrow special interests slide "
+"easily through the intricate legislative process, while bills that benefit "
+"the general public seem to get bogged down?</quote> The answer, as the "
+"editorial documented, was the power of money. Schlafly enumerated Disney's "
"contributions to the key players on the committees. It was money, not "
"justice, that gave Mickey Mouse twenty more years in Disney's control, "
"Schlafly argued. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11212
+#: freeculture.xml:11215
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11220
+#: freeculture.xml:11223
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><para><indexterm><primary>
-#: freeculture.xml:11241
+#: freeculture.xml:11244
msgid "American Association of Law Libraries"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:11242
+#: freeculture.xml:11245
msgid "National Writers Union"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11237
+#: freeculture.xml:11240
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:11246
+#: freeculture.xml:11249
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:11252
+#: freeculture.xml:11255
msgid "Akerlof, George"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11253
+#: freeculture.xml:11256
msgid "Arrow, Kenneth"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11254
+#: freeculture.xml:11257
msgid "Buchanan, James"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11255
+#: freeculture.xml:11258
msgid "Coase, Ronald"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11256
+#: freeculture.xml:11259
msgid "Friedman, Milton"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11258
+#: freeculture.xml:11261
msgid ""
"This economists' brief was signed by seventeen economists, including five "
"Nobel Prize winners, including Ronald Coase, James Buchanan, Milton "
"Nobel winners demonstrates, spanned the political spectrum. Their "
"conclusions were powerful: There was no plausible claim that extending the "
"terms of existing copyrights would do anything to increase incentives to "
-"create. Such extensions were nothing more than \"rent-seeking\"—the "
-"fancy term economists use to describe special-interest legislation gone "
-"wild."
+"create. Such extensions were nothing more than "
+"<quote>rent-seeking</quote>—the fancy term economists use to describe "
+"special-interest legislation gone wild."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:11281 freeculture.xml:11297 freeculture.xml:11491 freeculture.xml:11843
+#: freeculture.xml:11284 freeculture.xml:11300 freeculture.xml:11494 freeculture.xml:11846
msgid "Fried, Charles"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:11282
+#: freeculture.xml:11285
msgid "Morrison, Alan"
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:11283
+#: freeculture.xml:11286
msgid "Public Citizen"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:11284 freeculture.xml:11485 freeculture.xml:12575
+#: freeculture.xml:11287 freeculture.xml:11488 freeculture.xml:12578
msgid "Reagan, Ronald"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11269
+#: freeculture.xml:11272
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><para>
-#: freeculture.xml:11287
+#: freeculture.xml:11290
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:11300
+#: freeculture.xml:11303
msgid ""
"The government, in defending the statute, had its collection of friends, as "
-"well. Significantly, however, none of these \"friends\" included historians "
-"or economists. The briefs on the other side of the case were written "
-"exclusively by major media companies, congressmen, and copyright holders."
+"well. Significantly, however, none of these <quote>friends</quote> included "
+"historians or economists. The briefs on the other side of the case were "
+"written exclusively by major media companies, congressmen, and copyright "
+"holders."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11307
+#: freeculture.xml:11310
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 "
#. f14.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11323
+#: freeculture.xml:11326
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:11331
+#: freeculture.xml:11334
msgid ""
-"Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins "
-"the Fray,\" <citetitle>New York Times</citetitle>, 28 March 1998, B7."
+"Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey Mouse "
+"Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March "
+"1998, B7."
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:11338
+#: freeculture.xml:11341
msgid "Gershwin, George"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11316
+#: freeculture.xml:11319
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 "
"than allowing it to fall into the public domain—because if this "
-"creativity were in the public domain, then people could use it to \"glorify "
-"drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> "
-"That was also the motive of the Gershwin estate, which defended its "
-"\"protection\" of the work of George Gershwin. They refuse, for example, to "
-"license <citetitle>Porgy and Bess</citetitle> to anyone who refuses to use "
-"African Americans in the cast.<placeholder type=\"footnote\" id=\"1\"/> "
-"That's their view of how this part of American culture should be controlled, "
-"and they wanted this law to help them effect that control. <placeholder "
-"type=\"indexterm\" id=\"2\"/>"
+"creativity were in the public domain, then people could use it to "
+"<quote>glorify drugs or to create pornography.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> That was also the motive of the Gershwin "
+"estate, which defended its <quote>protection</quote> of the work of George "
+"Gershwin. They refuse, for example, to license <citetitle>Porgy and "
+"Bess</citetitle> to anyone who refuses to use African Americans in the "
+"cast.<placeholder type=\"footnote\" id=\"1\"/> That's their view of how this "
+"part of American culture should be controlled, and they wanted this law to "
+"help them effect that control. <placeholder type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11341
+#: freeculture.xml:11344
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 "
"making a choice about which speakers it will favor. Famous and beloved "
"copyright owners, such as the Gershwin estate and Dr. Seuss, come to "
-"Congress and say, \"Give us twenty years to control the speech about these "
-"icons of American culture. We'll do better with them than anyone else.\" "
-"Congress of course likes to reward the popular and famous by giving them "
-"what they want. But when Congress gives people an exclusive right to speak "
-"in a certain way, that's just what the First Amendment is traditionally "
-"meant to block."
+"Congress and say, <quote>Give us twenty years to control the speech about "
+"these icons of American culture. We'll do better with them than anyone "
+"else.</quote> Congress of course likes to reward the popular and famous by "
+"giving them what they want. But when Congress gives people an exclusive "
+"right to speak in a certain way, that's just what the First Amendment is "
+"traditionally meant to block."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11353
+#: freeculture.xml:11356
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:11363
+#: freeculture.xml:11366
msgid ""
"The Supreme Court was divided into two important camps. One camp we called "
-"\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives "
-"included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice "
-"Kennedy, and Justice Thomas. These five had been the most consistent in "
-"limiting Congress's power. They were the five who had supported the "
-"<citetitle>Lopez/Morrison</citetitle> line of cases that said that an "
-"enumerated power had to be interpreted to assure that Congress's powers had "
-"limits."
+"<quote>the Conservatives.</quote> The other we called <quote>the "
+"Rest.</quote> The Conservatives included Chief Justice Rehnquist, Justice "
+"O'Connor, Justice Scalia, Justice Kennedy, and Justice Thomas. These five "
+"had been the most consistent in limiting Congress's power. They were the "
+"five who had supported the <citetitle>Lopez/Morrison</citetitle> line of "
+"cases that said that an enumerated power had to be interpreted to assure "
+"that Congress's powers had limits."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11372 freeculture.xml:11396 freeculture.xml:11736 freeculture.xml:11748
+#: freeculture.xml:11375 freeculture.xml:11399 freeculture.xml:11739 freeculture.xml:11751
msgid "Breyer, Stephen"
msgstr ""
#. PAGE BREAK 242
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11374
+#: freeculture.xml:11377
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:11386
+#: freeculture.xml:11389
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:11398
+#: freeculture.xml:11401
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:11406
+#: freeculture.xml:11409
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:11414
+#: freeculture.xml:11417
msgid ""
-"This analysis of \"the Rest\" showed most clearly where our focus had to be: "
-"on the Conservatives. To win this case, we had to crack open these five and "
-"get at least a majority to go our way. Thus, the single overriding argument "
-"that animated our claim rested on the Conservatives' most important "
-"jurisprudential innovation—the argument that Judge Sentelle had relied "
-"upon in the Court of Appeals, that Congress's power must be interpreted so "
-"that its enumerated powers have limits."
+"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 "
+"these five and get at least a majority to go our way. Thus, the single "
+"overriding argument that animated our claim rested on the Conservatives' "
+"most important jurisprudential innovation—the argument that Judge "
+"Sentelle had relied upon in the Court of Appeals, that Congress's power must "
+"be interpreted so that its enumerated powers have limits."
msgstr ""
#. PAGE BREAK 243
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11424
+#: freeculture.xml:11427
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 "
"<citetitle>Lopez</citetitle> case, under the government's argument here, "
"Congress would always have unlimited power to extend existing terms. If "
"anything was plain about Congress's power under the Progress Clause, it was "
-"that this power was supposed to be \"limited.\" Our aim would be to get the "
-"Court to reconcile <citetitle>Eldred</citetitle> with "
+"that this power was supposed to be <quote>limited.</quote> Our aim would be "
+"to get the Court to reconcile <citetitle>Eldred</citetitle> with "
"<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce was "
"limited, then so, too, must Congress's power to regulate copyright be "
"limited."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11438
+#: freeculture.xml:11441
msgid ""
"The argument on the government's side came down to this: Congress has done "
"it before. It should be allowed to do it again. The government claimed that "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11445
+#: freeculture.xml:11448
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 "
#. PAGE BREAK 244
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11452
+#: freeculture.xml:11455
msgid ""
-"But this \"consistency\" should be kept in perspective. Congress extended "
-"existing terms once in the first hundred years of the Republic. It then "
-"extended existing terms once again in the next fifty. Those rare extensions "
-"are in contrast to the now regular practice of extending existing "
+"But this <quote>consistency</quote> should be kept in perspective. Congress "
+"extended existing terms once in the first hundred years of the Republic. It "
+"then extended existing terms once again in the next fifty. Those rare "
+"extensions are in contrast to the now regular practice of extending existing "
"terms. Whatever restraint Congress had had in the past, that restraint was "
"now gone. Congress was now in a cycle of extensions; there was no reason to "
"expect that cycle would end. This Court had not hesitated to intervene where "
"Congress was in a similar cycle of extension. There was no reason it "
"couldn't intervene here. Oral argument was scheduled for the first week in "
"October. I arrived in D.C. two weeks before the argument. During those two "
-"weeks, I was repeatedly \"mooted\" by lawyers who had volunteered to help in "
-"the case. Such \"moots\" are basically practice rounds, where wannabe "
-"justices fire questions at wannabe winners."
+"weeks, I was repeatedly <quote>mooted</quote> by lawyers who had volunteered "
+"to help in the case. Such <quote>moots</quote> are basically practice "
+"rounds, where wannabe justices fire questions at wannabe winners."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11475
+#: freeculture.xml:11478
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:11487
+#: freeculture.xml:11490
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:11494
+#: freeculture.xml:11497
msgid ""
-"\"I'm just afraid that unless they really see the harm, they won't be "
+"<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 "
"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.\""
+"that, then we haven't any chance of winning.</quote>"
msgstr ""
#. PAGE BREAK 245
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11502
+#: freeculture.xml:11505
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 "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11519
+#: freeculture.xml:11522
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:11534
+#: freeculture.xml:11537
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:11540
+#: freeculture.xml:11543
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:11545
+#: freeculture.xml:11548
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:11552
+#: freeculture.xml:11555
msgid ""
-"She was quite willing to concede \"that this flies directly in the face of "
-"what the framers had in mind.\" But my response again and again was to "
-"emphasize limits on Congress's power."
+"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 "
+"to emphasize limits on Congress's power."
msgstr ""
#. PAGE BREAK 246
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:11558
+#: freeculture.xml:11561
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:11566
+#: freeculture.xml:11569
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:11572
+#: freeculture.xml:11575
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:11580
+#: freeculture.xml:11583
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:11586
+#: freeculture.xml:11589
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:11595
+#: freeculture.xml:11598
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:11602
+#: freeculture.xml:11605
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:11607
+#: freeculture.xml:11610
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:11614
+#: freeculture.xml:11617
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:11618
+#: freeculture.xml:11621
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><para>
-#: freeculture.xml:11627
+#: freeculture.xml:11630
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:11633
+#: freeculture.xml:11636
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:11641
+#: freeculture.xml:11644
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:11654
+#: freeculture.xml:11657
msgid ""
"As I left the court that day, I knew there were a hundred points I wished I "
"could remake. There were a hundred questions I wished I had answered "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11662
+#: freeculture.xml:11665
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:11677
+#: freeculture.xml:11680
msgid ""
"The morning of January 15, 2003, I was five minutes late to the office and "
"missed the 7:00 A.M. call from the Supreme Court clerk. Listening to the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11684
+#: freeculture.xml:11687
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:11689
+#: freeculture.xml:11692
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:11695
+#: freeculture.xml:11698
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:11704
+#: freeculture.xml:11707
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:11709
+#: freeculture.xml:11712
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:11715
+#: freeculture.xml:11718
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:11726
+#: freeculture.xml:11729
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:11738
+#: freeculture.xml:11741
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:11751
+#: freeculture.xml:11754
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 "
"current term, a copyright gave an author 99.8 percent of the value of a "
"perpetual term. Breyer said we were wrong, that the actual number was "
"99.9997 percent of a perpetual term. Either way, the point was clear: If the "
-"Constitution said a term had to be \"limited,\" and the existing term was so "
-"long as to be effectively unlimited, then it was unconstitutional."
+"Constitution said a term had to be <quote>limited,</quote> and the existing "
+"term was so long as to be effectively unlimited, then it was "
+"unconstitutional."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11762
+#: freeculture.xml:11765
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:11769
+#: freeculture.xml:11772
msgid ""
"Defeat brings depression. They say it is a sign of health when depression "
"gives way to anger. My anger came quickly, but it didn't cure the "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11774
+#: freeculture.xml:11777
msgid ""
-"It was first anger with the five \"Conservatives.\" It would have been one "
-"thing for them to have explained why the principle of "
+"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 "
"<citetitle>Lopez</citetitle> didn't apply in this case. That wouldn't have "
"been a very convincing argument, I don't believe, having read it made by "
"others, and having tried to make it myself. But it at least would have been "
"an act of integrity. These justices in particular have repeatedly said that "
-"the proper mode of interpreting the Constitution is \"originalism\"—to "
-"first understand the framers' text, interpreted in their context, in light "
-"of the structure of the Constitution. That method had produced "
-"<citetitle>Lopez</citetitle> and many other \"originalist\" rulings. Where "
-"was their \"originalism\" now?"
+"the proper mode of interpreting the Constitution is "
+"<quote>originalism</quote>—to first understand the framers' text, "
+"interpreted in their context, in light of the structure of the "
+"Constitution. That method had produced <citetitle>Lopez</citetitle> and many "
+"other <quote>originalist</quote> rulings. Where was their "
+"<quote>originalism</quote> now?"
msgstr ""
#. PAGE BREAK 251
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11787
+#: freeculture.xml:11790
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:11802
+#: freeculture.xml:11805
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:11809
+#: freeculture.xml:11812
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:11820
+#: freeculture.xml:11823
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:11840
+#: freeculture.xml:11843
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:11846
+#: freeculture.xml:11849
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:11852
+#: freeculture.xml:11855
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:11859
+#: freeculture.xml:11862
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 "
"intellectual property professors stated publicly that my bringing this case "
-"was a mistake. \"The Court is not ready,\" Peter Jaszi said; this issue "
-"should not be raised until it is. <placeholder type=\"indexterm\" "
+"was a mistake. <quote>The Court is not ready,</quote> Peter Jaszi said; this "
+"
issue should not be raised until it is. <placeholder type=\"indexterm\" "
"id=\"0\"/>"
msgstr ""
#. PAGE BREAK 253
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11867
+#: freeculture.xml:11870
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, "
msgstr ""
#. type: Content of: <book><part><chapter><blockquote><para>
-#: freeculture.xml:11888
+#: freeculture.xml:11891
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:11902 freeculture.xml:11907
+#: freeculture.xml:11905 freeculture.xml:11910
msgid "Bolling, Ruben"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11897
+#: freeculture.xml:11900
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 "
"case, was Ruben Bolling's, reproduced on the next page (<xref "
-"linkend=\"fig-18\"/>). The \"powerful and wealthy\" line is a bit "
+"linkend=\"fig-18\"/>). The <quote>powerful and wealthy</quote> line is a bit "
"unfair. But the punch in the face felt exactly like that. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><figure><title>
-#: freeculture.xml:11905
+#: freeculture.xml:11908
msgid "Tom the Dancing Bug cartoon"
msgstr ""
#. type: Content of: <book><part><chapter><figure>
-#: freeculture.xml:11906
+#: freeculture.xml:11909
msgid ""
"<graphic fileref=\"images/18.png\"></graphic> <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11910
+#: freeculture.xml:11913
msgid ""
"The image that will always stick in my head is that evoked by the quote from "
-"<citetitle>The New York Times</citetitle>. That \"grand experiment\" we call "
-"the \"public domain\" is over? When I can make light of it, I think, "
-"\"Honey, I shrunk the Constitution.\" But I can rarely make light of it. We "
-"had 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."
+"<citetitle>The New York Times</citetitle>. That <quote>grand "
+"experiment</quote> we call the <quote>public domain</quote> is over? When I "
+"can make light of it, I think, <quote>Honey, I shrunk the "
+"Constitution.</quote> But I can rarely make light of it. We had 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."
msgstr ""
#. type: Content of: <book><part><chapter><title>
-#: freeculture.xml:11921
+#: freeculture.xml:11924
msgid "CHAPTER FOURTEEN: Eldred II"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11923
+#: freeculture.xml:11926
msgid ""
"The day <citetitle>Eldred</citetitle> was decided, fate would have it that I "
"was to travel to Washington, D.C. (The day the rehearing petition in "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11933
+#: freeculture.xml:11936
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 "
"advice from Don Ayer: You need to make them see why it is important. And "
-"alternating with that command was the question of Justice Kennedy: \"For all "
-"these years the act has impeded progress in science and the useful arts. I "
-"just don't see any empirical evidence for that.\" And so, having failed in "
-"the argument of constitutional principle, finally, I turned to an argument "
-"of politics."
+"alternating with that command was the question of Justice Kennedy: "
+"<quote>For all these years the act has impeded progress in science and the "
+"useful arts. I just don't see any empirical evidence for that.</quote> And "
+"so, having failed in the argument of constitutional principle, finally, I "
+"turned to an argument of politics."
msgstr ""
#. PAGE BREAK 256
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11943
+#: freeculture.xml:11946
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:11951
+#: freeculture.xml:11954
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:11956
+#: freeculture.xml:11959
msgid ""
"Or another two names. For depending upon your perspective, this is either "
-"the \"Public Domain Enhancement Act\" or the \"Copyright Term Deregulation "
-"Act.\" Either way, the essence of the idea is clear and obvious: Remove "
-"copyright where it is doing nothing except 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."
+"the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright "
+"Term Deregulation Act.</quote> Either way, the essence of the idea is clear "
+"and obvious: Remove copyright where it is doing nothing except 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."
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11964 freeculture.xml:12164
+#: freeculture.xml:11967 freeculture.xml:12167
msgid "Forbes, Steve"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11966
+#: freeculture.xml:11969
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:11978
+#: freeculture.xml:11981
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:11988
+#: freeculture.xml:11991
msgid "Berlin Act (1908)"
msgstr ""
#. type: Content of: <book><part><chapter><indexterm><primary>
-#: freeculture.xml:11989 freeculture.xml:12029
+#: freeculture.xml:11992 freeculture.xml:12032
msgid "Berne Convention (1908)"
msgstr ""
#. f1.
#. type: Content of: <book><part><chapter><para><footnote><para>
-#: freeculture.xml:11997
+#: freeculture.xml:12000
msgid ""
"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 with the 1908 act, every text "
-"of the Convention has provided that \"the enjoyment and the exercise\" of "
-"rights guaranteed by the Convention \"shall not be subject to any "
-"formality.\" The prohibition against formalities is presently embodied in "
-"Article 5(2) of the Paris Text of the Berne Convention. Many countries "
-"continue to impose some form of deposit or registration requirement, albeit "
-"not as a condition of copyright. French law, for example, requires the "
-"deposit of copies of works in national repositories, principally the "
-"National Museum. Copies of books published in the United Kingdom must be "
-"deposited in the British Library. The German Copyright Act provides for a "
-"Registrar of Authors where the author's true name can be filed in the case "
-"of anonymous or pseudonymous works. Paul Goldstein, <citetitle>International "
-"Intellectual Property Law, Cases and Materials</citetitle> (New York: "
-"Foundation Press, 2001), 153–54."
+"of the Convention has provided that <quote>the enjoyment and the "
+"exercise</quote> of rights guaranteed by the Convention <quote>shall not be "
+"subject to any formality.</quote> The prohibition against formalities is "
+"presently embodied in Article 5(2) of the Paris Text of the Berne "
+"Convention. Many countries continue to impose some form of deposit or "
+"registration requirement, albeit not as a condition of copyright. French "
+"law, for example, requires the deposit of copies of works in national "
+"repositories, principally the National Museum. Copies of books published in "
+"the United Kingdom must be deposited in the British Library. The German "
+"Copyright Act provides for a Registrar of Authors where the author's true "
+"name can be filed in the case of anonymous or pseudonymous works. Paul "
+"Goldstein, <citetitle>International Intellectual Property Law, Cases and "
+"Materials</citetitle> (New York: Foundation Press, 2001), 153–54."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:11992
+#: freeculture.xml:11995
msgid ""
"As I described in chapter <xref xrefstyle=\"select: labelnumber\" "
"linkend=\"property-i\"/>, formalities in copyright law were removed in 1976, "
"when Congress followed the Europeans by abandoning any formal requirement "
"before a copyright is granted.<placeholder type=\"footnote\" id=\"0\"/> The "
-"Europeans are said to view copyright as a \"natural right.\" Natural rights "
-"don't need forms to exist. Traditions, like the Anglo-American tradition "
-"that required copyright owners to follow form if their rights were to be "
-"protected, did not, the Europeans thought, properly respect the dignity of "
-"the author. My right as a creator turns on my creativity, not upon the "
-"special favor of the government."
+"Europeans are said to view copyright as a <quote>natural right.</quote> "
+"Natural rights don't need forms to exist. Traditions, like the "
+"Anglo-American tradition that required copyright owners to follow form if "
+"their rights were to be protected, did not, the Europeans thought, properly "
+"respect the dignity of the author. My right as a creator turns on my "
+"creativity, not upon the special favor of the government."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12023
+#: freeculture.xml:12026
msgid ""
"That's great rhetoric. It sounds wonderfully romantic. But it is absurd "
"copyright policy. It is absurd especially for authors, because a world "
-"without formalities harms the creator. The ability to spread \"Walt Disney "
-"creativity\" is destroyed when there is no simple way to know what's "
-"protected and what's not."
+"without formalities harms the creator. The ability to spread <quote>Walt "
+"Disney creativity</quote> is destroyed when there is no simple way to know "
+"what's protected and what's not."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12031
+#: freeculture.xml:12034
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:12041
+#: freeculture.xml:12044
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:12049
+#: freeculture.xml:12052
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:12057
+#: freeculture.xml:12060
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 "
"second-class form of property. If a carpenter builds a table, his rights "
"over the table don't depend upon filing a form with the government. He has "
-"a property right over the table \"naturally,\" and he can assert that right "
-"against anyone who would steal the table, whether or not he has informed the "
-"government of his ownership of the table."
+"a property right over the table <quote>naturally,</quote> and he can assert "
+"that right against anyone who would steal the table, whether or not he has "
+"informed the government of his ownership of the table."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12069
+#: freeculture.xml:12072
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:12078
+#: freeculture.xml:12081
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:12094
+#: freeculture.xml:12097
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:12109
+#: freeculture.xml:12112
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 \"get.\" "
-"Because we live in a system without formalities, there is no way easily to "
-"build upon or use culture from our past. If copyright terms were, as Justice "
-"Story said they would be, \"short,\" then this wouldn't matter much. For "
-"fourteen years, under the framers' system, a work would be presumptively "
-"controlled. After fourteen years, it would be presumptively uncontrolled."
+"tried to demonstrate to the Court. This was the part it didn't "
+"<quote>get.</quote> Because we live in a system without formalities, there "
+"is no way easily to build upon or use culture from our past. If copyright "
+"terms were, as Justice Story said they would be, <quote>short,</quote> then "
+"this wouldn't matter much. For fourteen years, under the framers' system, a "
+"work would be presumptively controlled. After fourteen years, it would be "
+"presumptively uncontrolled."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12119
+#: freeculture.xml:12122
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:12128
+#: freeculture.xml:12131
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:12135
+#: freeculture.xml:12138
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:12142
+#: freeculture.xml:12145
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:12148
+#: freeculture.xml:12151
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:12166
+#: freeculture.xml:12169
msgid ""
"When Steve Forbes endorsed the idea, some in Washington began to pay "
"attention. Many people contacted me pointing to representatives who might be "
msgstr ""
#. type: Content of: <book><part><chapter><para><indexterm><primary>
-#: freeculture.xml:12179
+#: freeculture.xml:12182
msgid "Lofgren, Zoe"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12172
+#: freeculture.xml:12175
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 "
"imposed the simplest requirement upon copyright owners possible. In May "
"2003, it looked as if the bill would be introduced. On May 16, I posted on "
-"the Eldred Act blog, \"we are close.\" There was a general reaction in the "
-"blog community that something good might happen here. <placeholder "
-"type=\"indexterm\" id=\"0\"/>"
+"the Eldred Act blog, <quote>we are close.</quote> There was a general "
+"reaction in the blog community that something good might happen here. "
+"<placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12182
+#: freeculture.xml:12185
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:12190
+#: freeculture.xml:12193
msgid ""
-"The MPAA argued first that Congress had \"firmly rejected the central "
-"concept in the proposed bill\"—that copyrights be renewed. That was "
-"true, but irrelevant, as Congress's \"firm rejection\" had occurred long "
-"before the Internet made subsequent uses much more likely. Second, they "
-"argued that the proposal would harm poor copyright owners—apparently "
-"those who could not afford the $1 fee. Third, they argued that Congress had "
-"determined that extending a copyright term would encourage restoration "
-"work. Maybe in the case of the small percentage of work covered by copyright "
-"law that is still commercially valuable, but again this was irrelevant, as "
-"the proposal would not cut off the extended term unless the $1 fee was not "
-"paid. Fourth, the MPAA argued that the bill would impose \"enormous\" costs, "
-"since a registration system is not free. True enough, but those costs are "
-"certainly less than the costs of clearing the rights for a copyright whose "
-"owner is not known. Fifth, they worried about the risks if the copyright to "
-"a story underlying a film were to pass into the public domain. But what risk "
-"is that? If it is in the public domain, then the film is a valid derivative "
-"use."
+"The MPAA argued first that Congress had <quote>firmly rejected the central "
+"concept in the proposed bill</quote>—that copyrights be renewed. That "
+"was true, but irrelevant, as Congress's <quote>firm rejection</quote> had "
+"occurred long before the Internet made subsequent uses much more likely. "
+"Second, they argued that the proposal would harm poor copyright "
+"owners—apparently those who could not afford the $1 fee. Third, they "
+"argued that Congress had determined that extending a copyright term would "
+"encourage restoration work. Maybe in the case of the small percentage of "
+"work covered by copyright law that is still commercially valuable, but again "
+"this was irrelevant, as the proposal would not cut off the extended term "
+"unless the $1 fee was not paid. Fourth, the MPAA argued that the bill would "
+"impose <quote>enormous</quote> costs, since a registration system is not "
+"free. True enough, but those costs are certainly less than the costs of "
+"clearing the rights for a copyright whose owner is not known. Fifth, they "
+"worried about the risks if the copyright to a story underlying a film were "
+"to pass into the public domain. But what risk is that? If it is in the "
+"public domain, then the film is a valid derivative use."
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12211
+#: freeculture.xml:12214
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:12219
+#: freeculture.xml:12222
msgid ""
"At the beginning of this book, I told two stories about the law reacting to "
"changes in technology. In the one, common sense prevailed. In the other, "
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12229
+#: freeculture.xml:12232
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:12238
+#: freeculture.xml:12241
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><para><indexterm><primary>
-#: freeculture.xml:12257
+#: freeculture.xml:12260
msgid "Kelly, Kevin"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12249
+#: freeculture.xml:12252
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 "
"driving this war. This act would free an extraordinary range of content that "
"is otherwise unused. It wouldn't interfere with any copyright owner's desire "
"to exercise continued control over his content. It would simply liberate "
-"what Kevin Kelly calls the \"Dark Content\" that fills archives around the "
-"world. So when the warriors oppose a change like this, we should ask one "
-"simple question: <placeholder type=\"indexterm\" id=\"0\"/>"
+"what Kevin Kelly calls the <quote>Dark Content</quote> that fills archives "
+"around the world. So when the warriors oppose a change like this, we should "
+"
ask one simple question: <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12260
+#: freeculture.xml:12263
msgid "What does this industry really want?"
msgstr ""
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12263
+#: freeculture.xml:12266
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:12274
+#: freeculture.xml:12277
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 "
-"the protection of \"property\" but the rejection of a tradition. Their aim "
-"is not simply to protect what is theirs. <emphasis>Their aim is to assure "
-"that all there is is what is theirs</emphasis>."
+"the protection of <quote>property</quote> but the rejection of a tradition. "
+"Their aim is not simply to protect what is theirs. <emphasis>Their aim is to "
+"assure that all there is is what is theirs</emphasis>."
msgstr ""
#. PAGE BREAK 263
#. type: Content of: <book><part><chapter><para>
-#: freeculture.xml:12282
+#: freeculture.xml:12285
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:12294
+#: freeculture.xml:12297
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:12301
+#: freeculture.xml:12304
msgid ""
"All this seems to follow easily from this untroubled acceptance of the "
-"\"property\" in intellectual property. Common sense supports it, and so long "
-"as it does, the assaults will rain down upon the technologies of the "
-"Internet. The consequence will be an increasing \"permission society.\" 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."
+"<quote>property</quote> in intellectual property. Common sense supports it, "
+"and so long as it does, the assaults will rain down upon the technologies of "
+"the Internet. The consequence will be an increasing <quote>permission "
+"society.</quote> 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."
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:12313
+#: freeculture.xml:12316
msgid "CONCLUSION"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12315
+#: freeculture.xml:12318
msgid ""
"There are more than 35 million people with the AIDS virus "
"worldwide. Twenty-five million of them live in sub-Saharan Africa. "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12322
+#: freeculture.xml:12325
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:12337
+#: freeculture.xml:12340
msgid ""
-"Commission on Intellectual Property Rights, \"Final Report: Integrating "
-"Intellectual Property Rights and Development Policy\" (London, 2002), "
+"Commission on Intellectual Property Rights, <quote>Final Report: Integrating "
+"Intellectual Property Rights and Development Policy</quote> (London, 2002), "
"available at <ulink url=\"http://free-culture.cc/notes/\">link "
"#55</ulink>. According to a World Health Organization press release issued 9 "
"July 2002, only 230,000 of the 6 million who need drugs in the developing "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12330
+#: freeculture.xml:12333
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, "
#. PAGE BREAK 265
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12348
+#: freeculture.xml:12351
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:12356
+#: freeculture.xml:12359
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:12367
+#: freeculture.xml:12370
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:12385 freeculture.xml:12821
+#: freeculture.xml:12388 freeculture.xml:12824
msgid "Braithwaite, John"
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12383
+#: freeculture.xml:12386
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:12374
+#: freeculture.xml:12377
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 "
"nation's market with the consent of the patent owner. For example, if the "
"drug was sold in India, it could be imported into Africa from India. This is "
-"called \"parallel importation,\" and it is generally permitted under "
-"international trade law and is specifically permitted within the European "
-"Union.<placeholder type=\"footnote\" id=\"0\"/>"
+"called <quote>parallel importation,</quote> and it is generally permitted "
+"under international trade law and is specifically permitted within the "
+"
European Union.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. f3.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12396
+#: freeculture.xml:12399
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:12423
+#: freeculture.xml:12426
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:12390
+#: freeculture.xml:12393
msgid ""
"However, the United States government opposed the bill. Indeed, more than "
"opposed. As the International Intellectual Property Association "
-"characterized it, \"The U.S. government pressured South Africa … not "
-"
to permit compulsory licensing or parallel imports.\"<placeholder "
+"characterized it, <quote>The U.S. government pressured South Africa … "
+"
not to permit compulsory licensing or parallel imports.</quote><placeholder "
"type=\"footnote\" id=\"0\"/> 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 "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12429
+#: freeculture.xml:12432
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:12439
+#: freeculture.xml:12442
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:12447
+#: freeculture.xml:12450
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:12462
+#: freeculture.xml:12465
msgid ""
-"See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at "
-"Odds with Firms' Profit Motive,\" <citetitle>San Francisco "
+"See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's "
+"Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco "
"Chronicle</citetitle>, 24 May 1999, A1, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #57</ulink> (\"compulsory "
+"url=\"http://free-culture.cc/notes/\">link #57</ulink> (<quote>compulsory "
"licenses and gray markets pose a threat to the entire system of intellectual "
-"property protection\"); Robert Weissman, \"AIDS and Developing Countries: "
-"Democratizing Access to Essential Medicines,\" <citetitle>Foreign Policy in "
-"Focus</citetitle> 4:23 (August 1999), available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #58</ulink> (describing "
-"U.S. policy); John A. Harrelson, \"TRIPS, Pharmaceutical Patents, and the "
-"HIV/AIDS Crisis: Finding the Proper Balance Between Intellectual Property "
-"Rights and Compassion, a Synopsis,\" <citetitle>Widener Law Symposium "
-"Journal</citetitle> (Spring 2001): 175."
+"property protection</quote>); Robert Weissman, <quote>AIDS and Developing "
+"Countries: Democratizing Access to Essential Medicines,</quote> "
+"<citetitle>Foreign Policy in Focus</citetitle> 4:23 (August 1999), available "
+"at <ulink url=\"http://free-culture.cc/notes/\">link #58</ulink> (describing "
+"U.S. policy); John A. Harrelson, <quote>TRIPS, Pharmaceutical Patents, and "
+"the HIV/AIDS Crisis: Finding the Proper Balance Between Intellectual "
+"Property Rights and Compassion, a Synopsis,</quote> <citetitle>Widener Law "
+"Symposium Journal</citetitle> (Spring 2001): 175."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12456
+#: freeculture.xml:12459
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 "
"sanctity of property.<placeholder type=\"footnote\" id=\"0\"/> It was "
-"because \"intellectual property\" would be violated that these drugs should "
-"not flow into Africa. It was a principle about the importance of "
-"\"intellectual property\" that led these government actors to intervene "
-"against the South African response to AIDS."
+"because <quote>intellectual property</quote> would be violated that these "
+"drugs should not flow into Africa. It was a principle about the importance "
+"of <quote>intellectual property</quote> that led these government actors to "
+"intervene against the South African response to AIDS."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12483
+#: freeculture.xml:12486
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 "
"happen? How could we allow a policy to be pursued whose direct cost would be "
"to speed the death of 15 to 30 million Africans, and whose only real benefit "
-"would be to uphold the \"sanctity\" of an idea? What possible justification "
-"could there ever be for a policy that results in so many deaths? What "
-"exactly is the insanity that would allow so many to die for such an "
-"abstraction?"
+"would be to uphold the <quote>sanctity</quote> of an idea? What possible "
+"justification could there ever be for a policy that results in so many "
+"deaths? What exactly is the insanity that would allow so many to die for "
+"such an abstraction?"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12493
+#: freeculture.xml:12496
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:12501
+#: freeculture.xml:12504
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 "
#. PAGE BREAK 268
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12509
+#: freeculture.xml:12512
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 "
-"before a Senate or House hearing, and ask, \"How is it you can sell this HIV "
-"drug in Africa for only $1 a pill, but the same drug would cost an American "
-"$1,500?\" Because there is no \"sound bite\" answer to that question, its "
-"effect would be to induce regulation of prices in America. The drug "
-"companies thus avoid this spiral by avoiding the first step. They reinforce "
-"the idea that property should be sacred. They adopt a rational strategy in "
-"an irrational context, with the unintended consequence that perhaps millions "
-"die. And that rational strategy thus becomes framed in terms of this "
-"ideal—the sanctity of an idea called \"intellectual property.\""
+"before a Senate or House hearing, and ask, <quote>How is it you can sell "
+"this HIV drug in Africa for only $1 a pill, but the same drug would cost an "
+"American $1,500?</quote> Because there is no <quote>sound bite</quote> "
+"answer to that question, its effect would be to induce regulation of prices "
+"in America. The drug companies thus avoid this spiral by avoiding the first "
+"step. They reinforce the idea that property should be sacred. They adopt a "
+"rational strategy in an irrational context, with the unintended consequence "
+"that perhaps millions die. And that rational strategy thus becomes framed in "
+"terms of this ideal—the sanctity of an idea called <quote>intellectual "
+"property.</quote>"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12524
+#: freeculture.xml:12527
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:12530
+#: freeculture.xml:12533
msgid ""
"A sensible patent policy could endorse and strongly support the patent "
"system without having to reach everyone everywhere in exactly the same "
#. PAGE BREAK 269
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12542
+#: freeculture.xml:12545
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. "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12562
+#: freeculture.xml:12565
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 "
"this debate fits with ideas that seem natural, and that fit is reinforced by "
-"the RCAs of our day. They wage a frantic war to fight \"piracy,\" and "
-"devastate a culture for creativity. They defend the idea of \"creative "
-"property,\" while transforming real creators into modern-day "
-"sharecroppers. They are insulted by the idea that rights should be balanced, "
-"even though each of the major players in this content war was itself a "
-"beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a city "
-"like Washington, hypocrisy is not even noticed. Powerful lobbies, complex "
-"issues, and MTV attention spans produce the \"perfect storm\" for free "
-"culture."
+"the RCAs of our day. They wage a frantic war to fight <quote>piracy,</quote> "
+"and devastate a culture for creativity. They defend the idea of "
+"<quote>creative property,</quote> while transforming real creators into "
+"modern-day sharecroppers. They are insulted by the idea that rights should "
+"be balanced, even though each of the major players in this content war was "
+"itself a beneficiary of a more balanced ideal. The hypocrisy reeks. Yet in a "
+"city like Washington, hypocrisy is not even noticed. Powerful lobbies, "
+"complex issues, and MTV attention spans produce the <quote>perfect "
+"storm</quote> for free culture."
msgstr ""
#. f6.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12580
+#: freeculture.xml:12583
msgid ""
-"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington "
-"Post</citetitle>, August 2003, E1, available at <ulink "
+"Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> "
+"
<citetitle>Washington Post</citetitle>, August 2003, E1, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #59</ulink>; William New, "
-"\"Global Group's Shift on `Open Source' Meeting Spurs Stir,\" "
+"<quote>Global Group's Shift on `Open Source' Meeting Spurs Stir,</quote> "
"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, "
"available at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; "
-"William New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" "
-"<citetitle>National Journal's Technology Daily</citetitle>, 19 August 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #61</ulink>."
+"William New, <quote>U.S. Official Opposes `Open Source' Talks at "
+"WIPO,</quote> <citetitle>National Journal's Technology Daily</citetitle>, 19 "
+"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#61</ulink>."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:12608 freeculture.xml:13281
+#: freeculture.xml:12611 freeculture.xml:13284
msgid "academic journals"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:12609 freeculture.xml:12699 freeculture.xml:13207
+#: freeculture.xml:12612 freeculture.xml:12702 freeculture.xml:13210
msgid "IBM"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:12610 freeculture.xml:13345
+#: freeculture.xml:12613 freeculture.xml:13348
msgid "PLoS (Public Library of Science)"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12577
+#: freeculture.xml:12580
msgid ""
"In August 2003, a fight broke out in the United States about a decision by "
"the World Intellectual Property Organization to cancel a "
"meeting.<placeholder type=\"footnote\" id=\"0\"/> At the request of a wide "
-"range of interests, WIPO had decided to hold a meeting to discuss \"open and "
-"collaborative projects to create public goods.\" These are projects that "
-"have been successful in producing public goods without relying exclusively "
-"upon a proprietary use of intellectual property. Examples include the "
-"Internet and the World Wide Web, both of which were developed on the basis "
-"of protocols in the public domain. It included an emerging trend to support "
-"open academic journals, including the Public Library of Science project that "
-"I describe in the Afterword. It included a project to develop single "
-"nucleotide polymorphisms (SNPs), which are thought to have great "
-"significance in biomedical research. (That nonprofit project comprised a "
-"consortium of the Wellcome Trust and pharmaceutical and technological "
-"companies, including Amersham Biosciences, AstraZeneca, Aventis, Bayer, "
-"Bristol-Myers Squibb, Hoffmann-La Roche, 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 \"open "
-"source and free software.\" <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"
2\"/> <placeholder type=\"indexterm\" "
-"id=\"3\"/>"
+"range of interests, WIPO had decided to hold a meeting to discuss "
+"<quote>open and collaborative projects to create public goods.</quote> These "
+"are projects that have been successful in producing public goods without "
+"relying exclusively upon a proprietary use of intellectual "
+"property. Examples include the Internet and the World Wide Web, both of "
+"which were developed on the basis of protocols in the public domain. It "
+"included an emerging trend to support open academic journals, including the "
+"Public Library of Science project that I describe in the Afterword. It "
+"included a project to develop single nucleotide polymorphisms (SNPs), which "
+"are thought to have great significance in biomedical research. (That "
+"nonprofit project comprised a consortium of the Wellcome Trust and "
+"pharmaceutical and technological companies, including Amersham Biosciences, "
+"AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche, "
+"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 <quote>open source and free software.</quote> "
+"<placeholder type=\"indexterm\" id=\"
1\"/> <placeholder type=\"indexterm\" "
+"id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/>"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12613
+#: freeculture.xml:12616
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 "
#. f7.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12621
+#: freeculture.xml:12624
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:12620
+#: freeculture.xml:12623
msgid ""
"From the perspective of this book, then, the conference was "
"ideal.<placeholder type=\"footnote\" id=\"0\"/> The projects within its "
#. PAGE BREAK 271
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12631
+#: freeculture.xml:12634
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 "
"WIPO. In the talk that I had prepared, I had actually made the issue of "
"intellectual property relatively minor. But after this astonishing "
"statement, I made intellectual property the sole focus of my talk. There was "
-"no way to talk about an \"Information Society\" unless one also talked about "
-"the range of information and culture that would be free. My talk did not "
-"make my immoderate moderator very happy. And she was no doubt correct that "
-"the scope of intellectual property protections was ordinarily the stuff of "
-"WIPO. But in my view, there couldn't be too much of a conversation about how "
-"much intellectual property is needed, since in my view, the very idea of "
-"balance in intellectual property had been lost."
+"no way to talk about an <quote>Information Society</quote> unless one also "
+"talked about the range of information and culture that would be free. My "
+"talk did not make my immoderate moderator very happy. And she was no doubt "
+"correct that the scope of intellectual property protections was ordinarily "
+"the stuff of WIPO. But in my view, there couldn't be too much of a "
+"conversation about how much intellectual property is needed, since in my "
+"view, the very idea of balance in intellectual property had been lost."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12655
+#: freeculture.xml:12658
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 "
-"meeting about \"open and collaborative projects to create public goods\" "
-"seemed perfectly appropriate within the WIPO agenda."
+"meeting about <quote>open and collaborative projects to create public "
+"goods</quote> seemed perfectly appropriate within the WIPO agenda."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12661
+#: freeculture.xml:12664
msgid ""
"But there is one project within that list that is highly controversial, at "
-"least among lobbyists. That project is \"open source and free software.\" "
-"Microsoft in particular is wary of discussion of the subject. From its "
-"perspective, a conference to discuss open source and free software would be "
-"like a conference to discuss Apple's operating system. Both open source and "
-"free software compete with Microsoft's software. And internationally, many "
-"governments have begun to explore requirements that they use open source or "
-"free software, rather than \"proprietary software,\" for their own internal "
-"uses."
+"least among lobbyists. That project is <quote>open source and free "
+"software.</quote> Microsoft in particular is wary of discussion of the "
+"subject. From its perspective, a conference to discuss open source and free "
+"software would be like a conference to discuss Apple's operating "
+"system. Both open source and free software compete with Microsoft's "
+"software. And internationally, many governments have begun to explore "
+"requirements that they use open source or free software, rather than "
+"<quote>proprietary software,</quote> for their own internal uses."
msgstr ""
#. f8.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12683
+#: freeculture.xml:12686
msgid ""
"Microsoft's position about free and open source software is more "
-"sophisticated. As it has repeatedly asserted, it has no problem with \"open "
-"source\" software or software in the public domain. Microsoft's principal "
-"opposition is to \"free software\" licensed under a \"copyleft\" license, "
-"meaning a license that requires the licensee to adopt the same terms on any "
-"derivative work. See Bradford L. Smith, \"The Future of Software: Enabling "
-"the Marketplace to Decide,\" <citetitle>Government Policy Toward Open Source "
+"sophisticated. As it has repeatedly asserted, it has no problem with "
+"<quote>open source</quote> software or software in the public "
+"domain. Microsoft's principal opposition is to <quote>free software</quote> "
+"licensed under a <quote>copyleft</quote> license, meaning a license that "
+"requires the licensee to adopt the same terms on any derivative work. See "
+"Bradford L. Smith, <quote>The Future of Software: Enabling the Marketplace "
+"to Decide,</quote> <citetitle>Government Policy Toward Open Source "
"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for "
"Regulatory Studies, American Enterprise Institute for Public Policy "
"Research, 2002), 69, available at <ulink "
msgstr ""
#. type: Content of: <book><chapter><para><indexterm><primary>
-#: freeculture.xml:12700
-msgid "\"copyleft\" licenses"
+#: freeculture.xml:12703
+msgid "<quote>copyleft</quote> licenses"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12672
+#: freeculture.xml:12675
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 "
"software. There are many important companies that depend fundamentally upon "
"open source and free software, IBM being the most prominent. IBM is "
"increasingly shifting its focus to the GNU/Linux operating system, the most "
-"famous bit of \"free software\"—and IBM is emphatically a commercial "
-"entity. Thus, to support \"open source and free software\" is not to oppose "
-"commercial entities. It is, instead, to support a mode of software "
-"development that is different from Microsoft's.<placeholder "
-"type=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" "
-"id=\"3\"/> <placeholder type=\"indexterm\" id=\"4\"/>"
+"famous bit of <quote>free software</quote>—and IBM is emphatically a "
+"commercial entity. Thus, to support <quote>open source and free "
+"software</quote> is not to oppose commercial entities. It is, instead, to "
+"support a mode of software development that is different from "
+"Microsoft's.<placeholder type=\"footnote\" id=\"0\"/> <placeholder "
+"type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> "
+"<placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" "
+"id=\"4\"/>"
msgstr ""
#. PAGE BREAK 272
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12705
-msgid ""
-"More important for our purposes, to support \"open source and free "
-"software\" is not to oppose copyright. \"Open source and free software\" is "
-"not software in the public domain. Instead, like Microsoft's software, the "
-"copyright owners of free and open source software insist quite strongly that "
-"the terms of their software license be respected by adopters of free and "
-"open source software. The terms of that license are no doubt different from "
-"the terms of a proprietary software license. Free software licensed under "
-"the General Public License (GPL), for example, requires that the source code "
-"for the software be made available by anyone who modifies and redistributes "
-"the software. But that requirement is effective only if copyright governs "
-"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."
+#: freeculture.xml:12708
+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 "
+"software</quote> is not software in the public domain. Instead, like "
+"Microsoft's software, the copyright owners of free and open source software "
+"insist quite strongly that the terms of their software license be respected "
+"by adopters of free and open source software. The terms of that license are "
+"no doubt different from the terms of a proprietary software license. Free "
+"software licensed under the General Public License (GPL), for example, "
+"requires that the source code for the software be made available by anyone "
+"who modifies and redistributes the software. But that requirement is "
+"effective only if copyright governs 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."
msgstr ""
#. f9.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12731
+#: freeculture.xml:12734
msgid ""
-"Krim,
\"The Quiet War over Open-Source,\" available at <ulink "
+"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><indexterm><primary>
-#: freeculture.xml:12735
+#: freeculture.xml:12738
msgid "Krim, Jonathan"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12723
+#: freeculture.xml:12726
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:12738
+#: freeculture.xml:12741
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><para>
-#: freeculture.xml:12746
+#: freeculture.xml:12749
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 "
"international relations for the U.S. Patent and Trademark Office, explained "
-"that \"open-source software runs counter to the mission of WIPO, which is to "
-"promote intellectual-property rights.\" She is quoted as saying, \"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.\""
+"that <quote>open-source software runs counter to the mission of WIPO, which "
+"is to promote intellectual-property rights.</quote> She is quoted as saying, "
+"<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.</quote>"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12756
+#: freeculture.xml:12759
msgid "These statements are astonishing on a number of levels."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12760
+#: freeculture.xml:12763
msgid ""
"First, they are just flat wrong. As I described, most open source and free "
"software relies fundamentally upon the intellectual property right called "
-"\"copyright\". Without it, restrictions imposed by those licenses wouldn't "
-"work. Thus, to say it \"runs counter\" to the mission of promoting "
-"intellectual property rights reveals an extraordinary gap 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."
+"<quote>copyright</quote>. Without it, restrictions imposed by those "
+"licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the "
+"mission of promoting intellectual property rights reveals an extraordinary "
+"gap 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."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12770
+#: freeculture.xml:12773
msgid ""
-"Second, who ever said that WIPO's exclusive aim was to \"promote\" "
-"intellectual property maximally? As I had been scolded at the preparatory "
-"conference of WSIS, WIPO is to consider not only how best to protect "
-"intellectual property, but also what the best balance of intellectual "
-"property is. As every economist and lawyer knows, the hard question in "
-"intellectual property law is to find that balance. But that there should be "
-"limits is, I had thought, uncontested. One wants to ask Ms. Boland, are "
-"generic drugs (drugs 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?"
+"Second, who ever said that WIPO's exclusive aim was to "
+"<quote>promote</quote> intellectual property maximally? As I had been "
+"scolded at the preparatory conference of WSIS, WIPO is to consider not only "
+"how best to protect intellectual property, but also what the best balance of "
+"intellectual property is. As every economist and lawyer knows, the hard "
+"question in intellectual property law is to find that balance. But that "
+"there should be limits is, I had thought, uncontested. One wants to ask "
+"Ms. Boland, are generic drugs (drugs 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?"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12783
+#: freeculture.xml:12786
msgid ""
"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 what to do with "
"those rights because, again, they are <emphasis>their</emphasis> rights. If "
-"they want to \"waive\" or \"disclaim\" their rights, that is, within our "
-"tradition, totally appropriate. When Bill Gates gives away more than $20 "
-"billion to do good in the world, that is not inconsistent with the "
-"objectives of the property system. That is, on the contrary, just what a "
-"property system is supposed to be about: giving individuals the right to "
-"decide what to do with <emphasis>their</emphasis> property. <placeholder "
+"they want to <quote>waive</quote> or <quote>disclaim</quote> their rights, "
+"that is, within our tradition, totally appropriate. When Bill Gates gives "
+"away more than $20 billion to do good in the world, that is not inconsistent "
+"with the objectives of the property system. That is, on the contrary, just "
+"what a property system is supposed to be about: giving individuals the right "
+"
to decide what to do with <emphasis>their</emphasis> property. <placeholder "
"type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 274
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12797
-msgid ""
-"When Ms. Boland says that there is something wrong with a meeting \"which "
-"has as its purpose to disclaim or waive such rights,\" she's saying that "
-"WIPO has an interest in interfering with the choices of the individuals who "
-"own intellectual property rights. That somehow, WIPO's objective should be "
-"to stop an individual from \"waiving\" or \"disclaiming\" an intellectual "
-"property right. That the interest of WIPO is not just that intellectual "
-"property rights be maximized, but that they also should be exercised in the "
-"most extreme and restrictive way possible."
+#: freeculture.xml:12800
+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> "
+"she's saying that WIPO has an interest in interfering with the choices of "
+"the individuals who own intellectual property rights. That somehow, WIPO's "
+"objective should be to stop an individual from <quote>waiving</quote> or "
+"<quote>disclaiming</quote> an intellectual property right. That the interest "
+"of WIPO is not just that intellectual property rights be maximized, but that "
+"they also should be exercised in the most extreme and restrictive way "
+"possible."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12809
+#: freeculture.xml:12812
msgid ""
"There is a history of just such a property system that is well known in the "
-"Anglo-American tradition. It is called \"feudalism.\" Under feudalism, not "
-"only was property held by a relatively small number of individuals and "
-"entities. And not only were the rights that ran with that property powerful "
-"and extensive. But the feudal system had a strong interest in assuring that "
-"property holders within that system not weaken feudalism by liberating "
-"people or property within their control to the free market. Feudalism "
-"depended upon maximum control and concentration. It fought any freedom that "
-"might interfere with that control."
+"Anglo-American tradition. It is called <quote>feudalism.</quote> Under "
+"feudalism, not only was property held by a relatively small number of "
+"individuals and entities. And not only were the rights that ran with that "
+"property powerful and extensive. But the feudal system had a strong interest "
+"in assuring that property holders within that system not weaken feudalism by "
+"liberating people or property within their control to the free "
+"market. Feudalism depended upon maximum control and concentration. It fought "
+"any freedom that might interfere with that control."
msgstr ""
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12826
+#: freeculture.xml:12829
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:12823
+#: freeculture.xml:12826
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:12835
+#: freeculture.xml:12838
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:12842
+#: freeculture.xml:12845
msgid ""
"George, you misunderstand Lessig: He's only talking about the world as it "
-"should be (\"the goal of WIPO, and the goal of any government, should be to "
-"promote the right balance of intellectual property rights, not simply to "
-"promote intellectual property rights\"), not as it is. If we were talking "
-"about the world as it is, then of course Boland didn't say anything "
+"should be (<quote>the goal of WIPO, and the goal of any government, should "
+"be to promote the right balance of intellectual property rights, not simply "
+"to promote intellectual property rights</quote>), not as it is. If we were "
+"talking about the world as it is, then of course Boland didn't say anything "
"wrong. But in the world as Lessig would have it, then of course she "
"did. Always pay attention to the distinction between Lessig's world and "
"ours."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12854
+#: freeculture.xml:12857
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:12864
+#: freeculture.xml:12867
msgid ""
"Obviously, however, the poster was not supporting that idea. Instead, the "
-"poster was ridiculing the very idea that in the real world, the \"goal\" of "
-"a government should be \"to promote the right balance\" of intellectual "
-"property. That was obviously silly to him. And it obviously betrayed, he "
-"believed, my own silly utopianism. \"Typical for an academic,\" the poster "
-"might well have continued."
+"poster was ridiculing the very idea that in the real world, the "
+"<quote>goal</quote> of a government should be <quote>to promote the right "
+"balance</quote> of intellectual property. That was obviously silly to "
+"him. And it obviously betrayed, he believed, my own silly "
+"utopianism. <quote>Typical for an academic,</quote> the poster might well "
+"have continued."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12872
+#: freeculture.xml:12875
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:12878
+#: freeculture.xml:12881
msgid ""
"But when it has become silly to suppose that the role of our government "
-"should be to \"seek balance,\" then count me with the silly, for that means "
-"that this has become quite serious indeed. If it should be obvious to "
-"everyone that the government does not seek balance, that the government is "
-"simply the tool of the most powerful lobbyists, that the idea of holding the "
-"government to a different standard is absurd, that the idea of demanding of "
-"the government that it speak truth and not lies is just naïve, then who "
-"have we, the most powerful democracy in the world, become?"
+"should be to <quote>seek balance,</quote> then count me with the silly, for "
+"that means that this has become quite serious indeed. If it should be "
+"obvious to everyone that the government does not seek balance, that the "
+"government is simply the tool of the most powerful lobbyists, that the idea "
+"of holding the government to a different standard is absurd, that the idea "
+"of demanding of the government that it speak truth and not lies is just "
+"naïve, then who have we, the most powerful democracy in the world, "
+"become?"
msgstr ""
#. PAGE BREAK 276
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12889
+#: freeculture.xml:12892
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><indexterm><primary>
-#: freeculture.xml:12908
+#: freeculture.xml:12911
msgid "Turner, Ted"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12898
+#: freeculture.xml:12901
msgid ""
"If this is crazy, then let there be more crazies. Soon. There are moments "
"of hope in this struggle. And moments that surprise. When the FCC was "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12912
+#: freeculture.xml:12915
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:12920
+#: freeculture.xml:12923
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:12927
+#: freeculture.xml:12930
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:12937
+#: freeculture.xml:12940
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 "
"bigness alone, it is not terribly surprising. We Americans have a long "
-"history of fighting \"big,\" wisely or not. That we could be motivated to "
-"fight \"big\" again is not something new."
+"history of fighting <quote>big,</quote> wisely or not. That we could be "
+"motivated to fight <quote>big</quote> again is not something new."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12944
+#: freeculture.xml:12947
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 "
-"\"intellectual property.\" Not because balance is alien to our tradition; "
-"indeed, as I've argued, balance is our tradition. But because the muscle to "
-"think critically about the scope of anything called \"property\" is not well "
-"exercised within this tradition anymore."
+"<quote>intellectual property.</quote> Not because balance is alien to our "
+"tradition; indeed, as I've argued, balance is our tradition. But because the "
+"muscle to think critically about the scope of anything called "
+"<quote>property</quote> is not well exercised within this tradition anymore."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12952
+#: freeculture.xml:12955
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:12955
+#: freeculture.xml:12958
msgid "Dylan, Bob"
msgstr ""
#. f11.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12960
+#: freeculture.xml:12963
msgid ""
-"John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September "
-"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#65</ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, "
-"8 September 2003, available at <ulink "
-"url=\"http://free-culture.cc/notes/\">link #66</ulink>; Soni Sangha and "
-"Phyllis Furman with Robert Gearty, \"Sued for a Song, N.Y.C. 12-Yr-Old Among "
-"261 Cited as Sharers,\" <citetitle>New York Daily News</citetitle>, 9 "
-"September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; "
-"Single Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" "
-"<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean, "
-"\"Schoolgirl Settles with RIAA,\" <citetitle>Wired News</citetitle>, 10 "
+"John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, "
"September 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #65</ulink>; Paul R. La Monica, "
+"<quote>Music Industry Sues Swappers,</quote> CNN/Money, 8 September 2003, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #66</ulink>; "
+"Soni Sangha and Phyllis Furman with Robert Gearty, <quote>Sued for a Song, "
+"N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,</quote> <citetitle>New York "
+"Daily News</citetitle>, 9 September 2003, 3; Frank Ahrens, <quote>RIAA's "
+"Lawsuits Meet Surprised Targets; Single Mother in Calif., 12-Year-Old Girl "
+"in N.Y. Among Defendants,</quote> <citetitle>Washington Post</citetitle>, 10 "
+"September 2003, E1; Katie Dean, <quote>Schoolgirl Settles with RIAA,</quote> "
+"<citetitle>Wired News</citetitle>, 10 September 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #67</ulink>."
msgstr ""
#. f12.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12978
+#: freeculture.xml:12981
msgid ""
-"Jon Wiederhorn, \"Eminem Gets Sued … by a Little Old Lady,\" mtv.com, "
-"17 September 2003, available at <ulink "
+"Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old "
+"
Lady,</quote> mtv.com, 17 September 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #68</ulink>."
msgstr ""
#. f13.
#. PAGE BREAK 334
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:12985
+#: freeculture.xml:12988
msgid ""
-"Kenji Hall, Associated Press, \"Japanese Book May Be Inspiration for Dylan "
-"
Songs,\" Kansascity.com, 9 July 2003, available at <ulink "
+"Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for "
+"
Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #69</ulink>."
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:12957
+#: freeculture.xml:12960
msgid ""
"As I write these final words, the news is filled with stories about the RIAA "
"lawsuits against almost three hundred individuals.<placeholder "
-"type=\"footnote\" id=\"0\"/> Eminem has just been sued for \"sampling\" "
-"someone else's music.<placeholder type=\"footnote\" id=\"1\"/> The story "
-"about Bob Dylan \"stealing\" from a Japanese author has just finished making "
-"the rounds.<placeholder type=\"footnote\" id=\"2\"/> An insider from "
-"Hollywood—who insists he must remain anonymous—reports \"an "
-"amazing conversation with these studio guys. They've got extraordinary [old] "
-"content that they'd love to use but can't because they can't begin to clear "
-"the rights. They've got scores of kids who could do amazing things with the "
-"content, but it would take scores of lawyers to clean it first.\" "
-"Congressmen are 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."
+"type=\"footnote\" id=\"0\"/> Eminem has just been sued for "
+"<quote>sampling</quote> someone else's music.<placeholder type=\"footnote\" "
+"id=\"1\"/> The story about Bob Dylan <quote>stealing</quote> from a Japanese "
+"author has just finished making the rounds.<placeholder type=\"footnote\" "
+"id=\"2\"/> An insider from Hollywood—who insists he must remain "
+"anonymous—reports <quote>an amazing conversation with these studio "
+"guys. They've got extraordinary [old] content that they'd love to use but "
+"can't because they can't begin to clear the rights. They've got scores of "
+"kids who could do amazing things with the content, but it would take scores "
+"of lawyers to clean it first.</quote> Congressmen are 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."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13002 freeculture.xml:13362
+#: freeculture.xml:13005 freeculture.xml:13365
msgid "Creative Commons"
msgstr ""
#. type: Content of: <book><chapter><indexterm><primary>
-#: freeculture.xml:13003
+#: freeculture.xml:13006
msgid "Gil, Gilberto"
msgstr ""
#. f14.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13008
+#: freeculture.xml:13011
msgid ""
-"\"BBC Plans to Open Up Its Archive to the Public,\" BBC press release, 24 "
-"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#70</ulink>."
+"<quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press "
+"release, 24 August 2003, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #70</ulink>."
msgstr ""
#. f15.
#. type: Content of: <book><chapter><para><footnote><para>
-#: freeculture.xml:13017
+#: freeculture.xml:13020
msgid ""
-"\"Creative Commons and Brazil,\" Creative Commons Weblog, 6 August 2003, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #71</ulink>."
+"<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 "
+"August 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link "
+"#71</ulink>."
msgstr ""
#. PAGE BREAK 278
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13005
+#: freeculture.xml:13008
msgid ""
"Yet on the other side of the Atlantic, the BBC has just announced that it "
-"will build a \"Creative Archive,\" from which British citizens can download "
-"BBC content, and rip, mix, and burn it.<placeholder type=\"footnote\" "
-"id=\"0\"/> 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.<placeholder "
-"type=\"footnote\" id=\"1\"/> 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 freedom need not mean anarchy. We can carry a free "
-"culture into the twenty-first century, without artists losing and without "
-"the potential of digital technology being destroyed. It will take some "
-"thought, and more importantly, it will take some will to transform the RCAs "
-"of our day into the Causbys."
+"will build a <quote>Creative Archive,</quote> from which British citizens "
+"can download BBC content, and rip, mix, and burn it.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/> 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 freedom need not mean "
+"anarchy. We can carry a free culture into the twenty-first century, without "
+"artists losing and without the potential of digital technology being "
+"destroyed. It will take some thought, and more importantly, it will take "
+"some will to transform the RCAs of our day into the Causbys."
msgstr ""
#. PAGE BREAK 279
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13031
+#: freeculture.xml:13034
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:13039
+#: freeculture.xml:13042
msgid "AFTERWORD"
msgstr ""
#. PAGE BREAK 280
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13043
+#: freeculture.xml:13046
msgid ""
"At least some who have read this far will agree with me that something must "
"be done to change where we are heading. The balance of this book maps what "
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:13048
+#: freeculture.xml:13051
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:13054
+#: freeculture.xml:13057
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:13061
+#: freeculture.xml:13064
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:13070
+#: freeculture.xml:13073
msgid "US, NOW"
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13072
+#: freeculture.xml:13075
msgid ""
"Common sense is with the copyright warriors because the debate so far has "
"been framed at the extremes—as a grand either/or: either property or "
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13078
+#: freeculture.xml:13081
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 "
-"believe in maximal copyright—\"All Rights Reserved\"— and those "
-"who reject copyright—\"No Rights Reserved.\" The \"All Rights "
-"Reserved\" sorts believe that you should ask permission before you \"use\" a "
-"copyrighted work in any way. The \"No Rights Reserved\" sorts believe you "
-"should be able to do with content as you wish, regardless of whether you "
-"have permission or not."
+"believe in maximal copyright—<quote>All Rights Reserved</quote>— "
+"and those who reject copyright—<quote>No Rights Reserved.</quote> The "
+"<quote>All Rights Reserved</quote> sorts believe that you should ask "
+"permission before you <quote>use</quote> a copyrighted work in any way. The "
+"<quote>No Rights Reserved</quote> sorts believe you should be able to do "
+"with content as you wish, regardless of whether you have permission or not."
msgstr ""
#. PAGE BREAK 282
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13088
+#: freeculture.xml:13091
msgid ""
"When the Internet was first born, its initial architecture effectively "
-"tilted in the \"no rights reserved\" direction. Content could be copied "
-"perfectly and cheaply; rights could not easily be controlled. Thus, "
+"tilted in the <quote>no rights reserved</quote> direction. Content could be "
+"copied perfectly and cheaply; rights could not easily be controlled. Thus, "
"regardless of anyone's desire, the effective regime of copyright under the "
-"original design of the Internet was \"no rights reserved.\" Content was "
-"\"taken\" regardless of the rights. Any rights were effectively unprotected."
+"original design of the Internet was <quote>no rights reserved.</quote> "
+"Content was <quote>taken</quote> regardless of the rights. Any rights were "
+"effectively unprotected."
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13100
+#: freeculture.xml:13103
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 "
"legislation, litigation, and changes to the network's design, copyright "
"holders have been able to change the essential character of the environment "
"of the original Internet. If the original architecture made the effective "
-"default \"no rights reserved,\" the future architecture will make the "
-"effective default \"all rights reserved.\" The architecture and law that "
-"surround the Internet's design will increasingly produce an environment "
-"where all use of content requires permission. The \"cut and paste\" world "
-"that defines the Internet today will become a \"get permission to cut and "
-"paste\" world that is a creator's nightmare."
+"default <quote>no rights reserved,</quote> the future architecture will make "
+"the effective default <quote>all rights reserved.</quote> The architecture "
+"and law that surround the Internet's design will increasingly produce an "
+"environment where all use of content requires permission. The <quote>cut "
+"and paste</quote> world that defines the Internet today will become a "
+"<quote>get permission to cut and paste</quote> world that is a creator's "
+"nightmare."
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13114
+#: freeculture.xml:13117
msgid ""
-"What's needed is a way to say something in the middle—neither \"all "
-"rights reserved\" nor \"no rights reserved\" but \"some rights "
-"reserved\"— 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."
+"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 "
+"<quote>some rights reserved</quote>— 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."
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:13123
+#: freeculture.xml:13126
msgid "Rebuilding Freedoms Previously Presumed: Examples"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13125
+#: freeculture.xml:13128
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 "
"Internet, most of us didn't have to worry much about data about our lives "
"that we broadcast to the world. If you walked into a bookstore and browsed "
"through some of the works of Karl Marx, you didn't need to worry about "
-"explaining your browsing habits to your neighbors or boss. The \"privacy\" "
-"of your browsing habits was assured."
+"explaining your browsing habits to your neighbors or boss. The "
+"<quote>privacy</quote> of your browsing habits was assured."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13135
+#: freeculture.xml:13138
msgid "What made it assured?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13139
+#: freeculture.xml:13142
msgid ""
"Well, if we think in terms of the modalities I described in chapter <xref "
"xrefstyle=\"select: labelnumber\" linkend=\"property-i\"/>, your privacy was "
"for most of us (again, we can hope), spying doesn't pay. The highly "
"inefficient architecture of real space means we all enjoy a fairly robust "
"amount of privacy. That privacy is guaranteed to us by friction. Not by law "
-"(there is no law protecting \"privacy\" 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."
+"(there is no law protecting <quote>privacy</quote> 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."
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13154
+#: freeculture.xml:13157
msgid "Amazon"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:13164
+#: freeculture.xml:13167
msgid "cookies, Internet"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13156
+#: freeculture.xml:13159
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 "
"pages, Amazon collects the data about what you've looked at. You know this "
-"because at the side of the page, there's a list of \"recently viewed\" "
-"pages. Now, because of the architecture of the Net and the function of "
-"cookies on the Net, it is easier to collect the data than not. The friction "
-"has disappeared, and hence any \"privacy\" protected by the friction "
-"disappears, too. <placeholder type=\"indexterm\" id=\"0\"/>"
+"because at the side of the page, there's a list of <quote>recently "
+"viewed</quote> pages. Now, because of the architecture of the Net and the "
+"function of cookies on the Net, it is easier to collect the data than "
+"not. The friction has disappeared, and hence any <quote>privacy</quote> "
+"protected by the friction disappears, too. <placeholder type=\"indexterm\" "
+"id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13167
+#: freeculture.xml:13170
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 "
-"should have the \"right\" to browse in a library without the government "
-"knowing which books you look at (I'm one of those lefties, too), then this "
-"change in the technology of monitoring might concern you. If it becomes "
-"simple to gather and sort who does what in electronic spaces, then the "
-"friction-induced privacy of yesterday disappears."
+"should have the <quote>right</quote> to browse in a library without the "
+"government knowing which books you look at (I'm one of those lefties, too), "
+"then this change in the technology of monitoring might concern you. If it "
+"becomes simple to gather and sort who does what in electronic spaces, then "
+"the friction-induced privacy of yesterday disappears."
msgstr ""
#. f1.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:13183
+#: freeculture.xml:13186
msgid ""
-"See, for example, Marc Rotenberg, \"Fair Information Practices and the "
-"Architecture of Privacy (What Larry Doesn't Get),\" <citetitle>Stanford "
-"Technology Law Review</citetitle> 1 (2001): par. 6–18, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing "
-"examples in which technology defines privacy policy). See also Jeffrey "
-"Rosen, <citetitle>The Naked Crowd: Reclaiming Security and Freedom in an "
-"Anxious Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs "
-"between technology and privacy)."
+"See, for example, Marc Rotenberg, <quote>Fair Information Practices and the "
+"Architecture of Privacy (What Larry Doesn't Get),</quote> "
+"<citetitle>Stanford Technology Law Review</citetitle> 1 (2001): "
+"par. 6–18, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing examples "
+"in which technology defines privacy policy). See also Jeffrey Rosen, "
+"<citetitle>The Naked Crowd: Reclaiming Security and Freedom in an Anxious "
+"Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs between "
+"technology and privacy)."
msgstr ""
#. PAGE BREAK 284
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13177
+#: freeculture.xml:13180
msgid ""
-"It is this reality that explains the push of many to define \"privacy\" 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.<placeholder type=\"footnote\" id=\"0\"/> 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."
+"It is this reality that explains the push of many to define "
+"<quote>privacy</quote> 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.<placeholder type=\"footnote\" id=\"0\"/> "
+"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."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13201
+#: freeculture.xml:13204
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:13209
+#: freeculture.xml:13212
msgid "Stallman, Richard"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13211
+#: freeculture.xml:13214
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:13219
+#: freeculture.xml:13222
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><para>
-#: freeculture.xml:13231
+#: freeculture.xml:13234
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:13240
+#: freeculture.xml:13243
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><para>
-#: freeculture.xml:13249
+#: freeculture.xml:13252
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 "
-"the birth of the GNU project, into which Linus Torvalds's \"Linux\" kernel "
-"was added to produce the GNU/Linux operating system. <placeholder "
-"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>"
+"the birth of the GNU project, into which Linus Torvalds's "
+"<quote>Linux</quote> kernel was added to produce the GNU/Linux operating "
+"system. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder "
+"type=\"indexterm\" id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13257
+#: freeculture.xml:13260
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:13268
+#: freeculture.xml:13271
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><para>
-#: freeculture.xml:13276
+#: freeculture.xml:13279
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 "
#. PAGE BREAK 286
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13284
+#: freeculture.xml:13287
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><para>
-#: freeculture.xml:13300
+#: freeculture.xml:13303
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:13309
+#: freeculture.xml:13312
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:13314
+#: freeculture.xml:13317
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:13326
+#: freeculture.xml:13329
msgid ""
"As journals become electronic, however, the publishers are demanding that "
"libraries not give the general public access to the journals. This means "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13334
+#: freeculture.xml:13337
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:13348
+#: freeculture.xml:13351
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:13360
+#: freeculture.xml:13363
msgid "Rebuilding Free Culture: One Idea"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13365
+#: freeculture.xml:13368
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><para>
-#: freeculture.xml:13369
+#: freeculture.xml:13372
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:13380
+#: freeculture.xml:13383
msgid ""
"<emphasis>Simple</emphasis>—which means without a middleman, or "
"without a lawyer. By developing a free set of licenses that people can "
"Creative Commons license constitutes a grant of freedom to anyone who "
"accesses the license, and more importantly, an expression of the ideal that "
"the person associated with the license believes in something different than "
-"the \"All\" or \"No\" extremes. Content is marked with the CC mark, which "
-"does not mean that copyright is waived, but that certain freedoms are given."
+"the <quote>All</quote> or <quote>No</quote> extremes. Content is marked with "
+"the CC mark, which does not mean that copyright is waived, but that certain "
+"freedoms are given."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13398
+#: freeculture.xml:13401
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 "
"license that permits any use, so long as attribution is given. She can "
"choose a license that permits only noncommercial use. She can choose a "
"license that permits any use so long as the same freedoms are given to other "
-"uses (\"share and share alike\"). Or any use so long as no derivative use is "
-"made. Or any use at all within developing nations. Or any sampling use, so "
-"long as full copies are not made. Or lastly, any educational use."
+"uses (<quote>share and share alike</quote>). Or any use so long as no "
+"derivative use is made. Or any use at all within developing nations. Or any "
+"sampling use, so long as full copies are not made. Or lastly, any "
+"educational use."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13409
+#: freeculture.xml:13412
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><para><indexterm><primary>
-#: freeculture.xml:13430
+#: freeculture.xml:13433
msgid "Garlick, Mia"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13420
+#: freeculture.xml:13423
msgid ""
"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 many is "
"that we are not interested only in talking about a public domain or in "
"getting legislators to help build a public domain. Our aim is to build a "
-"movement of consumers and producers of content (\"content conducers,\" 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. <placeholder type=\"indexterm\" id=\"0\"/>"
+"movement of consumers and producers of content (<quote>content "
+"conducers,</quote> 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. <placeholder type=\"indexterm\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13433
+#: freeculture.xml:13436
msgid ""
-"The aim is not to fight the \"All Rights Reserved\" 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 centuries "
-"ago, applied to a technology that only Jefferson could have imagined. The "
-"rules may well have made sense against a background of technologies from "
-"centuries ago, but they do not make sense against the background of digital "
-"technologies. New rules—with different freedoms, expressed in ways so "
-"that humans without lawyers can use them—are needed. Creative Commons "
-"gives people a way effectively to begin to build those rules."
+"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 "
+"culture are produced by insane and unintended consequences of laws written "
+"centuries ago, applied to a technology that only Jefferson could have "
+"imagined. The rules may well have made sense against a background of "
+"technologies from centuries ago, but they do not make sense against the "
+"background of digital technologies. New rules—with different freedoms, "
+"expressed in ways so that humans without lawyers can use them—are "
+"needed. Creative Commons gives people a way effectively to begin to build "
+"those rules."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13445
+#: freeculture.xml:13448
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:13452
+#: freeculture.xml:13455
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:13464
+#: freeculture.xml:13467
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><para><indexterm><primary>
-#: freeculture.xml:13479
+#: freeculture.xml:13482
msgid "Free for All (Wayner)"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:13480
+#: freeculture.xml:13483
msgid "Wayner, Peter"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13470
+#: freeculture.xml:13473
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:13482
+#: freeculture.xml:13485
msgid "Public Enemy"
msgstr ""
#. type: Content of: <book><chapter><section><section><indexterm><primary>
-#: freeculture.xml:13483
+#: freeculture.xml:13486
msgid "rap music"
msgstr ""
#. f2.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:13500
+#: freeculture.xml:13503
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><indexterm><primary>
-#: freeculture.xml:13507
+#: freeculture.xml:13510
msgid "Leaphart, Walter"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13485
+#: freeculture.xml:13488
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 "
"are others who use Creative Commons licenses for other reasons. Many who use "
-"the \"sampling license\" do so because anything else would be "
+"the <quote>sampling license</quote> do so because anything else would be "
"hypocritical. The sampling license says that others are free, for commercial "
"or noncommercial purposes, to sample content from the licensed work; they "
"are just not free to make full copies of the licensed work available to "
"others. This is consistent with their own art—they, too, sample from "
"others. Because the <emphasis>legal</emphasis> costs of sampling are so high "
"(Walter Leaphart, manager of the rap group Public Enemy, which was born "
-"sampling the music of others, has stated that he does not \"allow\" Public "
-"Enemy to sample anymore, because the legal costs are so high<placeholder "
-"type=\"footnote\" id=\"0\"/>), these artists release into the creative "
-"environment content that others can build upon, so that their form of "
-"creativity might grow. <placeholder type=\"indexterm\" id=\"1\"/>"
+"sampling the music of others, has stated that he does not "
+"<quote>allow</quote> Public Enemy to sample anymore, because the legal costs "
+"are so high<placeholder type=\"footnote\" id=\"0\"/>), these artists release "
+"into the creative environment content that others can build upon, so that "
+"their form of creativity might grow. <placeholder type=\"indexterm\" "
+"id=\"1\"/>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13510
+#: freeculture.xml:13513
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 "
"balance in this debate. If you just go along with the system as it is, you "
-"are effectively saying you believe in the \"All Rights Reserved\" "
+"are effectively saying you believe in the <quote>All Rights Reserved</quote> "
"model. Good for you, but many do not. Many believe that however appropriate "
"that rule is for Hollywood and freaks, it is not an appropriate description "
"of how most creators view the rights associated with their content. The "
-"Creative Commons license expresses this notion of \"Some Rights Reserved,\" "
-"and gives many the chance to say it to others."
+"Creative Commons license expresses this notion of <quote>Some Rights "
+"Reserved,</quote> and gives many the chance to say it to others."
msgstr ""
#. PAGE BREAK 291
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13522
+#: freeculture.xml:13525
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:13532
+#: freeculture.xml:13535
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:13540
+#: freeculture.xml:13543
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:13554
+#: freeculture.xml:13557
msgid "THEM, SOON"
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13556
+#: freeculture.xml:13559
msgid ""
"We will 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 "
msgstr ""
#. type: Content of: <book><chapter><section><para>
-#: freeculture.xml:13563
+#: freeculture.xml:13566
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:13570
+#: freeculture.xml:13573
msgid "1. More Formalities"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13572
+#: freeculture.xml:13575
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:13579
+#: freeculture.xml:13582
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:13584
+#: freeculture.xml:13587
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 "
"register. You don't even have to mark your content. The default is control, "
-"and \"formalities\" are banished."
+"and <quote>formalities</quote> are banished."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13590
+#: freeculture.xml:13593
msgid "Why?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13593
+#: freeculture.xml:13596
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:13602
+#: freeculture.xml:13605
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:13616
+#: freeculture.xml:13619
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:13614
+#: freeculture.xml:13617
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:13624
+#: freeculture.xml:13627
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:13636
+#: freeculture.xml:13639
msgid "REGISTRATION AND RENEWAL"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:13638
+#: freeculture.xml:13641
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:13651
+#: freeculture.xml:13654
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:13660
+#: freeculture.xml:13663
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:13670
+#: freeculture.xml:13673
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:13685
+#: freeculture.xml:13688
msgid "MARKING"
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:13687
+#: freeculture.xml:13690
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:13697
+#: freeculture.xml:13700
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:13703
+#: freeculture.xml:13706
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:13720
+#: freeculture.xml:13723
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:13713
+#: freeculture.xml:13716
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 "
"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.<placeholder type=\"footnote\" id=\"0\"/> The meaning of an "
-"unmarked work would therefore be \"use unless someone complains.\" If "
-"someone does complain, then the obligation would be to stop using the work "
-"in any new work from then on though no penalty would attach for existing "
-"uses. This would create a strong incentive for copyright owners to mark "
-"their work."
+"unmarked work would therefore be <quote>use unless someone "
+"complains.</quote> If someone does complain, then the obligation would be to "
+"stop using the work in any new work from then on though no penalty would "
+"attach for existing uses. This would create a strong incentive for "
+"copyright owners to mark their work."
msgstr ""
#. type: Content of: <book><chapter><section><section><section><para>
-#: freeculture.xml:13733
+#: freeculture.xml:13736
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><para>
-#: freeculture.xml:13740
+#: freeculture.xml:13743
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:13752
+#: freeculture.xml:13755
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:13760
+#: freeculture.xml:13763
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:13765
+#: freeculture.xml:13768
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:13777
+#: freeculture.xml:13780
msgid "2. Shorter Terms"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13779
+#: freeculture.xml:13782
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:13792
+#: freeculture.xml:13795
msgid ""
-"\"A Radical Rethink,\" <citetitle>Economist</citetitle>, 366:8308 (25 "
-"January 2003): 15, available at <ulink "
+"<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 "
+"
(25 January 2003): 15, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #74</ulink>."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13784
+#: freeculture.xml:13787
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:13799
+#: freeculture.xml:13802
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:13807
+#: freeculture.xml:13810
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:13816
+#: freeculture.xml:13819
msgid ""
"<emphasis>Keep it simple:</emphasis> The line between the public domain and "
-"protected content must be kept clear. Lawyers like the fuzziness of \"fair "
-"use,\" and the distinction between \"ideas\" and \"expression.\" That kind "
-"of law gives them lots of work. But our framers had a simpler idea in mind: "
-"protected versus unprotected. The value of short terms is that there is "
-"little need to build exceptions into copyright when the term itself is kept "
-"short. A clear and active \"lawyer-free zone\" makes the complexities of "
-"\"fair use\" and \"idea/expression\" less necessary to navigate."
+"protected content must be kept clear. Lawyers like the fuzziness of "
+"<quote>fair use,</quote> and the distinction between <quote>ideas</quote> "
+"and <quote>expression.</quote> That kind of law gives them lots of work. But "
+"our framers had a simpler idea in mind: protected versus unprotected. The "
+"value of short terms is that there is little need to build exceptions into "
+"copyright when the term itself is kept short. A clear and active "
+"<quote>lawyer-free zone</quote> makes the complexities of <quote>fair "
+"use</quote> and <quote>idea/expression</quote> less necessary to navigate."
msgstr ""
#. f4.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para><footnote><para>
-#: freeculture.xml:13837
+#: freeculture.xml:13840
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><indexterm><primary>
-#: freeculture.xml:13845
+#: freeculture.xml:13848
msgid "veterans' pensions"
msgstr ""
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:13829
+#: freeculture.xml:13832
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:13849
+#: freeculture.xml:13852
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:13865
+#: freeculture.xml:13868
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:13871
+#: freeculture.xml:13874
msgid ""
-"No doubt the extremists will call these ideas \"radical.\" (After all, I "
-"call them \"extremists.\") But again, the term I recommended was longer than "
-"the term under Richard Nixon. How \"radical\" can it be to ask for a more "
-"generous copyright law than Richard Nixon presided over?"
+"No doubt the extremists will call these ideas <quote>radical.</quote> (After "
+"all, I call them <quote>extremists.</quote>) But again, the term I "
+"recommended was longer than the term under Richard Nixon. How "
+"<quote>radical</quote> can it be to ask for a more generous copyright law "
+"than Richard Nixon presided over?"
msgstr ""
#. type: Content of: <book><chapter><section><section><title>
-#: freeculture.xml:13881
+#: freeculture.xml:13884
msgid "3. Free Use Vs. Fair Use"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13883
+#: freeculture.xml:13886
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:13891
+#: freeculture.xml:13894
msgid ""
-"Our Constitution gives Congress the power to give authors \"exclusive "
-"right\" to \"their writings.\" Congress has given authors an exclusive right "
-"to \"their writings\" plus any derivative writings (made by others) that are "
-"sufficiently close to the author's original 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 \"my writing.\""
+"Our Constitution gives Congress the power to give authors <quote>exclusive "
+"right</quote> to <quote>their writings.</quote> Congress has given authors "
+"an exclusive right to <quote>their writings</quote> plus any derivative "
+"writings (made by others) that are sufficiently close to the author's "
+"original 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 <quote>my writing.</quote>"
msgstr ""
#. f5.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:13904
+#: freeculture.xml:13907
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><indexterm><primary>
-#: freeculture.xml:13910
+#: freeculture.xml:13913
msgid "Kaplan, Benjamin"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13900
+#: freeculture.xml:13903
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:13918
+#: freeculture.xml:13921
msgid "Ibid., 56."
msgstr ""
#. type: Content of: <book><chapter><section><section><blockquote><para>
-#: freeculture.xml:13914
+#: freeculture.xml:13917
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:13923
+#: freeculture.xml:13926
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:13930
+#: freeculture.xml:13933
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:13943
+#: freeculture.xml:13946
msgid ""
"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights "
"be narrowed. Again, there are some cases in which derivative rights are "
"important. Those should be specified. But the law should draw clear lines "
"around regulated and unregulated uses of copyrighted material. When all "
-"\"reuse\" of creative material was within the control of businesses, perhaps "
-"it made sense to require lawyers to negotiate the lines. It no longer makes "
-"sense for lawyers to negotiate the lines. Think about all the creative "
-"possibilities that digital technologies enable; now imagine pouring molasses "
-"into the machines. That's what this general requirement of permission does "
-"to the creative process. Smothers it."
+"<quote>reuse</quote> of creative material was within the control of "
+"businesses, perhaps it made sense to require lawyers to negotiate the "
+"lines. It no longer makes sense for lawyers to negotiate the lines. Think "
+"about all the creative possibilities that digital technologies enable; now "
+"imagine pouring molasses into the machines. That's what this general "
+"requirement of permission does to the creative process. Smothers it."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13956
+#: freeculture.xml:13959
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:13972
+#: freeculture.xml:13975
msgid "Goldstein, Paul"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:13970
+#: freeculture.xml:13973
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:13964
+#: freeculture.xml:13967
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:13978
+#: freeculture.xml:13981
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:13985
+#: freeculture.xml:13988
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:13995
+#: freeculture.xml:13998
msgid "4. Liberate the Music—Again"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:13997
+#: freeculture.xml:14000
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:14004
+#: freeculture.xml:14007
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:14013
+#: freeculture.xml:14016
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:14020
+#: freeculture.xml:14023
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:14029
+#: freeculture.xml:14032
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:14034
+#: freeculture.xml:14037
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:14040
+#: freeculture.xml:14043
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:14046
+#: freeculture.xml:14049
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:14052
+#: freeculture.xml:14055
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:14060
+#: freeculture.xml:14063
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:14068
+#: freeculture.xml:14071
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:14073
+#: freeculture.xml:14076
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:14085
+#: freeculture.xml:14088
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 "
#. f8.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14118
+#: freeculture.xml:14121
msgid ""
-"See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April "
-"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link "
-"#76</ulink>."
+"See, for example, <quote>Music Media Watch,</quote> The J@pan "
+"Inc. Newsletter, 3 April 2002, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #76</ulink>."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14100
+#: freeculture.xml:14103
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 "
"money for the content they give access to. Already 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 "
-"\"free\" content is available in the form of MP3s across the "
+"<quote>free</quote> content is available in the form of MP3s across the "
"Web.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. PAGE BREAK 304
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14125
+#: freeculture.xml:14128
msgid ""
"This point about the future is meant to suggest a perspective on the "
-"present: It is emphatically temporary. The \"problem\" with file "
+"present: It is emphatically temporary. The <quote>problem</quote> with file "
"sharing—to the extent there is a real problem—is a problem that "
"will increasingly disappear as it becomes easier to connect to the "
"Internet. And thus it is an extraordinary mistake for policy makers today "
-"to be \"solving\" this problem in light of a technology that will be gone "
-"tomorrow. The question should not be how to regulate the Internet to "
-"eliminate file sharing (the Net will evolve that problem away). The question "
-"instead should be how to assure that artists get paid, during this "
+"to be <quote>solving</quote> this problem in light of a technology that will "
+"be gone tomorrow. The question should not be how to regulate the Internet "
+"to eliminate file sharing (the Net will evolve that problem away). The "
+"question instead should be how to assure that artists get paid, during this "
"transition between twentieth-century models for doing business and "
"twenty-first-century technologies."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14141
+#: freeculture.xml:14144
msgid ""
-"The answer begins with recognizing that there are different \"problems\" "
-"here to solve. Let's start with type D content—uncopyrighted content "
-"or copyrighted content that the artist wants shared. The \"problem\" with "
-"this content is to make sure that the technology that would enable this kind "
-"of sharing is not rendered illegal. You can think of it this way: Pay phones "
-"are used to deliver ransom demands, no doubt. But there are many who need "
-"to use pay phones who have nothing to do with ransoms. It would be wrong to "
-"ban pay phones in order to eliminate kidnapping."
+"The answer begins with recognizing that there are different "
+"<quote>problems</quote> here to solve. Let's start with type D "
+"content—uncopyrighted content or copyrighted content that the artist "
+"wants shared. The <quote>problem</quote> with this content is to make sure "
+"that the technology that would enable this kind of sharing is not rendered "
+"illegal. You can think of it this way: Pay phones are used to deliver ransom "
+"demands, no doubt. But there are many who need to use pay phones who have "
+"nothing to do with ransoms. It would be wrong to ban pay phones in order to "
+"eliminate kidnapping."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14152
+#: freeculture.xml:14155
msgid ""
-"Type C content raises a different \"problem.\" This is content that was, at "
-"one time, published and is no longer available. It may be unavailable "
-"because the artist is no longer valuable enough for the record label he "
-"signed with to carry his work. Or it may be 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."
+"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 "
+"unavailable because the artist is no longer valuable enough for the record "
+"label he signed with to carry his work. Or it may be 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."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14161
+#: freeculture.xml:14164
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 "
"and used book stores don't pay the copyright owner when someone reads or "
"buys an out-of-print book. That makes total sense, of course, since any "
"other system would be so burdensome as to eliminate the possibility of used "
-"book stores' existing. But from the author's perspective, this \"sharing\" "
-"of his content without his being compensated is less than ideal."
+"book stores' existing. But from the author's perspective, this "
+"<quote>sharing</quote> of his content without his being compensated is less "
+"than ideal."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14171
+#: freeculture.xml:14174
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 "
"music available for sale, then commercial and noncommercial providers would "
-"be free, under this rule, to \"share\" that content, even though the sharing "
-"involved making a copy. The copy here would be incidental to the trade; in a "
-"context where commercial publishing has ended, trading music should be as "
-"free as trading books."
+"be free, under this rule, to <quote>share</quote> that content, even though "
+"the sharing involved making a copy. The copy here would be incidental to the "
+"trade; in a context where commercial publishing has ended, trading music "
+"should be as free as trading books."
msgstr ""
#. PAGE BREAK 305
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14182
+#: freeculture.xml:14185
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:14192
+#: freeculture.xml:14195
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:14202
+#: freeculture.xml:14205
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:14210
+#: freeculture.xml:14213
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:14214
+#: freeculture.xml:14217
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:14225
+#: freeculture.xml:14228
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:14270
+#: freeculture.xml:14273
msgid "Fisher, William"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><indexterm><primary>
-#: freeculture.xml:14272 freeculture.xml:14298
+#: freeculture.xml:14275 freeculture.xml:14301
msgid "Promises to Keep (Fisher)"
msgstr ""
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14237
+#: freeculture.xml:14240
msgid ""
"William Fisher, <citetitle>Digital Music: Problems and "
"Possibilities</citetitle> (last revised: 10 October 2000), available at "
"url=\"http://free-culture.cc/notes/\">link #78</ulink>. Professor Netanel "
"has proposed a related idea that would exempt noncommercial sharing from the "
"reach of copyright and would establish compensation to artists to balance "
-"any loss. See Neil Weinstock Netanel, \"Impose a Noncommercial Use Levy to "
-"
Allow Free P2P File Sharing,\" available at <ulink "
+"any loss. See Neil Weinstock Netanel, <quote>Impose a Noncommercial Use Levy "
+"
to Allow Free P2P File Sharing,</quote> available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #79</ulink>. For other proposals, "
-"see Lawrence Lessig, \"Who's Holding Back Broadband?\" <citetitle>Washington "
-"Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman "
-"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate "
-"Foreign Relations Committee, 26 February 2002, available at <ulink "
+"see Lawrence Lessig, <quote>Who's Holding Back Broadband?</quote> "
+"<citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip "
+"S. Corwin on behalf of Sharman Networks, A Letter to Senator Joseph "
+"R. Biden, Jr., Chairman of the Senate Foreign Relations Committee, 26 "
+"February 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, "
"<citetitle>A Quick Case for Intellectual Property Use Fee "
"(IPUF)</citetitle>, 3 March 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson Graham, "
-"\"Kazaa, Verizon Propose to Pay Artists Directly,\" <citetitle>USA "
-"Today</citetitle>, 13 May 2002, available at <ulink "
+"<quote>Kazaa, Verizon Propose to Pay Artists Directly,</quote> "
+"
<citetitle>USA Today</citetitle>, 13 May 2002, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #82</ulink>; Steven M. Cherry, "
-"\"Getting Copyright Right,\" IEEE Spectrum Online, 1 July 2002, available at "
-"<ulink url=\"http://free-culture.cc/notes/\">link #83</ulink>; Declan "
-"McCullagh, \"Verizon's Copyright Campaign,\" CNET News.com, 27 August 2002, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #84</ulink>. "
-"Fisher's proposal is very similar to Richard Stallman's proposal for "
-"DAT. Unlike Fisher's, Stallman's proposal would not pay artists directly "
-"proportionally, though more popular artists would get more than the less "
-"popular. As is typical with Stallman, his proposal predates the current "
-"debate by about a decade. See <ulink "
-"url=\"http://free-culture.cc/notes/\">link #85</ulink>. <placeholder "
-"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> "
-"<placeholder type=\"indexterm\" id=\"2\"/>"
+"<quote>Getting Copyright Right,</quote> IEEE Spectrum Online, 1 July 2002, "
+"available at <ulink url=\"http://free-culture.cc/notes/\">link #83</ulink>; "
+"Declan McCullagh, <quote>Verizon's Copyright Campaign,</quote> CNET "
+"News.com, 27 August 2002, available at <ulink "
+"url=\"http://free-culture.cc/notes/\">link #84</ulink>. Fisher's proposal "
+"is very similar to Richard Stallman's proposal for DAT. Unlike Fisher's, "
+"Stallman's proposal would not pay artists directly proportionally, though "
+"more popular artists would get more than the less popular. As is typical "
+"with Stallman, his proposal predates the current debate by about a "
+"decade. See <ulink url=\"http://free-culture.cc/notes/\">link #85</ulink>. "
+"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" "
+"
id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14233
+#: freeculture.xml:14236
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:14285
+#: freeculture.xml:14288
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:14301
+#: freeculture.xml:14304
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 "
-"supports the widest range of \"semiotic democracy\" possible. But the aims "
-"of semiotic democracy would be satisfied if the other changes I described "
-"were accomplished—in particular, the limits on derivative 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."
+"supports the widest range of <quote>semiotic democracy</quote> possible. But "
+"the aims of semiotic democracy would be satisfied if the other changes I "
+"described were accomplished—in particular, the limits on derivative "
+"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."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14315
-msgid ""
-"No doubt it would be difficult to calculate the proper measure of \"harm\" "
-"to an industry. But the difficulty of making that calculation would be "
-"outweighed by the benefit of facilitating innovation. This background system "
-"to compensate would also not need to interfere with innovative proposals "
-"such as Apple's MusicStore. As experts predicted when Apple launched the "
-"MusicStore, it could beat \"free\" by being easier than free is. This has "
-"proven correct: Apple has sold millions of songs at even the very high price "
-"of 99 cents a song. (At 99 cents, the cost is the equivalent of a per-song "
-"CD price, though the labels have none of the costs of a CD to pay.) Apple's "
-"move was countered by 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."
+#: freeculture.xml:14318
+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 "
+"calculation would be outweighed by the benefit of facilitating "
+"innovation. This background system to compensate would also not need to "
+"interfere with innovative proposals such as Apple's MusicStore. As experts "
+"predicted when Apple launched the MusicStore, it could beat "
+"<quote>free</quote> by being easier than free is. This has proven correct: "
+"Apple has sold millions of songs at even the very high price of 99 cents a "
+"song. (At 99 cents, the cost is the equivalent of a per-song CD price, "
+"though the labels have none of the costs of a CD to pay.) Apple's move was "
+"countered by 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."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14330
+#: freeculture.xml:14333
msgid ""
-"This competition has already occurred against the background of \"free\" "
-"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 that, "
-"there is nothing impossible at all about \"competing with free.\" Indeed, if "
-"anything, the competition spurs the competitors to offer new and better "
-"products. This is precisely what the competitive market was to be "
-"about. Thus in Singapore, though piracy is rampant, movie theaters are often "
-"luxurious—with \"first class\" seats, and meals served while you watch "
-"a movie—as they struggle and succeed in finding ways to compete with "
-"\"free.\""
+"This competition has already occurred against the background of "
+"<quote>free</quote> 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 that, there is nothing impossible at all about "
+"<quote>competing with free.</quote> Indeed, if anything, the competition "
+"spurs the competitors to offer new and better products. This is precisely "
+"what the competitive market was to be about. Thus in Singapore, though "
+"piracy is rampant, movie theaters are often luxurious—with "
+"<quote>first class</quote> seats, and meals served while you watch a "
+"movie—as they struggle and succeed in finding ways to compete with "
+"<quote>free.</quote>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14342
+#: freeculture.xml:14345
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:14351
+#: freeculture.xml:14354
msgid "In summary, then, my proposal is this:"
msgstr ""
#. PAGE BREAK 308
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14356
+#: freeculture.xml:14359
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:14363
+#: freeculture.xml:14366
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:14369
+#: freeculture.xml:14372
msgid "guaranteeing the right to engage in type D sharing;"
msgstr ""
#. 2.
#. type: Content of: <book><chapter><section><section><orderedlist><listitem><para>
-#: freeculture.xml:14373
+#: freeculture.xml:14376
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:14379
+#: freeculture.xml:14382
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:14384
+#: freeculture.xml:14387
msgid ""
-"But what if \"piracy\" doesn't disappear? What if there is a competitive "
-"market providing content at a low cost, but a significant number of "
-"consumers continue to \"take\" content for nothing? Should the law do "
-"something then?"
+"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 "
+"of consumers continue to <quote>take</quote> content for nothing? Should the "
+"law do something then?"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14390
+#: freeculture.xml:14393
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:14404
+#: freeculture.xml:14407
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:14415
+#: freeculture.xml:14418
msgid "5. Fire Lots of Lawyers"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14417
+#: freeculture.xml:14420
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:14423
+#: freeculture.xml:14426
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 "
#. f10.
#. type: Content of: <book><chapter><section><section><para><footnote><para>
-#: freeculture.xml:14440
+#: freeculture.xml:14443
msgid ""
-"Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
-"Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, "
-"1069–70."
+"Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville "
+"B. Nimmer Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 "
+"(2001): 1057, 1069–70."
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14431
-msgid ""
-"The evidence of this bending is compelling. I'm attacked as a \"radical\" by "
-"many within the profession, yet the positions that I am advocating are "
-"precisely the positions of some of the most moderate and significant figures "
-"in the history of this branch of the 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.<placeholder "
-"type=\"footnote\" id=\"0\"/>"
+#: freeculture.xml:14434
+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 "
+"I am advocating are precisely the positions of some of the most moderate and "
+"significant figures in the history of this branch of the 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.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14446
+#: freeculture.xml:14449
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:14456
+#: freeculture.xml:14459
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 "
"again. Compare Stan J. Liebowitz, <citetitle>Rethinking the Network "
"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New "
"York: Amacom, 2002), (reviewing his original view but expressing skepticism) "
-"with Stan J. Liebowitz, \"Will MP3s Annihilate the Record Industry?\" "
-"working paper, June 2003, available at <ulink "
+"with Stan J. Liebowitz, <quote>Will MP3s Annihilate the Record "
+"
Industry?</quote> working paper, June 2003, available at <ulink "
"url=\"http://free-culture.cc/notes/\">link #86</ulink>. Liebowitz's careful "
"analysis is extremely valuable in estimating the effect of file-sharing "
"technology. In my view, however, he underestimates the costs of the legal "
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14451
+#: freeculture.xml:14454
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:14480
+#: freeculture.xml:14483
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:14488
+#: freeculture.xml:14491
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:14498
+#: freeculture.xml:14501
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:14506
+#: freeculture.xml:14509
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:14512
+#: freeculture.xml:14515
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:14521
+#: freeculture.xml:14524
msgid ""
"The law should regulate in certain areas of culture—but it should "
"regulate culture only where that regulation does good. Yet lawyers rarely "
"test their power, or the power they promote, against this simple pragmatic "
-"question: \"Will it do good?\" When challenged about the expanding reach of "
-"the law, the lawyer answers, \"Why not?\""
+"question: <quote>Will it do good?</quote> When challenged about the "
+"expanding reach of the law, the lawyer answers, <quote>Why not?</quote>"
msgstr ""
#. type: Content of: <book><chapter><section><section><para>
-#: freeculture.xml:14530
+#: freeculture.xml:14533
msgid ""
-"We should ask, \"Why?\" Show me why your regulation of culture is "
+"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 "
"lawyers away."
msgstr ""
#. type: Content of: <book><chapter><title>
-#: freeculture.xml:14539
+#: freeculture.xml:14542
msgid "NOTES"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:14541
+#: freeculture.xml:14544
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:14556
+#: freeculture.xml:14559
msgid "ACKNOWLEDGMENTS"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:14558
+#: freeculture.xml:14561
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:14565
+#: freeculture.xml:14568
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:14578
+#: freeculture.xml:14581
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:14589
+#: freeculture.xml:14592
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 "
"McMullen, Fred Norton, John Pormann, Pedro A. D. Rezende, Shabbir Safdar, "
"Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker, Chris Smith, "
"Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt Wasserman, Miljenko "
-"Williams, \"Wink,\" Roger Wood, \"Ximmbo da Jazz,\" and Richard Yanco. (I "
-"apologize if I have missed anyone; with computers come glitches, and a crash "
-"of my e-mail system meant I lost a bunch of great replies.)"
+"Williams, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote> "
+"and Richard Yanco. (I apologize if I have missed anyone; with computers come "
+"glitches, and a crash of my e-mail system meant I lost a bunch of great "
+"replies.)"
msgstr ""
#. type: Content of: <book><chapter><para>
-#: freeculture.xml:14609
+#: freeculture.xml:14612
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:14618
+#: freeculture.xml:14621
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 "
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
+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.
Copyright © Lawrence Lessig. All rights reserved.
</para>
<para>
-Excerpt from an editorial titled "The Coming of Copyright Perpetuity,"
+Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</quote>
<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright
© 2003 by The New York Times Co. Reprinted with permission.
</para>
doesn't affect people who aren't online (and only a tiny minority
of the world population is). And if you don't like the Internet's
system, you can always flip off the modem.<footnote id="preface01"><para>
-David Pogue, "Don't Just Chat, Do Something," <citetitle>New York Times</citetitle>, 30 January 2000.
+David Pogue, <quote>Don't Just Chat, Do Something,</quote> <citetitle>New York Times</citetitle>, 30 January 2000.
</para></footnote>
</para>
</blockquote>
<para>
Pogue was skeptical of the core argument of the book—that
-software, or "code," functioned as a kind of law—and his review
+software, or <quote>code,</quote> functioned as a kind of law—and his review
suggested the happy thought that if life in cyberspace got bad, we
-could always "drizzle, drazzle, druzzle, drome"-like simply flip a
+could always <quote>drizzle, drazzle, druzzle, drome</quote>-like simply flip a
switch and be back home. Turn off the modem, unplug the computer, and
any troubles that exist in <emphasis>that</emphasis> space wouldn't
-"affect" us anymore.
+<quote>affect</quote> us anymore.
</para>
<para>
Pogue might have been right in 1999—I'm skeptical, but maybe.
causes even after the modem is turned
<!--PAGE BREAK 12-->
off. It is an argument about how the battles that now rage regarding life
-on-line have fundamentally affected "people who aren't online." There
+on-line have fundamentally affected <quote>people who aren't online.</quote> There
is no switch that will insulate us from the Internet's effect.
</para>
<indexterm startref="idxpoguedavid" class='endofrange'/>
</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
+pages that follow, we come from a tradition of <quote>free culture</quote>—not
+<quote>free</quote> as in <quote>free beer</quote> (to borrow a phrase from the founder of the
free software movement<footnote>
<para>
Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 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
+</para></footnote>), but <quote>free</quote> as in <quote>free speech,</quote> <quote>free markets,</quote>
+<quote>free trade,</quote> <quote>free enterprise,</quote> <quote>free will,</quote> and <quote>free elections.</quote> 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
possible</emphasis> 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
+<quote>permission culture</quote>—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
+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 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
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
+As William Safire described marching <quote>uncomfortably alongside CodePink
Women for Peace and the National Rifle Association, between liberal
-Olympia Snowe and conservative Ted Stevens," he formulated perhaps
+Olympia Snowe and conservative Ted Stevens,</quote> he formulated perhaps
most simply just what was at stake: the concentration of power. And as
he asked,
<indexterm><primary>Safire, William</primary></indexterm>
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," <citetitle>New York Times</citetitle>, 22 May 2003.
+<quote>The Great Media Gulp,</quote> <citetitle>New York Times</citetitle>, 22 May 2003.
<indexterm><primary>Safire, William</primary></indexterm>
</para></footnote>
</para>
Stallman's own work, especially the essays in <citetitle>Free Software, Free
Society</citetitle>, 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.
+that this work is <quote>merely</quote> derivative.
</para>
<para>
I accept that criticism, if indeed it is a criticism. The work of a
At the time the Wright brothers invented the airplane, American
law held that a property owner presumptively owned not just the surface
of his land, but all the land below, down to the center of the earth,
-and all the space above, to
"an indefinite extent, upwards."<footnote><para>
+and all the space above, to
<quote>an indefinite extent, upwards.</quote><footnote><para>
St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South Hackensack, N.J.:
Rothman Reprints, 1969), 18.
</para></footnote>
flew into the barn walls and died), the Causbys filed a lawsuit saying
that the government was trespassing on their land. The airplanes,
of course, never touched the surface of the Causbys' land. But if, as
-Blackstone, Kent, and Coke had said, their land reached to "an indefinite
-extent, upwards," then the government was trespassing on their
+Blackstone, Kent, and Coke had said, their land reached to <quote>an indefinite
+extent, upwards,</quote> then the government was trespassing on their
property, and the Causbys wanted it to stop.
</para>
<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
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
-"taking" of property without compensation. The Court acknowledged
-that "it is ancient doctrine that common law ownership of
-the land extended to the periphery of the universe." But Justice Douglas
+<quote>taking</quote> of property without compensation. The Court acknowledged
+that <quote>it is ancient doctrine that common law ownership of
+the land extended to the periphery of the universe.</quote> But Justice Douglas
had no patience for ancient doctrine. In a single paragraph, hundreds of
years of property law were erased. As he wrote for the Court,
</para>
the public has a just claim.<footnote>
<para>
United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find
-that there could be a "taking" if the government's use of its land
+that there could be a <quote>taking</quote> if the government's use of its land
effectively destroyed the value of the Causbys' land. This example was
-suggested to me by Keith Aoki's wonderful piece, "(Intellectual)
+suggested to me by Keith Aoki's wonderful piece, <quote>(Intellectual)
Property and Sovereignty: Notes Toward a Cultural Geography of
-Authorship," <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See also Paul
+Authorship,</quote> <citetitle>Stanford Law Review</citetitle> 48 (1996): 1293, 1333. See also Paul
Goldstein, <citetitle>Real Property</citetitle> (Mineola, N.Y.: Foundation Press, 1984),
1112–13.
<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
</para>
</blockquote>
<para>
-"Common sense revolts at the idea."
+<quote>Common sense revolts at the idea.</quote>
</para>
<para>
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
<!--PAGE BREAK 18-->
-conclusion that Douglas holds in a single line: "Common sense revolts
-at the idea." But whether it takes pages or a few words, it is the special
+conclusion that Douglas holds in a single line: <quote>Common sense revolts
+at the idea.</quote> But whether it takes pages or a few words, it is the special
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.
hard to unite and stop the idea, and the technology, that the Wright
brothers had birthed. The Wright brothers spat airplanes into the
technological meme pool; the idea then spread like a virus in a chicken
-coop; farmers like the Causbys found themselves surrounded by "what
-seemed reasonable" given the technology that the Wrights had produced.
+coop; farmers like the Causbys found themselves surrounded by <quote>what
+seemed reasonable</quote> given the technology that the Wrights had produced.
They could stand on their farms, dead chickens in hand, and
shake their fists at these newfangled technologies all they wanted.
They could call their representatives or even file a lawsuit. But in the
-end, the force of what seems "obvious" to everyone else—the power of
-"common sense"—would prevail. Their "private interest" would not be
+end, the force of what seems <quote>obvious</quote> to everyone else—the power of
+<quote>common sense</quote>—would prevail. Their <quote>private interest</quote> would not be
allowed to defeat an obvious public gain.
</para>
<para>
seventeen miles away. The radio fell totally silent, as if dead, and
then with a clarity no one else in that room had ever heard from an
electrical device, it produced the sound of an announcer's voice:
-"This is amateur station W2AG at Yonkers, New York, operating on
-frequency modulation at two and a half meters."
+<quote>This is amateur station W2AG at Yonkers, New York, operating on
+frequency modulation at two and a half meters.</quote>
</para>
<para>
The audience was hearing something no one had thought possible:
and torn; it sounded like paper and not like a crackling forest
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 "music
+live-ness rarely if ever heard before from a radio <quote>music
+box.
</quote><footnote><para>
Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</citetitle>
(Philadelphia: J. B. Lipincott Company, 1956), 209.
</para></footnote>
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
-that removed static from "radio." But when Armstrong demonstrated
+that removed static from <quote>radio.</quote> But when Armstrong demonstrated
his invention, Sarnoff was not pleased.
<indexterm><primary>Sarnoff, David</primary></indexterm>
</para>
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.<footnote><para> See "Saints: The Heroes and Geniuses of the
-Electronic Era," First Electronic Church of America, at
+RCA.<footnote><para> See <quote>Saints: The Heroes and Geniuses of the
+Electronic Era,</quote> First Electronic Church of America, at
www.webstationone.com/fecha, available at
<ulink url="http://free-culture.cc/notes/">link #1</ulink>.
Internet and American Life Project, 58 percent of Americans had access
to the Internet in 2002, up from 49 percent two years
before.<footnote><para>
-Amanda Lenhart, "The Ever-Shifting Internet Population: A New Look at
-Internet Access and the Digital Divide," Pew Internet and American
+Amanda Lenhart, <quote>The Ever-Shifting Internet Population: A New Look at
+Internet Access and the Digital Divide,</quote> Pew Internet and American
Life Project, 15 April 2003: 6, available at
<ulink url="http://free-culture.cc/notes/">link #2</ulink>.
</para></footnote>
<para>
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 "commercial culture" I mean that part of our
+regulation of each. By <quote>commercial culture</quote> I mean that part of our
culture that is produced and sold or produced to be sold. By
-"noncommercial culture" I mean all the rest. When old men sat around
+<quote>noncommercial culture</quote> I mean all the rest. When old men sat around
parks or on
<!-- PAGE BREAK 23 -->
street corners telling stories that kids and others consumed, that was
-noncommercial culture. When Noah Webster published his "Reader," or
+noncommercial culture. When Noah Webster published his <quote>Reader,</quote> or
Joel Barlow his poetry, that was commercial culture.
<indexterm><primary>Barlow, Joel</primary></indexterm>
<indexterm><primary>Webster, Noah</primary></indexterm>
course, if your stories were lewd, or if your song disturbed the
peace, then the law might intervene. But the law was never directly
concerned with the creation or spread of this form of culture, and it
-left this culture "free." The ordinary ways in which ordinary
+left this culture <quote>free.</quote> The ordinary ways in which ordinary
individuals shared and transformed their culture—telling
stories, reenacting scenes from plays or TV, participating in fan
clubs, sharing music, making tapes—were left alone by the law.
publication, but also a privacy interest. By granting authors the exclusive
right to first publication, state copyright law gave authors the power to
control the spread of facts about them. See Samuel D. Warren and Louis
-D. Brandeis, "The Right to Privacy," Harvard Law Review 4 (1890): 193,
+D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 (1890): 193,
198–200.
<indexterm><primary>Brandeis, Louis D.</primary></indexterm>
</para></footnote>
It doesn't seem this way to many. The battles over copyright and the
<!-- PAGE BREAK 25 -->
Internet seem remote to most. To the few who follow them, they seem
-mainly about a much simpler brace of questions—whether "piracy" will
-be permitted, and whether "property" will be protected. The "war" that
+mainly about a much simpler brace of questions—whether <quote>piracy</quote> will
+be permitted, and whether <quote>property</quote> will be protected. The <quote>war</quote> that
has been waged against the technologies of the Internet—what
Motion Picture Association of America (MPAA) president Jack Valenti
-calls his
"own terrorist war"<footnote><para>
-Amy Harmon, "Black Hawk Download: Moving Beyond Music, Pirates
-Use New Tools to Turn the Net into an Illicit Video Club," <citetitle>New York
+calls his
<quote>own terrorist war</quote><footnote><para>
+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 York
Times</citetitle>, 17 January 2002.
</para></footnote>—has been framed as a battle about the
rule of law and respect for property. To know which side to take in this
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 importance of what Mr. Valenti nicely calls
-"creative property." I believe that "piracy" is wrong, and that the
-law, properly tuned, should punish "piracy," whether on or off the
+<quote>creative property.</quote> I believe that <quote>piracy</quote> is wrong, and that the
+law, properly tuned, should punish <quote>piracy,</quote> whether on or off the
Internet.
</para>
<para>
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 war to rid the world of Internet "pirates" will also rid our
+this change, the war to rid the world of Internet <quote>pirates</quote> will also rid our
culture of values that have been integral to our tradition from the start.
</para>
<para>
control. The First Amendment protected creators against state control.
And as Professor Neil Netanel powerfully argues,<footnote>
<para>
-Neil W. Netanel, "Copyright and a Democratic Civil Society," <citetitle>Yale Law
+Neil W. Netanel, <quote>Copyright and a Democratic Civil Society,</quote> <citetitle>Yale Law
Journal</citetitle> 106 (1996): 283.
<indexterm><primary>Netanel, Neil Weinstock</primary></indexterm>
</para></footnote>
<!-- PAGE BREAK 26. FIXME: Should "Is it" be "It is" ? -->
<para>
The story that follows is about this war. Is it not about the
-"centrality of technology" to ordinary life. I don't believe in gods,
+<quote>centrality of technology</quote> to ordinary life. I don't believe in gods,
digital or otherwise. Nor is it an effort to demonize any individual
or group, for neither do I believe in a devil, corporate or
otherwise. It is not a morality tale. Nor is it a call to jihad
<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
<indexterm><primary>Causby, Tinie</primary></indexterm>
<para>
-Like the Causbys' battle, this war is, in part, about "property." The
+Like the Causbys' battle, this war is, in part, about <quote>property.</quote> 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
-this "property" are as obvious to most as the Causbys' claim about the
+this <quote>property</quote> are as obvious to most as the Causbys' claim about the
sacredness of their farm was to them. We are the Causbys. Most of us
take for granted the extraordinarily powerful claims that the owners
-of "intellectual property" now assert. Most of us, like the Causbys,
+of <quote>intellectual property</quote> now assert. Most of us, like the Causbys,
treat these claims as obvious. And hence we, like the Causbys, object
when a new technology interferes with this property. It is as plain to
us as it was to them that the new technologies of the Internet are
-"trespassing" upon legitimate claims of "property." It is as plain to
+<quote>trespassing</quote> upon legitimate claims of <quote>property.</quote> It is as plain to
us as it was to them that the law should intervene to stop this
trespass.
</para>
amazed by the power of this idea of intellectual property and, more
importantly, its power to disable critical thought by policy makers
and citizens. There has never been a time in our history when more of
-our "culture" was as "owned" as it is now. And yet there has never
+our <quote>culture</quote> was as <quote>owned</quote> as it is now. And yet there has never
been a time when the concentration of power to control the
<emphasis>uses</emphasis> of culture has been as unquestioningly
accepted as it is now.
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
-against the extreme claims made today on behalf of "intellectual
-property." What the law demands today is increasingly as silly as a
+against the extreme claims made today on behalf of <quote>intellectual
+property.</quote> What the law demands today is increasingly as silly as a
sheriff arresting an airplane for trespass. But the consequences of
this silliness will be much more profound.
<!-- PAGE BREAK 28 -->
</para>
<para>
-The struggle that rages just now centers on two ideas: "piracy" and
-"property." My aim in this book's next two parts is to explore these two
+The struggle that rages just now centers on two ideas: <quote>piracy</quote> and
+<quote>property.</quote> My aim in this book's next two parts is to explore these two
ideas.
</para>
<para>
<para>
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 big media to respond to this "something new," is
+government, pushed by big media to respond to this <quote>something new,</quote> is
destroying something very old. Rather than understanding the changes
-the Internet might permit, and rather than taking time to let "common
-sense" resolve how best to respond, we are allowing those most
+the Internet might permit, and rather than taking time to let <quote>common
+sense</quote> resolve how best to respond, we are allowing those most
threatened by the changes to use their power to change the
law—and more importantly, to use their power to change something
fundamental about who we have always been.
</chapter>
<!-- PAGE BREAK 29 -->
<part id="c-piracy">
-<title>"PIRACY"</title>
+<title><quote>PIRACY</quote></title>
<partintro>
<!-- PAGE BREAK 30 -->
<indexterm id="idxmansfield1" class='startofrange'>
</indexterm>
<para>
Since the inception of the law regulating creative property, there has
-been a war against "piracy." The precise contours of this concept,
-"piracy," are hard to sketch, but the animating injustice is easy to
+been a war against <quote>piracy.</quote> The precise contours of this concept,
+<quote>piracy,</quote> are hard to sketch, but the animating injustice is easy to
capture. As Lord Mansfield wrote in a case that extended the reach of
English copyright law to include sheet music,
</para>
<indexterm startref="idxmansfield1" class='endofrange'/>
</blockquote>
<para>
-Today we are in the middle of another "war" against "piracy." The
+Today we are in the middle of another <quote>war</quote> against <quote>piracy.</quote> The
Internet has provoked this war. The Internet makes possible the
efficient spread of content. Peer-to-peer (p2p) file sharing is among
the most efficient of the efficient technologies the Internet
The network doesn't discriminate between the sharing of copyrighted
and uncopyrighted content. Thus has there been a vast amount of
sharing of copyrighted content. That sharing in turn has excited the
-war, as copyright owners fear the sharing will "rob the author of the
-profit."
+war, as copyright owners fear the sharing will <quote>rob the author of the
+profit.</quote>
</para>
<para>
The warriors have turned to the courts, to the legislatures, and
-increasingly to technology to defend their "property" against this
-"piracy." A generation of Americans, the warriors warn, is being
-raised to believe that "property" should be "free." Forget tattoos,
+increasingly to technology to defend their <quote>property</quote> against this
+<quote>piracy.</quote> A generation of Americans, the warriors warn, is being
+raised to believe that <quote>property</quote> should be <quote>free.</quote> Forget tattoos,
never mind body piercing—our kids are becoming
<emphasis>thieves</emphasis>!
</para>
<para>
-There's no doubt that "piracy" is wrong, and that pirates should be
+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 this
-notion of "piracy" in some context. For as the concept is increasingly
+notion of <quote>piracy</quote> in some context. For as the concept is increasingly
used, at its core is an extraordinary idea that is almost certainly wrong.
</para>
<para>
<indexterm><primary>Dreyfuss, Rochelle</primary></indexterm>
<para>
This view runs deep within the current debates. It is what NYU law
-professor Rochelle Dreyfuss criticizes as the "if value, then right"
+professor Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote>
theory of creative property<footnote><para>
<!-- f2 -->
-See Rochelle Dreyfuss, "Expressive Genericity: Trademarks as Language
-in the Pepsi Generation," <citetitle>Notre Dame Law Review</citetitle> 65 (1990): 397.
+See Rochelle Dreyfuss, <quote>Expressive Genericity: Trademarks as Language
+in the Pepsi Generation,</quote> <citetitle>Notre Dame Law Review</citetitle> 65 (1990): 397.
</para></footnote>
—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.<footnote><para>
<!-- f3 -->
-Lisa Bannon, "The Birds May Sing, but Campers Can't Unless They Pay
-Up," <citetitle>Wall Street Journal</citetitle>, 21 August 1996, available at
+Lisa Bannon, <quote>The Birds May Sing, but Campers Can't Unless They Pay
+Up,</quote> <citetitle>Wall Street Journal</citetitle>, 21 August 1996, available at
<ulink url="http://free-culture.cc/notes/">link #3</ulink>; Jonathan
-Zittrain, "Calling Off the Copyright War: In Battle of Property vs. Free
-Speech, No One Wins," <citetitle>Boston Globe</citetitle>, 24 November 2002.
+Zittrain, <quote>Calling Off the Copyright War: In Battle of Property vs. Free
+Speech, No One Wins,</quote> <citetitle>Boston Globe</citetitle>, 24 November 2002.
<indexterm><primary>Zittrain, Jonathan</primary></indexterm>
</para></footnote>
-There was "value" (the songs) so there must have been a
-"right"—even against the Girl Scouts.
+There was <quote>value</quote> (the songs) so there must have been a
+<quote>right</quote>—even against the Girl Scouts.
</para>
<indexterm><primary>ASCAP</primary></indexterm>
<para>
This idea is certainly a possible understanding of how creative
property should work. It might well be a possible design for a system
<!-- PAGE BREAK 32 -->
-of law protecting creative property. But the "if value, then right"
+of law protecting creative property. But the <quote>if value, then right</quote>
theory of creative property has never been America's theory of
creative property. It has never taken hold within our law.
</para>
the law has disappeared. The law controls not just the creativity of
commercial creators but effectively that of anyone. Although that
expansion would not matter much if copyright law regulated only
-"copying," when the law regulates as broadly and obscurely as it does,
+<quote>copying,</quote> when the law regulates as broadly and obscurely as it does,
the extension matters a lot. The burden of this law now vastly
outweighs any original benefit—certainly as it affects
noncommercial creativity, and increasingly as it affects commercial
creativity with insanely complex and vague rules and with the threat
of obscenely severe penalties. We may
<!-- PAGE BREAK 33 -->
-be seeing, as Richard Florida writes, the "Rise of the Creative
-Class."<footnote>
+be seeing, as Richard Florida writes, the <quote>Rise of the Creative
+Class.</quote><footnote>
<para>
<!-- f4 -->
In <citetitle>The Rise of the Creative Class</citetitle> (New York:
<para>
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 "piracy."
+context the current battles about behavior labeled <quote>piracy.</quote>
</para>
</partintro>
</blockquote>
<para>
Disney's then partner, and one of animation's most extraordinary
-talents, Ub Iwerks, put it more strongly: "I have never been so thrilled
-in my life. Nothing since has ever equaled it."
+talents, Ub Iwerks, put it more strongly: <quote>I have never been so thrilled
+in my life. Nothing since has ever equaled it.</quote>
<indexterm><primary>Iwerks, Ub</primary></indexterm>
</para>
<para>
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 Smith of the Disney Archives, Disney paid royalties to
-use the music for five songs in <citetitle>Steamboat Willie</citetitle>: "Steamboat Bill," "The
-Simpleton" (Delille), "Mischief Makers" (Carbonara), "Joyful Hurry No. 1"
-(Baron), and "Gawky Rube" (Lakay). A sixth song, "The Turkey in the
-Straw," was already in the public domain. Letter from David Smith to
+use the music for five songs in <citetitle>Steamboat Willie</citetitle>: <quote>Steamboat Bill,</quote> <quote>The
+Simpleton</quote> (Delille), <quote>Mischief Makers</quote> (Carbonara), <quote>Joyful Hurry No. 1</quote>
+(Baron), and <quote>Gawky Rube</quote> (Lakay). A sixth song, <quote>The Turkey in the
+Straw,</quote> was already in the public domain. Letter from David Smith to
Harry Surden, 10 July 2003, on file with author.
</para></footnote>
and both are built upon a common song as a source. It is not just from
the invention of synchronized sound in <citetitle>The Jazz Singer</citetitle> that we
get <citetitle>Steamboat Willie</citetitle>. It is also from Buster Keaton's invention of
-Steamboat Bill, Jr., itself inspired by the song "Steamboat Bill,"
+Steamboat Bill, Jr., itself inspired by the song <quote>Steamboat Bill,</quote>
that we get Steamboat Willie, and then from Steamboat Willie, Mickey
Mouse.
</para>
<para>
-This "borrowing" was nothing unique, either for Disney or for the
+This <quote>borrowing</quote> was nothing unique, either for Disney or for the
industry. Disney was always parroting the feature-length mainstream
films of his day.<footnote><para>
<!-- f3 -->
-He was also a fan of the public domain. See Chris Sprigman, "The Mouse
-that Ate the Public Domain," Findlaw, 5 March 2002, at
+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 url="http://free-culture.cc/notes/">link #5</ulink>.
</para></footnote>
So did many others. Early cartoons are filled with
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
-its importance. We could call this "Disney creativity," though that
-would be a bit misleading. It is, more precisely, "Walt Disney
-creativity"—a form of expression and genius that builds upon the
+its importance. We could call this <quote>Disney creativity,</quote> though that
+would be a bit misleading. It is, more precisely, <quote>Walt Disney
+creativity</quote>—a form of expression and genius that builds upon the
culture around us and makes it something different.
</para>
<para> In 1928, the culture that Disney was free to draw upon was
copyrighted.<footnote><para>
<!-- f4 -->
Until 1976, copyright law granted an author the possibility of two terms: an
-initial term and a renewal term. I have calculated the "average" term by
+initial term and a renewal term. I have calculated the <quote>average</quote> term by
determining
the weighted average of total registrations for any particular year,
and the proportion renewing. Thus, if 100 copyrights are registered in year
<ulink url="http://free-culture.cc/notes/">link #6</ulink>.
</para></footnote>
That means that for thirty years, on average, the authors or
-copyright holders of a creative work had an "exclusive right" to control
+copyright holders of a creative work had an <quote>exclusive right</quote> to control
certain uses of the work. To use this copyrighted work in limited ways
required the permission of the copyright owner.
</para>
<para>
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, hence, no lawyers. The public domain is a "lawyer-free
-zone." Thus, most of the content from the nineteenth century was free
+permission and, hence, no lawyers. The public domain is a <quote>lawyer-free
+zone.</quote> Thus, most of the content from the nineteenth century was free
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.
content from before the Great Depression.
</para>
<para>
-Of course, Walt Disney had no monopoly on "Walt Disney creativity."
+Of course, Walt Disney had no monopoly on <quote>Walt Disney creativity.</quote>
Nor does America. The norm of free culture has, until recently, and
except within totalitarian nations, been broadly exploited and quite
universal.
Americans tend to look down upon this form of culture. That's an
unattractive characteristic of ours. We're likely to misunderstand
much about manga, because few of us have ever read anything close to
-the stories that these "graphic novels" tell. For the Japanese, manga
-cover every aspect of social life. For us, comics are "men in tights."
+the stories that these <quote>graphic novels</quote> tell. For the Japanese, manga
+cover every aspect of social life. For us, comics are <quote>men in tights.</quote>
And anyway, it's not as if the New York subways are filled with
readers of Joyce or even Hemingway. People of different cultures
distract themselves in different ways, the Japanese in this
significantly. A doujinshi comic can thus take a mainstream comic and
develop it differently—with a different story line. Or the comic can
keep the character in character but change its look slightly. There is no
-formula for what makes the doujinshi sufficiently "different." But they
+formula for what makes the doujinshi sufficiently <quote>different.</quote> But they
must be different if they are to be considered true doujinshi. Indeed,
there are committees that review doujinshi for inclusion within shows
and reject any copycat comic that is merely a copy.
</para>
<para>
These copycat comics are not a tiny part of the manga market. They are
-huge. More than 33,000 "circles" of creators from across Japan produce
+huge. More than 33,000 <quote>circles</quote> of creators from across Japan produce
these bits of Walt Disney creativity. More than 450,000 Japanese come
together twice a year, in the largest public gathering in the country,
to exchange and sell them. This market exists in parallel to the
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
American copyright law, the doujinshi market is an illegal
-one. Doujinshi are plainly "derivative works." There is no general
+one. Doujinshi are plainly <quote>derivative works.</quote> There is no general
practice by doujinshi artists of securing the permission of the manga
creators. Instead, the practice is simply to take and modify the
creations of others, as Walt Disney did with <citetitle>Steamboat Bill,
-Jr</citetitle>. Under both Japanese and American law, that "taking" without
+Jr</citetitle>. Under both Japanese and American law, that <quote>taking</quote> without
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.
<para>
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, "The
+flourish. As American graphic novelist Judd Winick said to me, <quote>The
early days of comics in America are very much like what's going on
in Japan now. … American comics were born out of copying each
<!-- PAGE BREAK 40 -->
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"
+books and not tracing them, but looking at them and copying them</quote>
and building from them.<footnote><para>
<!-- f5 -->
For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</citetitle> (New
<para>
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, "there are these rules
-and you have to stick to them." There are things Superman "cannot"
-do. "As a creator, it's frustrating having to stick to some parameters
-which are fifty years old."
+allowed. Speaking of Superman, Winick told me, <quote>there are these rules
+and you have to stick to them.</quote> There are things Superman <quote>cannot</quote>
+do. <quote>As a creator, it's frustrating having to stick to some parameters
+which are fifty years old.</quote>
</para>
<indexterm startref="idxwinickjudd" class='endofrange'/>
<para>
wealthy and productive. Everyone would be worse off if doujinshi were
banned, so the law does not ban doujinshi.<footnote><para>
<!-- f6 -->
-See Salil K. Mehra, "Copyright and Comics in Japan: Does Law Explain
-Why All the Comics My Kid Watches Are Japanese Imports?" <citetitle>Rutgers Law
-Review</citetitle> 55 (2002): 155, 182. "[T]here might be a collective economic
+See Salil K. Mehra, <quote>Copyright and Comics in Japan: Does Law Explain
+Why All the Comics My Kid Watches Are Japanese Imports?</quote> <citetitle>Rutgers Law
+Review</citetitle> 55 (2002): 155, 182. <quote>[T]here might be a collective economic
rationality that would lead manga and anime artists to forgo bringing
legal actions for infringement. One hypothesis is that all manga
artists may be better off collectively if they set aside their
individual self-interest and decide not to press their legal
-rights. This is essentially a prisoner's dilemma solved."
+rights. This is essentially a prisoner's dilemma solved.</quote>
</para></footnote>
</para>
<para>
why individual copyright owners don't sue nonetheless. If the law has
no general exception for doujinshi, and indeed in some cases
individual manga artists have sued doujinshi artists, why is there not
-a more general pattern of blocking this "free taking" by the doujinshi
+a more general pattern of blocking this <quote>free taking</quote> by the doujinshi
culture?
</para>
<para>
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. "We don't have enough
-lawyers," he told me one afternoon. There "just aren't enough resources
-to prosecute cases like this."
+a friend from a major Japanese law firm. <quote>We don't have enough
+lawyers,</quote> he told me one afternoon. There <quote>just aren't enough resources
+to prosecute cases like this.</quote>
</para>
<para>
This is a theme to which we will return: that regulation by law is a
be puzzled about something you hadn't thought through before.
</para>
<para>
-We live in a world that celebrates "property." I am one of those
+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
believe in the value of that weird form of property that lawyers call
-
"intellectual property."<footnote><para>
+
<quote>intellectual property.</quote><footnote><para>
<!-- f7 -->
The term <citetitle>intellectual property</citetitle> is of relatively recent origin. See
Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York
University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle>
(New York: Random House, 2001), 293 n. 26. The term accurately
-describes a set of "property" rights—copyright, patents,
+describes a set of <quote>property</quote> rights—copyright, patents,
trademark, and trade-secret—but the nature of those rights is
very different.
<indexterm><primary>Vaidhyanathan, Siva</primary></indexterm>
</para>
<para>
But it takes just a second's reflection to realize that there is
-plenty of value out there that "property" doesn't capture. I don't
-mean "money can't buy you love," but rather, value that is plainly
+plenty of value out there that <quote>property</quote> doesn't capture. I don't
+mean <quote>money can't buy you love,</quote> but rather, value that is plainly
part of a process of production, including commercial as well as
noncommercial production. If Disney animators had stolen a set of
pencils to draw Steamboat Willie, we'd have no hesitation in
unnoticed. Yet there was nothing wrong, at least under the law of the
day, with Disney's taking from Buster Keaton or from the Brothers
Grimm. There was nothing wrong with the taking from Keaton because
-Disney's use would have been considered "fair." There was nothing
+Disney's use would have been considered <quote>fair.</quote> There was nothing
wrong with the taking from the Grimms because the Grimms' work was in
the public domain.
</para>
</para>
<para>
Yet there is an obvious reluctance, even among Japanese lawyers, to
-say that the copycat comic artists are "stealing." This form of Walt
+say that the copycat comic artists are <quote>stealing.</quote> This form of Walt
Disney creativity is seen as fair and right, even if lawyers in
particular find it hard to say why.
</para>
<para>
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. ("Excuse me, Professor
+without asking or paying for the privilege. (<quote>Excuse me, Professor
Einstein, but may I have permission to use your theory of relativity
-to show that you were wrong about quantum physics?") Acting companies
+to show that you were wrong about quantum physics?</quote>) Acting companies
perform adaptations of the works of Shakespeare without securing
permission from anyone. (Does <emphasis>anyone</emphasis> believe
Shakespeare would be better spread within our culture if there were a
<para>
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 "<emphasis>How</emphasis> free is this culture?"
+question instead is <quote><emphasis>How</emphasis> free is this culture?</quote>
How much, and how broadly, is the culture free for others to take and
build upon? Is that freedom limited to party members? To members of
the royal family? To the top ten corporations on the New York Stock
<!-- PAGE BREAK 44 -->
</chapter>
<chapter label="2" id="mere-copyists">
-<title>CHAPTER TWO: "Mere Copyists"</title>
+<title>CHAPTER TWO: <quote>Mere Copyists</quote></title>
<indexterm id="idxphotography" class='startofrange'>
<primary>photography</primary>
</indexterm>
<para>
In 1839, Louis Daguerre invented the first practical technology for
-producing what we would call "photographs." Appropriately enough, they
-were called "daguerreotypes." The process was complicated and
+producing what we would call <quote>photographs.</quote> Appropriately enough, they
+were called <quote>daguerreotypes.</quote> The process was complicated and
expensive, and the field was thus limited to professionals and a few
zealous and wealthy amateurs. (There was even an American Daguerre
Association that helped regulate the industry, as do all such
<para>
Yet despite high prices, the demand for daguerreotypes was strong.
This pushed inventors to find simpler and cheaper ways to make
-"automatic pictures." William Talbot soon discovered a process for
-making "negatives." But because the negatives were glass, and had to
+<quote>automatic pictures.</quote> William Talbot soon discovered a process for
+making <quote>negatives.</quote> But because the negatives were glass, and had to
be kept wet, the process still remained expensive and cumbersome. In
the 1870s, dry plates were developed, making it easier to separate the
taking of a picture from its developing. These were still plates of
<para>
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. "You press the button and we
-do the rest.
"<footnote><para>
+marketed on the basis of its simplicity. <quote>You press the button and we
+do the rest.
</quote><footnote><para>
<!-- f1 -->
Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: Johns Hopkins University Press, 1975), 112.
</para></footnote> As he described in <citetitle>The Kodak Primer</citetitle>:
economic. It was social. Professional photography gave individuals a
glimpse of places they would never otherwise see. Amateur photography
gave them the ability to record their own lives in a way they had
-never been able to do before. As author Brian Coe notes, "For the
+never been able to do before. As author Brian Coe notes, <quote>For the
first time the snapshot album provided the man on the street with a
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.
"<footnote><para>
+interpretation or bias.
</quote><footnote><para>
<!-- f5 -->
Coe, 58.
</para></footnote>
expression, of course. But it took years of training before they could
be deployed by amateurs in any useful or effective way. With the
Kodak, expression was possible much sooner and more simply. The
-barrier to expression was lowered. Snobs would sneer at its "quality";
+barrier to expression was lowered. Snobs would sneer at its <quote>quality</quote>;
professionals would discount it as irrelevant. But watch a child study
how best to frame a picture and you get a sense of the experience of
creativity that the Kodak enabled. Democratic tools gave ordinary
</para>
<para>
The arguments in favor of requiring permission will sound surprisingly
-familiar. The photographer was "taking" something from the person or
+familiar. The photographer was <quote>taking</quote> something from the person or
building whose photograph he shot—pirating something of
value. Some even thought he was taking the target's soul. Just as
Disney was not free to take the pencils that his animators used to
the rule should be different for images from private spaces.<footnote>
<para>
<!-- f7 -->
-Samuel D. Warren and Louis D. Brandeis, "The Right to Privacy,"
+Samuel D. Warren and Louis D. Brandeis, <quote>The Right to Privacy,</quote>
<citetitle>Harvard Law Review</citetitle> 4 (1890): 193.
<indexterm><primary>Brandeis, Louis D.</primary></indexterm>
<indexterm><primary>Warren, Samuel D.</primary></indexterm>
us. But in the ordinary case, the image can be captured without
clearing the rights to do the capturing.<footnote><para>
<!-- f8 -->
-See Melville B. Nimmer, "The Right of Publicity," <citetitle>Law and Contemporary
-Problems</citetitle> 19 (1954): 203; William L. Prosser, "Privacy," <citetitle>California Law
+See Melville B. Nimmer, <quote>The Right of Publicity,</quote> <citetitle>Law and Contemporary
+Problems</citetitle> 19 (1954): 203; William L. Prosser, <quote>Privacy,</quote> <citetitle>California Law
Review</citetitle> 48 (1960) 398–407; <citetitle>White</citetitle> v. <citetitle>Samsung Electronics America,
Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951
(1993).
permission. Perhaps Eastman Kodak would have had to demonstrate
permission, too, before it developed the film upon which images were
captured. After all, if permission were not granted, then Eastman
-Kodak would be benefiting from the "theft" committed by the
+Kodak would be benefiting from the <quote>theft</quote> committed by the
photographer. Just as Napster benefited from the copyright
infringements committed by Napster users, Kodak would be benefiting
-from the "image-right" infringement of its photographers. We could
+from the <quote>image-right</quote> infringement of its photographers. We could
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.
growth in a democratic technology of expression would have been
realized. If you drive through San Francisco's Presidio, you might
see two gaudy yellow school buses painted over with colorful and
-striking images, and the logo "Just Think!" in place of the name of a
-school. But there's little that's "just" cerebral in the projects that
+striking images, and the logo <quote>Just Think!</quote> in place of the name of a
+school. But there's little that's <quote>just</quote> cerebral in the projects that
these busses enable. These buses are filled with technologies that
teach kids to tinker with film. Not the film of Eastman. Not even the
-film of your VCR. Rather the "film" of digital cameras. Just Think!
+film of your VCR. Rather the <quote>film</quote> of digital cameras. Just Think!
is a project that enables kids to make films, as a way to understand
and critique the filmed culture that they find all around them. Each
year, these busses travel to more than thirty schools and enable three
<para>
These buses are not cheap, but the technology they carry is
increasingly so. The cost of a high-quality digital video system has
-fallen dramatically. As one analyst puts it, "Five years ago, a good
+fallen dramatically. As one analyst puts it, <quote>Five years ago, a good
real-time digital video editing system cost $25,000. Today you can get
-professional quality for $595.
"<footnote><para>
+professional quality for $595.
</quote><footnote><para>
<!-- f9 -->
-H. Edward Goldberg, "Essential Presentation Tools: Hardware and
-Software You Need to Create Digital Multimedia Presentations,"
+H. Edward Goldberg, <quote>Essential Presentation Tools: Hardware and
+Software You Need to Create Digital Multimedia Presentations,</quote>
cadalyst, February 2002, available at
<ulink url="http://free-culture.cc/notes/">link #7</ulink>.
</para></footnote>
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 "media literacy."
+learning more and more of something teachers call <quote>media literacy.</quote>
</para>
<para>
<!-- PAGE BREAK 49 -->
-"Media literacy," as Dave Yanofsky, the executive director of Just
-Think!, puts it, "is the ability … to understand, analyze, and
+<quote>Media literacy,</quote> as Dave Yanofsky, the executive director of Just
+Think!, puts it, <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."
+the way people access it.</quote>
<indexterm><primary>Yanofsky, Dave</primary></indexterm>
</para>
<para>
-This may seem like an odd way to think about "literacy." For most
+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
-and noticing split infinitives are the things that "literate" people know
+and noticing split infinitives are the things that <quote>literate</quote> people know
about.
</para>
<para>
commercials generally,<footnote><para>
<!-- f10 -->
Judith Van Evra, <citetitle>Television and Child Development</citetitle> (Hillsdale, N.J.:
-Lawrence Erlbaum Associates, 1990); "Findings on Family and TV
-Study," <citetitle>Denver Post</citetitle>, 25 May 1997, B6.
+Lawrence Erlbaum Associates, 1990); <quote>Findings on Family and TV
+Study,</quote> <citetitle>Denver Post</citetitle>, 25 May 1997, B6.
</para></footnote>
-it is increasingly important to understand the "grammar" of media. For
+it is increasingly important to understand the <quote>grammar</quote> 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
terrible prose, kids learn how to write media by constructing lots of
<!-- PAGE BREAK 50 -->
USC School of Cinema-Television, explained to me, the grammar was
-about "the placement of objects, color, … rhythm, pacing, and
-texture."<footnote>
+about <quote>the placement of objects, color, … rhythm, pacing, and
+texture.</quote><footnote>
<para>
<!-- f11 -->
Interview with Elizabeth Daley and Stephanie Barish, 13 December
<indexterm><primary>Daley, Elizabeth</primary></indexterm>
</para></footnote>
But as computers open up an interactive space where a story is
-"played" as well as experienced, that grammar changes. The simple
+<quote>played</quote> as well as experienced, that grammar changes. The simple
control of narrative is lost, and so other techniques are necessary. Author
Michael Crichton had mastered the narrative of science fiction.
But when he tried to design a computer game based on one of his
a game without their feeling they have been led was not obvious, even
to a wildly successful author.<footnote><para>
<!-- f12 -->
-See Scott Steinberg, "Crichton Gets Medieval on PCs," E!online, 4
+See Scott Steinberg, <quote>Crichton Gets Medieval on PCs,</quote> E!online, 4
November 2000, available at
-<ulink url="http://free-culture.cc/notes/">link #8</ulink>; "Timeline," 22 November 2000,
+<ulink url="http://free-culture.cc/notes/">link #8</ulink>; <quote>Timeline,</quote> 22 November 2000,
available at
<ulink url="http://free-culture.cc/notes/">link #9</ulink>.
</para></footnote>
<indexterm><primary>computer games</primary></indexterm>
<para>
This skill is precisely the craft a filmmaker learns. As Daley
-describes, "people are very surprised about how they are led through a
+describes, <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
have no idea. If a filmmaker succeeds you do not know how you were
-led." If you know you were led through a film, the film has failed.
+led.</quote> If you know you were led through a film, the film has failed.
</para>
<para>
Yet the push for an expanded literacy—one that goes beyond text
</para>
</blockquote>
<para>
-"Read-only." Passive recipients of culture produced elsewhere.
+<quote>Read-only.</quote> Passive recipients of culture produced elsewhere.
Couch potatoes. Consumers. This is the world of media from the
twentieth century.
</para>
the tools that enable the writing to lead or mislead. The aim of any
literacy,
<!-- PAGE BREAK 51 -->
-and this literacy in particular, is to "empower people to choose the
+and this literacy in particular, is to <quote>empower people to choose the
appropriate language for what they need to create or
-express."<footnote>
+express.</quote><footnote>
<para>
<!-- f13 -->
Interview with Daley and Barish.
<indexterm><primary>Barish, Stephanie</primary></indexterm>
-</para></footnote> It is to enable students "to communicate in the
-language of the twenty-first century.
"<footnote><para>
+</para></footnote> It is to enable students <quote>to communicate in the
+language of the twenty-first century.
</quote><footnote><para>
<!-- f14 -->
Ibid.
</para></footnote>
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
-away. The "kids were showing up at 6 A.M. and leaving at 5 at night,"
+away. The <quote>kids were showing up at 6 A.M. and leaving at 5 at night,</quote>
said Barish. They were working harder than in any other class to do
what education should be about—learning how to express themselves.
</para>
<para>
-Using whatever "free web stuff they could find," and relatively simple
-tools to enable the kids to mix "image, sound, and text," Barish said
+Using whatever <quote>free web stuff they could find,</quote> and relatively simple
+tools to enable the kids to mix <quote>image, sound, and text,</quote> Barish said
this class produced a series of projects that showed something about
gun violence that few would otherwise understand. This was an issue
-close to the lives of these students. The project "gave them a tool
+close to the lives of these students. The project <quote>gave them a tool
and empowered them to be able to both understand it and talk about
-it," Barish explained. That tool succeeded in creating
+it,</quote> Barish explained. That tool succeeded in creating
expression—far more successfully and powerfully than could have
-been created using only text. "If you had said to these students, `you
+been created using only text. <quote>If you had said to these students, `you
have to do it in text,' they would've just thrown their hands up and
-gone and done something else," Barish described, in part, no doubt,
+gone and done something else,</quote> Barish described, in part, no doubt,
because expressing themselves in text is not something these students
can do well. Yet neither is text a form in which
<emphasis>these</emphasis> ideas can be expressed well. The power of
<para>
<!-- PAGE BREAK 52 -->
-"But isn't education about teaching kids to write?" I asked. In part,
+<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,
-Daley explained, is about giving students a way of "constructing
-meaning." To say that that means just writing is like saying teaching
+Daley explained, is about giving students a way of <quote>constructing
+meaning.</quote> To say that that means just writing is like saying teaching
writing is only about teaching kids how to spell. Text is one
part—and increasingly, not the most powerful part—of
constructing meaning. As Daley explained in the most moving part of
video, he can play a video game, he can do graffiti all over your
walls, he can take your car apart, and he can do all sorts of other
things. He just can't read your text. So Johnny comes to school and
-you say, "Johnny, you're illiterate. Nothing you can do matters."
+you say, <quote>Johnny, you're illiterate. Nothing you can do matters.</quote>
Well, Johnny then has two choices: He can dismiss you or he [can]
dismiss himself. If his ego is healthy at all, he's going to dismiss
-you. [But i]nstead, if you say, "Well, with all these things that you
+you. [But i]nstead, if you say, <quote>Well, with all these things that you
can do, let's talk about this issue. Play for me music that you think
reflects that, or show me images that you think reflect that, or draw
-for me something that reflects that." Not by giving a kid a video
-camera and … saying, "Let's go have fun with the video camera and
-make a little movie." But instead, really help you take these elements
+for me something that reflects that.</quote> Not by giving a kid a video
+camera and … saying, <quote>Let's go have fun with the video camera and
+make a little movie.</quote> But instead, really help you take these elements
that you understand, that are your language, and construct meaning
about the topic.…
</para>
<para>
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, "I need to explain this and I really need
-to write something." And as one of the teachers told Stephanie,
+bump up against the fact, <quote>I need to explain this and I really need
+to write something.</quote> And as one of the teachers told Stephanie,
they would rewrite a paragraph 5, 6, 7, 8 times, till they got it right.
</para>
<para>
your hoops. They actually needed to use a language that they
<!-- PAGE BREAK 53 -->
didn't speak very well. But they had come to understand that they
-had a lot of power with this language."
+had a lot of power with this language.
</para>
+<!-- FIXME removed a " from the end of the previous paragraph that did
+ not match with any start quote. -->
</blockquote>
<para>
When two planes crashed into the World Trade Center, another into the
<para>
These retellings had an increasingly familiar feel. There was music
scored for the intermissions, and fancy graphics that flashed across
-the screen. There was a formula to interviews. There was "balance,"
+the screen. There was a formula to interviews. There was <quote>balance,</quote>
and seriousness. This was news choreographed in the way we have
-increasingly come to expect it, "news as entertainment," even if the
+increasingly come to expect it, <quote>news as entertainment,</quote> even if the
entertainment is tragedy.
</para>
<indexterm><primary>ABC</primary></indexterm>
<indexterm><primary>CBS</primary></indexterm>
<para>
-But in addition to this produced news about the "tragedy of September
-11," those of us tied to the Internet came to see a very different
+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
production as well. The Internet was filled with accounts of the same
events. Yet these Internet accounts had a very different flavor. Some
people constructed photo pages that captured images from around the
Kodak, the Internet enables people to capture images. And like in a
movie
<!-- PAGE BREAK 54 -->
-by a student on the "Just Think!" bus, the visual images could be mixed
+by a student on the <quote>Just Think!</quote> bus, the visual images could be mixed
with sound or text.
</para>
<para>
elections. In our tradition, it also means control through reasoned
discourse. This was the idea that captured the imagination of Alexis
de Tocqueville, the nineteenth-century French lawyer who wrote the
-most important account of early "Democracy in America." It wasn't
+most important account of early <quote>Democracy in America.</quote> It wasn't
popular elections that fascinated him—it was the jury, an
institution that gave ordinary people the right to choose life or
death for other citizens. And most fascinating for him was that the
jury didn't just vote about the outcome they would impose. They
-deliberated. Members argued about the "right" result; they tried to
-persuade each other of the "right" result, and in criminal cases at
+deliberated. Members argued about the <quote>right</quote> result; they tried to
+persuade each other of the <quote>right</quote> result, and in criminal cases at
least, they had to agree upon a unanimous result for the process to
come to an end.<footnote><para>
<!-- f15 -->
place, there is no systematic effort to enable citizen deliberation. Some
are pushing to create just such an institution.<footnote><para>
<!-- f16 -->
-Bruce Ackerman and James Fishkin, "Deliberation Day," <citetitle>Journal of
+Bruce Ackerman and James Fishkin, <quote>Deliberation Day,</quote> <citetitle>Journal of
Political Philosophy</citetitle> 10 (2) (2002): 129.
</para></footnote>
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 "democratic deliberation" to occur.
+place for <quote>democratic deliberation</quote> to occur.
</para>
<para>
More bizarrely, there is generally not even permission for it to
<para>
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
-"misspoke" at a party for Senator Strom Thurmond, essentially praising
+<quote>misspoke</quote> at a party for Senator Strom Thurmond, essentially praising
Thurmond's segregationist policies, he calculated correctly that this
story would disappear from the mainstream press within forty-eight
hours. It did. But he didn't calculate its life cycle in blog
space. The bloggers kept researching the story. Over time, more and
-more instances of the same "misspeaking" emerged. Finally, the story
+more instances of the same <quote>misspeaking</quote> emerged. Finally, the story
broke back into the mainstream press. In the end, Lott was forced to
resign as senate majority leader.<footnote><para>
<!-- f18 -->
-Noah Shachtman, "With Incessant Postings, a Pundit Stirs the Pot," New
+Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</quote> New
York Times, 16 January 2003, G5.
</para></footnote>
<indexterm><primary>Lott, Trent</primary></indexterm>
<!-- PAGE BREAK 57 -->
from the mainstream press. As Dave Winer, one of the fathers of this
movement and a software author for many decades, told me, another
-difference is the absence of a financial "conflict of interest." "I think you
-have to take the conflict of interest" out of journalism, Winer told me.
-"An amateur journalist simply doesn't have a conflict of interest, or the
+difference is the absence of a financial <quote>conflict of interest.</quote> <quote>I think you
+have to take the conflict of interest</quote> out of journalism, Winer told me.
+<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."
+get it out of the way.</quote>
</para>
<indexterm><primary>CNN</primary></indexterm>
<para>
New York headquarters was telling the reporter over and over that her
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 <emphasis>they</emphasis> were writing "the story.")
+told her that <emphasis>they</emphasis> were writing <quote>the story.</quote>)
</para>
<para> Blog space gives amateurs a way to enter the
-debate—"amateur" not in the sense of inexperienced, but in the
+debate—<quote>amateur</quote> 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.<footnote><para>
<!-- f20 -->
-John Schwartz, "Loss of the Shuttle: The Internet; A Wealth of
-Information Online," <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci
-D. Kramer, "Shuttle Disaster Coverage Mixed, but Strong Overall,"
+John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of
+Information Online,</quote> <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci
+D. Kramer, <quote>Shuttle Disaster Coverage Mixed, but Strong Overall,</quote>
Online Journalism Review, 2 February 2003, available at
<ulink url="http://free-culture.cc/notes/">link #10</ulink>.
</para></footnote>
And it drives readers to read across the range of accounts and
-"triangulate," as Winer puts it, the truth. Blogs, Winer says, are
-"communicating directly with our constituency, and the middle man is
-out of it"—with all the benefits, and costs, that might entail.
+<quote>triangulate,</quote> as Winer puts it, the truth. Blogs, Winer says, are
+<quote>communicating directly with our constituency, and the middle man is
+out of it</quote>—with all the benefits, and costs, that might entail.
</para>
<para>
Winer is optimistic about the future of journalism infected
-with blogs. "It's going to become an essential skill," Winer predicts,
+with blogs. <quote>It's going to become an essential skill,</quote> Winer predicts,
for public figures and increasingly for private figures as well. It's
-not clear that "journalism" is happy about this—some journalists
+not clear that <quote>journalism</quote> is happy about this—some journalists
have been told to curtail their blogging.<footnote>
<para>
<!-- f21 -->
-See Michael Falcone, "Does an Editor's Pencil Ruin a Web Log?" <citetitle>New
-York Times</citetitle>, 29 September 2003, C4. ("Not all news organizations have
+See Michael Falcone, <quote>Does an Editor's Pencil Ruin a Web Log?</quote> <citetitle>New
+York Times</citetitle>, 29 September 2003, C4. (<quote>Not all news organizations have
been as accepting of employees who blog. Kevin Sites, a CNN
correspondent in Iraq who started a blog about his reporting of the
war on March 9, stopped posting 12 days later at his bosses'
request. Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> 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.")
+that dealt with some of the issues and people he was covering.</quote>)
<indexterm><primary>CNN</primary></indexterm>
</para></footnote>
-But it is clear that we are still in transition. "A
+But it is clear that we are still in transition. <quote>A
<!-- PAGE BREAK 58 -->
-lot of what we are doing now is warm-up exercises," Winer told me.
+lot of what we are doing now is warm-up exercises,</quote> Winer told me.
There is a lot that must mature before this space has its mature effect.
And as the inclusion of content in this space is the least infringing use
-of the Internet (meaning infringing on copyright), Winer said, "we will
-be the last thing that gets shut down."
+of the Internet (meaning infringing on copyright), Winer said, <quote>we will
+be the last thing that gets shut down.</quote>
</para>
<para>
-This speech affects democracy. Winer thinks that happens because "you
-don't have to work for somebody who controls, [for] a gatekeeper."
+This speech affects democracy. Winer thinks that happens because <quote>you
+don't have to work for somebody who controls, [for] a gatekeeper.</quote>
That is true. But it affects democracy in another way as well. As
more and more citizens express what they think, and defend it in
writing, that will change the way people understand public issues. It
</indexterm>
<para>
John Seely Brown is the chief scientist of the Xerox Corporation.
-His work, as his Web site describes it, is "human learning and … the
-creation of knowledge ecologies for creating … innovation."
+His work, as his Web site describes it, is <quote>human learning and … the
+creation of knowledge ecologies for creating … innovation.</quote>
</para>
<para>
Brown thus looks at these technologies of digital creativity a bit
affect learning.
</para>
<para>
-As Brown believes, we learn by tinkering. When "a lot of us grew up,"
-he explains, that tinkering was done "on motorcycle engines, lawnmower
-engines, automobiles, radios, and so on." But digital technologies
+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 engines, lawnmower
+engines, automobiles, radios, and so on.</quote> But digital technologies
enable a different kind of tinkering—with abstract ideas though
in concrete form. The kids at Just Think! not only think about how a
commercial portrays a politician; using digital technology, they can
<!-- PAGE BREAK 59 -->
take the commercial apart and manipulate it, tinker with it to see how
it does what it does. Digital technologies launch a kind of bricolage,
-or "free collage," as Brown calls it. Many get to add to or transform
+or <quote>free collage,</quote> as Brown calls it. Many get to add to or transform
the tinkering of many others.
</para>
<para>
FS/OSS technology works can tinker with the code.
</para>
<para>
-This opportunity creates a "completely new kind of learning platform,"
-as Brown describes. "As soon as you start doing that, you …
+This opportunity creates a <quote>completely new kind of learning platform,</quote>
+as Brown describes. <quote>As soon as you start doing that, you …
unleash a free collage on the community, so that other people can
start looking at your code, tinkering with it, trying it out, seeing
-if they can improve it." Each effort is a kind of
-apprenticeship. "Open source becomes a major apprenticeship platform."
+if they can improve it.</quote> Each effort is a kind of
+apprenticeship. <quote>Open source becomes a major apprenticeship platform.</quote>
</para>
<para>
-In this process, "the concrete things you tinker with are abstract.
-They are code." Kids are "shifting to the ability to tinker in the
+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 the
abstract, and this tinkering is no longer an isolated activity that
you're doing in your garage. You are tinkering with a community
platform. … You are tinkering with other people's stuff. The more
-you tinker the more you improve." The more you improve, the more you
+you tinker the more you improve.</quote> The more you improve, the more you
learn.
</para>
<para>
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, "the Web [is] the first medium that truly honors multiple forms of
-intelligence." Earlier technologies, such as the typewriter or word
+it, <quote>the Web [is] the first medium that truly honors multiple forms of
+intelligence.</quote> Earlier technologies, such as the typewriter or word
processors, helped amplify text. But the Web amplifies much more than
-text. "The Web … says if you are musical, if you are artistic, if
+text. <quote>The Web … says if you are musical, if you are artistic, if
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."
+these multiple forms of intelligence.</quote>
</para>
<indexterm><primary>Barish, Stephanie</primary></indexterm>
<para>
These restrictions have become the focus of researchers and scholars.
Professor Ed Felten of Princeton (whom we'll see more of in chapter
<xref xrefstyle="select: labelnumber" linkend="property-i"/>)
-has developed a powerful argument in favor of the "right to
-tinker" as it applies to computer science and to knowledge in
+has developed a powerful argument in favor of the <quote>right to
+tinker</quote> as it applies to computer science and to knowledge in
general.<footnote><para>
<!-- f22 -->
-See, for example, Edward Felten and Andrew Appel, "Technological Access
-Control Interferes with Noninfringing Scholarship," <citetitle>Communications
+See, for example, Edward Felten and Andrew Appel, <quote>Technological Access
+Control Interferes with Noninfringing Scholarship,</quote> <citetitle>Communications
of the Association for Computer Machinery</citetitle> 43 (2000): 9.
</para></footnote>
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.
</para>
<para>
-"This is where education in the twenty-first century is going," Brown
-explains. We need to "understand how kids who grow up digital think
-and want to learn."
+<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 think
+and want to learn.</quote>
</para>
<para>
-"Yet," as Brown continued, and as the balance of this book will
-evince, "we are building a legal system that completely suppresses the
+<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
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."
+system that closes down that part of the brain.</quote>
</para>
<indexterm startref="idxbrownjohnseely" class='endofrange'/>
<para>
the law to close down that technology.
</para>
<para>
-"No way to run a culture," as Brewster Kahle, whom we'll meet in
+<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet in
chapter <xref xrefstyle="select: labelnumber" linkend="collectors"/>,
quipped to me in a rare moment of despondence.
</para>
<!-- PAGE BREAK 62 -->
brought the Internet much closer to all of us by fantastically
improving the quality of search on the network. Specialty search
-engines can do this even better. The idea of "intranet" search
+engines can do this even better. The idea of <quote>intranet</quote> search
engines, search engines that search within the network of a particular
institution, is to provide users of that institution with better
access to material from that institution. Businesses do this all the
them, he was increasingly astonished.
</para>
<para>
-"It was absurd," he told me. "I don't think I did anything
+<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 search
engine that I ran or … what I had done to it. I mean, I hadn't
modified it in any way that promoted or enhanced the work of
pirates. I just modified the search engine in a way that would make it
-easier to use"—again, a <emphasis>search engine</emphasis>,
+easier to use</quote>—again, a <emphasis>search engine</emphasis>,
which Jesse had not himself built, using the Windows filesharing
system, which Jesse had not himself built, to enable members of the
RPI community to get access to content, which Jesse had not himself
</para>
<para>
But the RIAA branded Jesse a pirate. They claimed he operated a
-network and had therefore "willfully" violated copyright laws. They
+network and had therefore <quote>willfully</quote> violated copyright laws. They
<!-- PAGE BREAK 64 -->
demanded that he pay them the damages for his wrong. For cases of
-"willful infringement," the Copyright Act specifies something lawyers
-call "statutory damages." These damages permit a copyright owner to
+<quote>willful infringement,</quote> the Copyright Act specifies something lawyers
+call <quote>statutory damages.</quote> These damages permit a copyright owner to
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.
student at RPI, one at Michigan Technical University, and one at
Princeton. Their situations were similar to Jesse's. Though each case
was different in detail, the bottom line in each was exactly the same:
-huge demands for "damages" that the RIAA claimed it was entitled to.
+huge demands for <quote>damages</quote> that the RIAA claimed it was entitled to.
If you added up the claims, these four lawsuits were asking courts in
the United States to award the plaintiffs close to $100
<emphasis>billion</emphasis>—six times the
2001.<footnote><para>
<!-- f1 -->
-Tim Goral, "Recording Industry Goes After Campus P-2-P Networks:
-Suit Alleges $97.8 Billion in Damages," <citetitle>Professional Media Group LCC</citetitle> 6
+Tim Goral, <quote>Recording Industry Goes After Campus P-2-P Networks:
+Suit Alleges $97.8 Billion in Damages,</quote> <citetitle>Professional Media Group LCC</citetitle> 6
(2003): 5, available at 2003 WL 55179443.
</para></footnote>
</para>
technology for the rest of his life. He refused. They made him
understand that this process of being sued was not going to be
pleasant. (As Jesse's father recounted to me, the chief lawyer on the
-case, Matt Oppenheimer, told Jesse, "You don't want to pay another
-visit to a dentist like me.") And throughout, the RIAA insisted it
+case, Matt Oppenheimer, told Jesse, <quote>You don't want to pay another
+visit to a dentist like me.</quote>) And throughout, the RIAA insisted it
would not settle the case until it took every penny Jesse had saved.
</para>
<para>
and direct policy. So where is the morality in taking money from a
student for running a search engine?<footnote><para>
<!-- f3 -->
-Douglas Lichtman makes a related point in "KaZaA and Punishment,"
+Douglas Lichtman makes a related point in <quote>KaZaA and Punishment,</quote>
<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24.
</para></footnote>
</para>
</blockquote>
<para>
Jesse's parents betray a certain pride in their reluctant activist. As
-his father told me, Jesse "considers himself very conservative, and so do
+his father told me, Jesse <quote>considers himself very conservative, and so do
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."
+wrong message. And he wants to correct the record.</quote>
</para>
<!-- PAGE BREAK 66 -->
</chapter>
<chapter label="4" id="pirates">
-<title>CHAPTER FOUR: "Pirates"</title>
+<title>CHAPTER FOUR: <quote>Pirates</quote></title>
<para>
-If "piracy" means using the creative property of others without
-their permission—if "if value, then right" is true—then the history of
+If <quote>piracy</quote> means using the creative property of others without
+their permission—if <quote>if value, then right</quote> is true—then the history of
the content industry is a history of piracy. Every important sector of
-"big media" today—film, records, radio, and cable TV—was born of a
+<quote>big media</quote> today—film, records, radio, and cable TV—was born of a
kind of piracy so defined. The consistent story is how last generation's
pirates join this generation's country club—until now.
</para>
<!-- f1 -->
I am grateful to Peter DiMauro for pointing me to this extraordinary
history. See also Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 87–93,
-which details Edison's "adventures" with copyright and patent.
+which details Edison's <quote>adventures</quote> with copyright and patent.
<indexterm><primary>Vaidhyanathan, Siva</primary></indexterm>
</para></footnote>
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
-exercised through a monopoly "trust," the Motion Pictures Patents
+exercised through a monopoly <quote>trust,</quote> the Motion Pictures Patents
Company, and were based on Thomas Edison's creative
property—patents. Edison formed the MPPC to exercise the rights
this creative property
<!-- f2 -->
J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent Motion
Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and expanded texts
-posted at "The Edison Movie Monopoly: The Motion Picture Patents
-Company vs. the Independent Outlaws," available at
+posted at <quote>The Edison Movie Monopoly: The Motion Picture Patents
+Company vs. the Independent Outlaws,</quote> available at
<ulink url="http://free-culture.cc/notes/">link #11</ulink>. For a
discussion of the economic motive behind both these limits and the
-limits imposed by Victor on phonographs, see Randal C. Picker, "From
+limits imposed by Victor on phonographs, see Randal C. Picker, <quote>From
Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and
-the Propertization of Copyright" (September 2002), University of
+the Propertization of Copyright</quote> (September 2002), University of
Chicago Law School, James M. Olin Program in Law and Economics,
Working Paper No. 159. </para></footnote>
<indexterm><primary>Fox, William</primary></indexterm>
</para>
</blockquote>
<para>
-The Napsters of those days, the "independents," were companies like
+The Napsters of those days, the <quote>independents,</quote> were companies like
Fox. And no less than today, these independents were vigorously
-resisted. "Shooting was disrupted by machinery stolen, and
+resisted. <quote>Shooting was disrupted by machinery stolen, and
`accidents' resulting in loss of negatives, equipment, buildings and
-sometimes life and limb frequently occurred.
"<footnote><para>
+sometimes life and limb frequently occurred.
</quote><footnote><para>
<!-- f3 -->
-Marc Wanamaker, "The First Studios," <citetitle>The Silents Majority</citetitle>, archived at
+Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents Majority</citetitle>, archived at
<ulink url="http://free-culture.cc/notes/">link #12</ulink>.
</para></footnote>
That led the independents to flee the East
<para>
Of course, California grew quickly, and the effective enforcement
of federal law eventually spread west. But because patents grant the
-patent holder a truly "limited" monopoly (just seventeen years at that
+patent holder a truly <quote>limited</quote> monopoly (just seventeen years at that
<!-- PAGE BREAK 68 -->
time), by the time enough federal marshals appeared, the patents had
piano), the law gave composers the exclusive right to control copies of
their music and the exclusive right to control public performances of
their music. In other words, in 1900, if I wanted a copy of Phil Russel's
-1899 hit "Happy Mose," the law said I would have to pay for the right
+1899 hit <quote>Happy Mose,</quote> 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.
</para>
<indexterm><primary>Beatles</primary></indexterm>
<para>
-But what if I wanted to record "Happy Mose," using Edison's phonograph
+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
enough that I would have to buy any copy of the musical score that I
performed in making this recording. And it was clear enough that I
would have to pay for any public performance of the work I was
recording. But it wasn't totally clear that I would have to pay for a
-"public performance" if I recorded the song in my own house (even
+<quote>public performance</quote> if I recorded the song in my own house (even
today, you don't owe the Beatles anything if you sing their songs in
the shower), or if I recorded the song from memory (copies in your
brain are not—yet— regulated by copyright law). So if I
</blockquote>
<para>
The innovators who developed the technology to record other
-people's works were "sponging upon the toil, the work, the talent, and
-genius of American composers,
"<footnote><para>
+people's works were <quote>sponging upon the toil, the work, the talent, and
+genius of American composers,
</quote><footnote><para>
<!-- f5 -->
To Amend and Consolidate the Acts Respecting Copyright, 223
(statement of Nathan Burkan, attorney for the Music Publishers Association).
</para></footnote>
-and the "music publishing industry"
-was thereby
"at the complete mercy of this one pirate."<footnote><para>
+and the <quote>music publishing industry</quote>
+was thereby
<quote>at the complete mercy of this one pirate.</quote><footnote><para>
<!-- f6 -->
To Amend and Consolidate the Acts Respecting Copyright, 226
(statement of Nathan Burkan, attorney for the Music Publishers Association).
</para></footnote>
As John Philip
-Sousa put it, in as direct a way as possible, "When they make money
-out of my pieces, I want a share of it.
"<footnote><para>
+Sousa put it, in as direct a way as possible, <quote>When they make money
+out of my pieces, I want a share of it.
</quote><footnote><para>
<!-- f7 -->
To Amend and Consolidate the Acts Respecting Copyright, 23
(statement of John Philip Sousa, composer).
<para>
These arguments have familiar echoes in the wars of our day. So, too,
do the arguments on the other side. The innovators who developed the
-player piano argued that "it is perfectly demonstrable that the
+player piano argued that <quote>it is perfectly demonstrable that the
introduction of automatic music players has not deprived any composer
-of anything he had before their introduction." Rather, the machines
+of anything he had before their introduction.</quote> Rather, the machines
increased the sales of sheet music.<footnote><para>
<!-- f8 -->
(statement of Albert Walker, representative of the Auto-Music
Perforating Company of New York).
</para></footnote> In any case, the innovators argued, the job of
-Congress was "to consider first the interest of [the public], whom
-they represent, and whose servants they are." "All talk about
-`theft,'" the general counsel of the American Graphophone Company
-wrote, "is the merest claptrap, for there exists no property in ideas
+Congress was <quote>to consider first the interest of [the public], whom
+they represent, and whose servants they are.</quote> <quote>All talk about
+`theft,'</quote> the general counsel of the American Graphophone Company
+wrote, <quote>is the merest claptrap, for there exists no property in ideas
musical, literary or artistic, except as defined by
-statute.
"<footnote><para>
+statute.
</quote><footnote><para>
<!-- f9 -->
To Amend and Consolidate the Acts Respecting Copyright, 376 (prepared
memorandum of Philip Mauro, general patent counsel of the American
<para>
The law soon resolved this battle in favor of the composer
<emphasis>and</emphasis> the recording artist. Congress amended the
-law to make sure that composers would be paid for the "mechanical
-reproductions" of their music. But rather than simply granting the
+law to make sure that composers would be paid for the <quote>mechanical
+reproductions</quote> of their music. But rather than simply granting the
composer complete control over the right to make mechanical
reproductions, Congress gave recording artists a right to record the
music, at a price set by Congress, once the composer allowed it to be
song, so long as they pay the original composer a fee set by the law.
</para>
<para>
-American law ordinarily calls this a "compulsory license," but I will
-refer to it as a "statutory license." A statutory license is a license
+American law ordinarily calls this a <quote>compulsory license,</quote> but I will
+refer to it as a <quote>statutory license.</quote> A statutory license is a license
whose key terms are set by law. After Congress's amendment of the
Copyright Act in 1909, record companies were free to distribute copies
of recordings so long as they paid the composer (or copyright holder)
</para>
<para>
When a radio station plays a record on the air, that constitutes a
-
"public performance" of the composer's work.<footnote><para>
+
<quote>public performance</quote> of the composer's work.<footnote><para>
<!-- f12 -->
See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At the beginning,
-record companies printed "Not Licensed for Radio Broadcast" and other
+record companies printed <quote>Not Licensed for Radio Broadcast</quote> and other
messages purporting to restrict the ability to play a record on a
radio station. Judge Learned Hand rejected the argument that a
warning attached to a record might restrict the rights of the radio
station. See <citetitle>RCA Manufacturing Co</citetitle>. v. <citetitle>Whiteman</citetitle>, 114 F. 2d 86 (2nd
-Cir. 1940). See also Randal C. Picker, "From Edison to the Broadcast
+Cir. 1940). See also Randal C. Picker, <quote>From Edison to the Broadcast
Flag: Mechanisms of Consent and Refusal and the Propertization of
-Copyright," <citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281.
+Copyright,</quote> <citetitle>University of Chicago Law Review</citetitle> 70 (2003): 281.
<indexterm><primary>Hand, Learned</primary></indexterm>
<indexterm><primary>Picker, Randal C.</primary></indexterm>
</para></footnote>
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 performing a copy of the <emphasis>recording artist's</emphasis>
-work. It's one thing to have "Happy Birthday" sung on the radio by the
+work. It's one thing to have <quote>Happy Birthday</quote> sung on the radio by the
local children's choir; it's quite another to have it sung by the
Rolling Stones or Lyle Lovett. The recording artist is adding to the
value of the composition performed on the radio station. And if the
hit. Under our law, every time a radio station plays your song, you
get some money. But Madonna gets nothing, save the indirect effect on
the sale of her CDs. The public performance of her recording is not a
-"protected" right. The radio station thus gets to
+<quote>protected</quote> right. The radio station thus gets to
<emphasis>pirate</emphasis> the value of Madonna's work without paying
her anything.
</para>
<para>
Broadcasters and copyright owners were quick to attack this theft.
Rosel Hyde, chairman of the FCC, viewed the practice as a kind of
-
"unfair and potentially destructive competition."<footnote><para>
+
<quote>unfair and potentially destructive competition.</quote><footnote><para>
<!-- f13 -->
Copyright Law Revision—CATV: Hearing on S. 1006 Before the
Subcommittee on Patents, Trademarks, and Copyrights of the Senate
Commission).
<indexterm><primary>Hyde, Rosel H.</primary></indexterm>
</para></footnote>
-There may have been a "public interest" in spreading the reach of cable
+There may have been a <quote>public interest</quote> 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, "Does public
-interest dictate that you use somebody else's property?
"<footnote><para>
+of Broadcasters, asked Senator Quentin Burdick during testimony, <quote>Does public
+interest dictate that you use somebody else's property?
</quote><footnote><para>
<!-- f14 -->
Copyright Law Revision—CATV, 116 (statement of Douglas A. Anello,
general counsel of the National Association of Broadcasters).
</blockquote>
<indexterm><primary>Heston, Charlton</primary></indexterm>
<para>
-These were "free-ride[rs]," Screen Actor's Guild president Charlton
-Heston said, who were "depriving actors of
-compensation.
"<footnote><para>
+These were <quote>free-ride[rs],</quote> Screen Actor's Guild president Charlton
+Heston said, who were <quote>depriving actors of
+compensation.
</quote><footnote><para>
<!-- f17 -->
Copyright Law Revision—CATV, 209 (statement of Charlton Heston,
president of the Screen Actors Guild).
</para>
<para>
It took Congress almost thirty years before it resolved the question
-of whether cable companies had to pay for the content they "pirated."
+of whether cable companies had to pay for the content they <quote>pirated.</quote>
In the end, Congress resolved this question in the same way that it
resolved the question about record players and player pianos. Yes,
cable companies would have to pay for the content that they broadcast;
but the price they would have to pay was not set by the copyright
owner. The price was set by law, so that the broadcasters couldn't
exercise veto power over the emerging technologies of cable. Cable
-companies thus built their empire in part upon a "piracy" of the value
+companies thus built their empire in part upon a <quote>piracy</quote> of the value
created by broadcasters' content.
</para>
<para>
-These separate stories sing a common theme. If "piracy" means
+These separate stories sing a common theme. If <quote>piracy</quote> means
using value from someone else's creative property without permission
from that creator—as it is increasingly described
today<footnote><para>
See, for example, National Music Publisher's Association, <citetitle>The Engine
of Free Expression: Copyright on the Internet—The Myth of Free
Information</citetitle>, available at
-<ulink url="http://free-culture.cc/notes/">link #13</ulink>. "The
+<ulink url="http://free-culture.cc/notes/">link #13</ulink>. <quote>The
threat of piracy—the use of someone else's creative work without
-permission or compensation—has grown with the Internet."
+permission or compensation—has grown with the Internet.</quote>
</para></footnote>
— then <emphasis>every</emphasis> industry affected by copyright
today is the product and beneficiary of a certain kind of
</section>
</chapter>
<chapter label="5" id="piracy">
-<title>CHAPTER FIVE: "Piracy"</title>
+<title>CHAPTER FIVE: <quote>Piracy</quote></title>
<para>
There is piracy of copyrighted material. Lots of it. This piracy comes
in many forms. The most significant is commercial piracy, the
should stop it.
</para>
<para>
-But as well as copy-shop piracy, there is another kind of "taking"
+But as well as copy-shop piracy, there is another kind of <quote>taking</quote>
that is more directly related to the Internet. That taking, too, seems
wrong to many, and it is wrong much of the time. Before we paint this
-taking "piracy," however, we should understand its nature a bit more.
+taking <quote>piracy,</quote> however, we should understand its nature a bit more.
For the harm of this taking is significantly more ambiguous than
outright copying, and the law should account for that ambiguity, as it
has so often done in the past.
See IFPI (International Federation of the Phonographic Industry), <citetitle>The
Recording Industry Commercial Piracy Report 2003</citetitle>, July 2003, available
at <ulink url="http://free-culture.cc/notes/">link #14</ulink>. See
-also Ben Hunt, "Companies Warned on Music Piracy Risk," <citetitle>Financial
+also Ben Hunt, <quote>Companies Warned on Music Piracy Risk,</quote> <citetitle>Financial
Times</citetitle>, 14 February 2003, 11.
</para></footnote>
(that works out to one in three CDs sold worldwide). The MPAA
<!-- f3 -->
For an analysis of the economic impact of copying technology, see Stan
Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: Amacom, 2002),
-144–90. "In some instances … the impact of piracy on the
+144–90. <quote>In some instances … the impact of piracy on the
copyright holder's ability to appropriate the value of the work will
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." Ibid., 149.
+pirating were not an option.</quote> Ibid., 149.
<indexterm><primary>Liebowitz, Stan</primary></indexterm>
</para></footnote>
</para>
thousands of pirated DVDs who certainly have enough money to pay
for the content they have taken), and it does mitigate to some degree
the harm caused by such taking. Extremists in this debate love to say,
-"You wouldn't go into Barnes & Noble and take a book off of the shelf
-without paying; why should it be any different with on-line music?"
+<quote>You wouldn't go into Barnes & Noble and take a book off of the shelf
+without paying; why should it be any different with on-line music?</quote>
The difference is, of course, that when you take a book from Barnes &
Noble, it has one less book to sell. By contrast, when you take an MP3
from a computer network, there is not one less CD that can be sold.
the copyright owner doesn't want to sell, she doesn't have to. There
are exceptions: important statutory licenses that apply to copyrighted
content regardless of the wish of the copyright owner. Those licenses
-give people the right to "take" copyrighted content whether or not the
+give people the right to <quote>take</quote> copyrighted content whether or not the
copyright owner wants to sell. But
<!-- PAGE BREAK 78 -->
wrong to take that content even if the wrong does no harm. If we have
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 "property" means.
+permission of a property owner. That is exactly what <quote>property</quote> means.
</para>
<para>
Finally, we could try to excuse this piracy with the argument that the
-piracy actually helps the copyright owner. When the Chinese "steal"
+piracy actually helps the copyright owner. When the Chinese <quote>steal</quote>
Windows, that makes the Chinese dependent on Microsoft. Microsoft
loses the value of the software that was taken. But it gains users who
are used to life in the Microsoft world. Over time, as the nation
</para>
<para>
But as the examples from the four chapters that introduced this part
-suggest, even if some piracy is plainly wrong, not all "piracy" is. Or
-at least, not all "piracy" is wrong if that term is understood in the
-way it is increasingly used today. Many kinds of "piracy" are useful
+suggest, even if some piracy is plainly wrong, not all <quote>piracy</quote> is. Or
+at least, not all <quote>piracy</quote> is wrong if that term is understood in the
+way it is increasingly used today. Many kinds of <quote>piracy</quote> are useful
and productive, to produce either new content or new ways of doing
business. Neither our tradition nor any tradition has ever banned all
-"piracy" in that sense of the term.
+<quote>piracy</quote> in that sense of the term.
</para>
<para>
This doesn't mean that there are no questions raised by the latest
<section id="piracy-ii">
<title>Piracy II</title>
<para>
-The key to the "piracy" that the law aims to quash is a use that "rob[s]
-the author of [his] profit.
"<footnote><para>
+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><footnote><para>
<!-- f4 -->
<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. 1274 (1777).
</para></footnote>
eighteen months, there were close to 80 million registered users of the
system.<footnote><para>
<!-- f6 -->
-See Carolyn Lochhead, "Silicon Valley Dream, Hollywood Nightmare," <citetitle>San
-Francisco Chronicle</citetitle>, 24 September 2002, A1; "Rock 'n' Roll Suicide,"
-<citetitle>New Scientist</citetitle>, 6 July 2002, 42; Benny Evangelista, "Napster Names CEO,
-Secures New Financing," <citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1;
-"Napster's Wake-Up Call," <citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton,
-"Hollywood at War with the Internet" (London) <citetitle>Times</citetitle>, 26 July 2002, 18.
+See Carolyn Lochhead, <quote>Silicon Valley Dream, Hollywood Nightmare,</quote> <citetitle>San
+Francisco Chronicle</citetitle>, 24 September 2002, A1; <quote>Rock 'n' Roll Suicide,</quote>
+<citetitle>New Scientist</citetitle>, 6 July 2002, 42; Benny Evangelista, <quote>Napster Names CEO,
+Secures New Financing,</quote> <citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1;
+<quote>Napster's Wake-Up Call,</quote> <citetitle>Economist</citetitle>, 24 June 2000, 23; John Naughton,
+<quote>Hollywood at War with the Internet</quote> (London) <citetitle>Times</citetitle>, 26 July 2002, 18.
</para></footnote>
Courts quickly shut Napster down, but other services emerged
to take its place. (Kazaa is currently the most popular p2p service. It
estimated that 43 million citizens used file-sharing networks to
exchange content in May 2003.<footnote><para>
<!-- f8 -->
-Amy Harmon, "Industry Offers a Carrot in Online Music Fight," <citetitle>New
+Amy Harmon, <quote>Industry Offers a Carrot in Online Music Fight,</quote> <citetitle>New
York Times</citetitle>, 6 June 2003, A1.
</para></footnote>
The vast majority of these are not kids. Whatever the actual figure, a
-massive quantity of content is being "taken" on these networks. The
+massive quantity of content is being <quote>taken</quote> on these networks. The
ease and inexpensiveness of file-sharing networks have inspired
millions to enjoy music in a way that they hadn't before.
</para>
sharing networks is among the most rewarding for many. Songs that were
part of your childhood but have long vanished from the marketplace
magically appear again on the network. (One friend told me that when
-she discovered Napster, she spent a solid weekend "recalling" old
+she discovered Napster, she spent a solid weekend <quote>recalling</quote> old
songs. She was astonished at the range and mix of content that was
available.) For content not sold, this is still technically a
violation of copyright, though because the copyright owner is not
harmful type A sharing is. Just as Edison complained about Hollywood,
composers complained about piano rolls, recording artists complained
about radio, and broadcasters complained about cable TV, the music
-industry complains that type A sharing is a kind of "theft" that is
-"devastating" the industry.
+industry complains that type A sharing is a kind of <quote>theft</quote> that is
+<quote>devastating</quote> the industry.
</para>
<para>
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 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, "Rather than exploiting this new, popular
-technology, the labels fought it.
"<footnote><para>
+& Young put it, <quote>Rather than exploiting this new, popular
+technology, the labels fought it.
</quote><footnote><para>
<!-- f10 -->
See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the
Music Industry's Business Model Crisis</citetitle> (2003), 3. This report
describes the music industry's effort to stigmatize the budding
practice of cassette taping in the 1970s, including an advertising
-campaign featuring a cassette-shape skull and the caption "Home taping
-is killing music." At the time digital audio tape became a threat,
+campaign featuring a cassette-shape skull and the caption <quote>Home taping
+is killing music.</quote> At the time digital audio tape became a threat,
the Office of Technical Assessment conducted a survey of consumer
behavior. In 1988, 40 percent of consumers older than ten had taped
music to a cassette format. U.S. Congress, Office of Technology
<para>
Yet soon thereafter, and before Congress was given an opportunity
to enact regulation, MTV was launched, and the industry had a record
-turnaround. "In the end," Cap Gemini concludes, "the `crisis' … was
+turnaround. <quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' … was
not the fault of the tapers—who did not [stop after MTV came into
<!-- PAGE BREAK 83 -->
being]—but had to a large extent resulted from stagnation in musical
-innovation at the major labels.
"<footnote><para>
+innovation at the major labels.
</quote><footnote><para>
<!-- f11 -->
U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4.
</para></footnote>
<para>
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 "net harm" to the industry as a whole is the amount by which type
+The <quote>net harm</quote> to the industry as a whole is the amount by which type
A sharing exceeds type B. If the record companies sold more records
through sampling than they lost through substitution, then sharing
networks would actually benefit music companies on balance. They would
report indicates even greater losses. See Recording Industry
Association of America, <citetitle>Some Facts About Music Piracy</citetitle>, 25 June 2003,
available at <ulink url="http://free-culture.cc/notes/">link
-#16</ulink>: "In the past four years, unit shipments of recorded music
+#16</ulink>: <quote>In the past four years, unit shipments of recorded music
have fallen by 26 percent from 1.16 billion units in to 860 million
units in 2002 in the United States (based on units shipped). In terms
of sales, revenues are down 14 percent, from $14.6 billion in to $12.6
billion last year (based on U.S. dollar value of shipments). The music
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)."
+shipments).</quote>
</para></footnote>
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. "From 1999 to 2001, the average
-price of a CD rose 7.2 percent, from $13.04 to $14.19."<footnote>
+account for at least some of the loss. <quote>From 1999 to 2001, the average
+price of a CD rose 7.2 percent, from $13.04 to $14.19.</quote><footnote>
<!-- f13 -->
<para>
-Jane Black, "Big Music's Broken Record," BusinessWeek online, 13
+Jane Black, <quote>Big Music's Broken Record,</quote> BusinessWeek online, 13
February 2003, available at
<ulink url="http://free-culture.cc/notes/">link #17</ulink>.
<indexterm><primary>Black, Jane</primary></indexterm>
</para>
</footnote>
Competition from other forms of media could also account for some of
-the decline. As Jane Black of <citetitle>BusinessWeek</citetitle> notes, "The
+the decline. As Jane Black of <citetitle>BusinessWeek</citetitle> notes, <quote>The
soundtrack to the film <citetitle>High Fidelity</citetitle> has a list price of
$18.98. You could get the whole movie [on DVD] for
-$19.99.
"<footnote><para>
+$19.99.
</quote><footnote><para>
<!-- f14 -->
Ibid.
</para></footnote>
<para>
There are too many different things happening at the same time to
explain these numbers definitively, but one conclusion is unavoidable:
-The recording industry constantly asks, "What's the difference between
-downloading a song and stealing a CD?"—but their own numbers
+The recording industry constantly asks, <quote>What's the difference between
+downloading a song and stealing a CD?</quote>—but their own numbers
reveal the difference. If I steal a CD, then there is one less CD to
sell. Every taking is a lost sale. But on the basis of the numbers the
RIAA provides, it is absolutely clear that the same is not true of
downloads. If every download were a lost sale—if every use of
-Kazaa "rob[bed] the author of [his] profit"—then the industry
+Kazaa <quote>rob[bed] the author of [his] profit</quote>—then the industry
would have suffered a 100 percent drop in sales last year, not a 7
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 "downloading a song and stealing a CD."
+a huge difference between <quote>downloading a song and stealing a CD.</quote>
</para>
<para>
These are the harms—alleged and perhaps exaggerated but, let's
Revolution: The Expansion of the Used Book Market</citetitle> (2002), available at
<ulink url="http://free-culture.cc/notes/">link #19</ulink>. Used records accounted for $260 million in sales in 2002. See
National
-Association of Recording Merchandisers, "2002 Annual Survey
- Results,"
+Association of Recording Merchandisers, <quote>2002 Annual Survey
+ Results,</quote>
available at
<ulink url="http://free-culture.cc/notes/">link #20</ulink>.
</para></footnote>
the content available isn't making money from making the content
available. It is also different, of course, because in real space,
when I sell a record, I don't have it anymore, while in cyberspace,
-when someone shares my 1949 recording of Bernstein's "Two Love Songs,"
+when someone shares my 1949 recording of Bernstein's <quote>Two Love Songs,</quote>
I still have it. That difference would matter economically if the
owner of the copyright were selling the record in competition to my
sharing. But we're talking about the class of content that is not
<!-- PAGE BREAK 86 -->
day. His (and his publisher's) thinking was that the on-line distribution
-would be a great advertisement for the "real" book. People would read
+would be a great advertisement for the <quote>real</quote> book. People would read
part on-line, and then decide whether they liked the book or not. If
they liked it, they would be more likely to buy it. Doctorow's content is
type D content. If sharing networks enable his work to be spread, then
</para>
<para>
The point throughout is this: While the recording industry
-understandably says, "This is how much we've lost," we must also ask,
-"How much has society gained from p2p sharing? What are the
+understandably says, <quote>This is how much we've lost,</quote> we must also ask,
+<quote>How much has society gained from p2p sharing? What are the
efficiencies? What is the content that otherwise would be
-unavailable?"
+unavailable?</quote>
</para>
<para>
For unlike the piracy I described in the first section of this
-chapter, much of the "piracy" that file sharing enables is plainly
+chapter, much of the <quote>piracy</quote> that file sharing enables is plainly
legal and good. And like the piracy I described in chapter
<xref xrefstyle="select: labelnumber" linkend="pirates"/>, much of
this piracy is motivated by a new way of spreading content caused by
found only with time.
</para>
<para>
-"But isn't the war just a war against illegal sharing? Isn't the target
-just what you call type A sharing?"
+<quote>But isn't the war just a war against illegal sharing? Isn't the target
+just what you call type A sharing?</quote>
</para>
<para>
You would think. And we should hope. But so far, it is not. The
<!-- PAGE BREAK 87 -->
infringing material, the district court told counsel for Napster 99.4
percent was not good enough. Napster had to push the infringements
-
"down to zero."<footnote><para>
+
<quote>down to zero.</quote><footnote><para>
<!-- f17 -->
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
this has meant more rights for creators. Sometimes less.
</para>
<para>
-So, as we've seen, when "mechanical reproduction" threatened the
+So, as we've seen, when <quote>mechanical reproduction</quote> threatened the
interests of composers, Congress balanced the rights of composers
against the interests of the recording industry. It granted rights to
composers, but also to the recording artists: Composers were to be
paid, but at a price set by Congress. But when radio started
broadcasting the recordings made by these recording artists, and they
-complained to Congress that their "creative property" was not being
+complained to Congress that their <quote>creative property</quote> was not being
respected (since the radio station did not have to pay them for the
creativity it broadcast), Congress rejected their claim. An indirect
benefit was enough.
Universal's claim against Sony was relatively simple: Sony produced a
device, Disney and Universal claimed, that enabled consumers to engage
in copyright infringement. Because the device that Sony built had a
-"record" button, the device could be used to record copyrighted movies
+<quote>record</quote> button, the device could be used to record copyrighted movies
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.
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
copying from a television broadcast. Or possibly, it could have built the
-machine to copy only if there were a special "copy me" signal on the
+machine to copy only if there were a special <quote>copy me</quote> signal on the
line. It was clear that there were many television shows that did not
grant anyone permission to copy. Indeed, if anyone had asked, no
doubt the majority of shows would not have authorized copying. And
</para>
<para>
MPAA president Jack Valenti became the studios' most vocal
-champion. Valenti called VCRs "tapeworms." He warned, "When there are
+champion. Valenti called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are
20, 30, 40 million of these VCRs in the land, we will be invaded by
millions of `tapeworms,' eating away at the very heart and essence of
the most precious asset the copyright owner has, his
-copyright.
"<footnote><para>
+copyright.
</quote><footnote><para>
<!-- f18 -->
Copyright Infringements (Audio and Video Recorders): Hearing on
S. 1758 Before the Senate Committee on the Judiciary, 97th Cong., 1st
and 2nd sess., 459 (1982) (testimony of Jack Valenti, president, Motion
Picture Association of America, Inc.).
</para></footnote>
-"One does not have to be trained in sophisticated marketing and
-creative judgment," he told Congress, "to understand the devastation
+<quote>One does not have to be trained in sophisticated marketing and
+creative judgment,</quote> he told Congress, <quote>to understand the devastation
on the after-theater marketplace caused by the hundreds of millions of
tapings that will adversely impact on the future of the creative
community in this country. It is simply a question of basic economics
-and plain common sense.
"<footnote><para>
+and plain common sense.
</quote><footnote><para>
<!-- f19 -->
Copyright Infringements (Audio and Video Recorders), 475.
</para></footnote>
<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. of America</citetitle>, 480 F. Supp. 429,
(C.D. Cal., 1979).
</para></footnote>
-— a use the Court would later hold was not "fair." By
-"allowing VCR owners to copy freely by the means of an exemption from
+— a use the Court would later hold was not <quote>fair.</quote> By
+<quote>allowing VCR owners to copy freely by the means of an exemption from
copyright infringementwithout creating a mechanism to compensate
-copyrightowners," Valenti testified, Congress would "take from the
+copyrightowners,</quote> Valenti testified, Congress would <quote>take from the
owners the very essence of their property: the exclusive right to
control who may use their work, that is, who may copy it and thereby
-profit from its reproduction.
"<footnote><para>
+profit from its reproduction.
</quote><footnote><para>
<!-- f21 -->
Copyright Infringements (Audio and Video Recorders), 485 (testimony
of Jack Valenti).
It took eight years for this case to be resolved by the Supreme
Court. In the interim, the Ninth Circuit Court of Appeals, which
includes Hollywood in its jurisdiction—leading Judge Alex
-Kozinski, who sits on that court, refers to it as the "Hollywood
-Circuit"—held that Sony would be liable for the copyright
+Kozinski, who sits on that court, refers to it as the <quote>Hollywood
+Circuit</quote>—held that Sony would be liable for the copyright
infringement made possible by its machines. Under the Ninth Circuit's
rule, this totally familiar technology—which Jack Valenti had
-called "the Boston Strangler of the American film industry" (worse
+called <quote>the Boston Strangler of the American film industry</quote> (worse
yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of the
American film industry)—was an illegal
technology.<footnote><para>
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 "taking" notwithstanding. If we put these cases
+enough, this <quote>taking</quote> notwithstanding. If we put these cases
together, a pattern is clear:
</para>
<thead>
<row>
<entry>CASE</entry>
- <entry>WHOSE VALUE WAS "PIRATED"</entry>
+ <entry>WHOSE VALUE WAS <quote>PIRATED</quote></entry>
<entry>RESPONSE OF THE COURTS</entry>
<entry>RESPONSE OF CONGRESS</entry>
</row>
1992 (Title 17 of the <citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat.
4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not
eliminate the opportunity for free riding in the sense I've described. See
-Lessig, <citetitle>Future</citetitle>, 71. See also Picker, "From Edison to the Broadcast Flag,"
+Lessig, <citetitle>Future</citetitle>, 71. See also Picker, <quote>From Edison to the Broadcast Flag,</quote>
<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 293–96.
<indexterm><primary>Picker, Randal C.</primary></indexterm>
</para></footnote>
In each case, throughout our history,
-that change meant that someone got a "free ride" on someone else's
+that change meant that someone got a <quote>free ride</quote> on someone else's
work.
</para>
<para>
Congress eliminate all free riding. In <emphasis>none</emphasis> of
these cases did the courts or Congress insist that the law should
assure that the copyright holder get all the value that his copyright
-created. In every case, the copyright owners complained of "piracy."
+created. In every case, the copyright owners complained of <quote>piracy.</quote>
In every case, Congress acted to recognize some of the legitimacy in
-the behavior of the "pirates." In each case, Congress allowed some new
+the behavior of the <quote>pirates.</quote> In each case, Congress allowed some new
technology to benefit from content made before. It balanced the
interests at stake.
<!-- PAGE BREAK 91 -->
<para>
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 "has never accorded the copyright owner complete control
-over all possible uses of his work.
"<footnote><para>
+copyright <quote>has never accorded the copyright owner complete control
+over all possible uses of his work.
</quote><footnote><para>
<!-- f25 -->
<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., 464 U.S. 417,
(1984).
We should be doing the same thing today. The technology of the
Internet is changing quickly. The way people connect to the Internet
(wires vs. wireless) is changing very quickly. No doubt the network
-should not become a tool for "stealing" from artists. But neither
+should not become a tool for <quote>stealing</quote> from artists. But neither
should the law become a tool to entrench one particular way in which
artists (or more accurately, distributors) get paid. As I describe in
some detail in the last chapter of this book, we should be securing
superior mode of distribution. And this p2p has done. P2p technologies
can be ideally efficient in moving content across a widely diverse
network. Left to develop, they could make the network vastly more
-efficient. Yet these "potential public benefits," as John Schwartz
-writes in <citetitle>The New York Times</citetitle>, "could be delayed in the P2P
+efficient. Yet these <quote>potential public benefits,</quote> as John Schwartz
+writes in <citetitle>The New York Times</citetitle>, <quote>could be delayed in the P2P
+fight.
</quote><footnote><para>
<!-- f26 -->
-John Schwartz, "New Economy: The Attack on Peer-to-Peer Software
-Echoes Past Efforts," <citetitle>New York Times</citetitle>, 22 September 2003, C3.
+John Schwartz, <quote>New Economy: The Attack on Peer-to-Peer Software
+Echoes Past Efforts,</quote> <citetitle>New York Times</citetitle>, 22 September 2003, C3.
</para></footnote>
-Yet when anyone begins to talk about "balance," the copyright warriors
-raise a different argument. "All this hand waving about balance and
-incentives," they say, "misses a fundamental point. Our content," the
-warriors insist, "is our <emphasis>property</emphasis>. Why should we
+Yet when anyone begins to talk about <quote>balance,</quote> the copyright warriors
+raise a different argument. <quote>All this hand waving about balance and
+incentives,</quote> they say, <quote>misses a fundamental point. Our content,</quote> the
+warriors insist, <quote>is our <emphasis>property</emphasis>. Why should we
wait for Congress to `rebalance' our property rights? Do you have to
wait before calling the police when your car has been stolen? And why
should Congress deliberate at all about the merits of this theft? Do
we ask whether the car thief had a good use for the car before we
-arrest him?"
+arrest him?</quote>
</para>
<para>
-"It is <emphasis>our property</emphasis>," the warriors insist. "And
-it should be protected just as any other property is protected."
+<quote>It is <emphasis>our property</emphasis>,</quote> the warriors
+insist. <quote>And it should be protected just as any other property
+is protected.</quote>
</para>
<!-- PAGE BREAK 93 -->
</section>
</chapter>
</part>
<part id="c-property">
-<title>"PROPERTY"</title>
+<title><quote>PROPERTY</quote></title>
<partintro>
<para>
the price she can get.
</para>
<para>
-But in ordinary language, to call a copyright a "property" right is a
+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
property. Indeed, the very idea of property in any idea or any
expression is very odd. I understand what I am taking when I take the
take anything from you when I copy the way you dress—though I
might seem weird if I did it every day, and especially weird if you are a
woman. Instead, as Thomas Jefferson said (and as is especially true
-when I copy the way someone else dresses), "He who receives an idea
+when I copy the way someone else dresses), <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.
"<footnote><para>
+lights his taper at mine, receives light without darkening me.
</quote><footnote><para>
<!-- f1 -->
Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in
<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. Lipscomb and Albert
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
-
"property" in its proper context.<footnote><para>
+
<quote>property</quote> in its proper context.<footnote><para>
<!-- f2 -->
As the legal realists taught American law, all property rights are
intangible. A property right is simply a right that an individual has
against the world to do or not do certain things that may or may not
attach to a physical object. The right itself is intangible, even if
the object to which it is (metaphorically) attached is tangible. See
-Adam Mossoff, "What Is Property? Putting the Pieces Back Together,"
+Adam Mossoff, <quote>What Is Property? Putting the Pieces Back Together,</quote>
<citetitle>Arizona Law Review</citetitle> 45 (2003): 373, 429 n. 241.
</para></footnote>
</para>
<para>
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
-"copyright material is property" in context. Where did the idea come
+<quote>copyright material is property</quote> in context. Where did the idea come
from? What are its limits? How does it function in practice? After
these stories, the significance of this true
-statement—"copyright material is property"— will be a bit
+statement—<quote>copyright material is property</quote>— 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.
</para>
Anglo-American culture ever since. So deeply have the works of a
sixteenth-century writer seeped into our culture that we often don't
even recognize their source. I once overheard someone commenting on
-Kenneth Branagh's adaptation of Henry V: "I liked it, but Shakespeare
-is so full of clichés."
+Kenneth Branagh's adaptation of Henry V: <quote>I liked it, but Shakespeare
+is so full of clichés.</quote>
</para>
<para>
In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was written, the
-"copy-right" for the work was still thought by many to be the exclusive
+<quote>copy-right</quote> for the work was still thought by many to be the exclusive
right of a single London publisher, Jacob Tonson.<footnote><para>
<!-- f1 -->
Jacob Tonson is typically remembered for his associations with prominent
eighteenth-century literary figures, especially John Dryden, and for his
-handsome "definitive editions" of classic works. In addition to <citetitle>Romeo and
+handsome <quote>definitive editions</quote> of classic works. In addition to <citetitle>Romeo and
Juliet</citetitle>, he published an astonishing array of works that still remain at the
heart of the English canon, including collected works of Shakespeare, Ben
-Jonson, John Milton, and John Dryden. See Keith Walker, "Jacob Tonson,
-Bookseller," <citetitle>American Scholar</citetitle> 61:3 (1992): 424–31.
+Jonson, John Milton, and John Dryden. See Keith Walker, <quote>Jacob Tonson,
+Bookseller,</quote> <citetitle>American Scholar</citetitle> 61:3 (1992): 424–31.
</para></footnote>
Tonson was the most prominent of a small group of publishers called
the Conger<footnote><para>
Vanderbilt University Press, 1968), 151–52.
</para></footnote>
who controlled bookselling in England during the eighteenth
-century. The Conger claimed a perpetual right to control the "copy" of
+century. The Conger claimed a perpetual right to control the <quote>copy</quote> of
books that they had acquired from authors. That perpetual right meant
that no
<!-- PAGE BREAK 97 -->
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
-adopted the first "copyright" act. Known as the Statute of Anne, the
+adopted the first <quote>copyright</quote> act. Known as the Statute of Anne, the
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.<footnote><para>
<!-- f3 -->
As Siva Vaidhyanathan nicely argues, it is erroneous to call this a
-"copyright law." See Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40.
+<quote>copyright law.</quote> See Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 40.
<indexterm><primary>Vaidhyanathan, Siva</primary></indexterm>
</para></footnote> Under this law, <citetitle>Romeo and Juliet</citetitle> should have been
free in 1731. So why was there any issue about it still being under
Tonson's control in 1774?
</para>
<para>
-The reason is that the English hadn't yet agreed on what a "copyright"
+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 English passed the
Statute of Anne, there was no other legislation governing copyrights.
The last law regulating publishers, the Licensing Act of 1662, had
expired in 1695. That law gave publishers a monopoly over publishing,
as a way to make it easier for the Crown to control what was
published. But after it expired, there was no positive law that said
-that the publishers, or "Stationers," had an exclusive right to print
+that the publishers, or <quote>Stationers,</quote> had an exclusive right to print
books.
<indexterm><primary>Licensing Act (1662)</primary></indexterm>
</para>
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
rules that are to govern how people are to behave. We call the words
-from legislatures "positive law." We call the words from judges
-"common law." The common law sets the background against which
+from legislatures <quote>positive law.</quote> We call the words from judges
+<quote>common law.</quote> The common law sets the background against which
legislatures legislate; the legislature, ordinarily, can trump that
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.
</para>
<para>
-This question was important to the publishers, or "booksellers," as
+This question was important to the publishers, or <quote>booksellers,</quote> as
they were called, because there was growing competition from foreign
publishers. The Scottish, in particular, were increasingly publishing
and exporting books to England. That competition reduced the profits
resulted in the Statute of Anne.
</para>
<para>
-The Statute of Anne granted the author or "proprietor" of a book an
+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,
however, and to the horror of the booksellers, the law gave the
bookseller that right for a limited term. At the end of that term, the
-copyright "expired," and the work would then be free and could be
+copyright <quote>expired,</quote> and the work would then be free and could be
published by anyone. Or so the legislature is thought to have
believed.
</para>
this play, he didn't make it any harder for others to craft a play. So
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 "steal" Shakespeare's work?
+reason is there to allow someone else to <quote>steal</quote> Shakespeare's work?
</para>
<para>
The answer comes in two parts. We first need to see something special
-about the notion of "copyright" that existed at the time of the
+about the notion of <quote>copyright</quote> that existed at the time of the
Statute of Anne. Second, we have to see something important about
-"booksellers."
+<quote>booksellers.</quote>
</para>
<para>
First, about copyright. In the last three hundred years, we have come
-to apply the concept of "copyright" ever more broadly. But in 1710, it
+to apply the concept of <quote>copyright</quote> ever more broadly. But in 1710, it
wasn't so much a concept as it was a very particular right. The
copyright was born as a very specific set of restrictions: It forbade
-others from reprinting a book. In 1710, the "copy-right" was a right
+others from reprinting a book. In 1710, the <quote>copy-right</quote> was a right
to use a particular machine to replicate a particular work. It did not
go beyond that very narrow right. It did not control any more
generally how
permission of the Shakespeare estate. It would not have controlled
anything, for example, about how the work could be performed, whether
the work could be translated, or whether Kenneth Branagh would be
-allowed to make his films. The "copy-right" was only an exclusive
+allowed to make his films. The <quote>copy-right</quote> was only an exclusive
right to print—no less, of course, but also no more.
</para>
<indexterm><primary>Henry VIII, King of England</primary></indexterm>
<para>
Even that limited right was viewed with skepticism by the British.
-They had had a long and ugly experience with "exclusive rights,"
-especially "exclusive rights" granted by the Crown. The English had
+They had had a long and ugly experience with <quote>exclusive rights,</quote>
+especially <quote>exclusive rights</quote> granted by the Crown. The English had
fought a civil war in part about the Crown's practice of handing out
monopolies—especially monopolies for works that already
existed. King Henry VIII granted a patent to print the Bible and a
monopoly in publishing.
</para>
<para>
-Thus the "copy-right," when viewed as a monopoly right, was naturally
+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
-claim that "it's my property, and I should have it forever," try
-sounding convincing when uttering, "It's my monopoly, and I should
-have it forever.") The state would protect the exclusive right, but
+claim that <quote>it's my property, and I should have it forever,</quote> try
+sounding convincing when uttering, <quote>It's my monopoly, and I should
+have it forever.</quote>) 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.
</para>
were increasingly seen as monopolists of the worst
kind—tools of the Crown's repression, selling the liberty of
England to guarantee themselves a monopoly profit. The attacks against
-these monopolists were harsh: Milton described them as "old patentees
-and monopolizers in the trade of book-selling"; they were "men who do
+these monopolists were harsh: Milton described them as <quote>old patentees
+and monopolizers in the trade of book-selling</quote>; they were <quote>men who do
not therefore labour in an honest profession to which learning is
-indetted.
"<footnote><para>
+indetted.
</quote><footnote><para>
<!-- f4 -->
Philip Wittenberg, <citetitle>The Protection and Marketing of Literary
protections were not intended as replacements for the common law.
Instead, they were intended simply to supplement the common law.
Under common law, it was already wrong to take another person's
-creative "property" and use it without his permission. The Statute of
+creative <quote>property</quote> and use it without his permission. The Statute of
Anne, the booksellers argued, didn't change that. Therefore, just
because the protections of the Statute of Anne expired, that didn't
mean the protections of the common law expired: Under the common law
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,
-"The publishers … had as much concern for authors as a cattle
-rancher has for cattle.
"<footnote><para>
+<quote>The publishers … had as much concern for authors as a cattle
+rancher has for cattle.
</quote><footnote><para>
<!-- f6 -->
-Lyman Ray Patterson, "Free Speech, Copyright, and Fair Use," <citetitle>Vanderbilt
+Lyman Ray Patterson, <quote>Free Speech, Copyright, and Fair Use,</quote> <citetitle>Vanderbilt
Law Review</citetitle> 40 (1987): 28. For a wonderfully compelling account, see
Vaidhyanathan, 37–48.
<indexterm><primary>Vaidhyanathan, Siva</primary></indexterm>
<para>
Donaldson was an outsider to the London Conger. He began his
career in Edinburgh in 1750. The focus of his business was inexpensive
-reprints "of standard works whose copyright term had expired," at least
+reprints <quote>of standard works whose copyright term had expired,</quote> at least
under the Statute of Anne.<footnote><para>
<!-- f8 -->
Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard University Press,
</para></footnote>
Donaldson's publishing house prospered
<!-- PAGE BREAK 102 -->
-and became "something of a center for literary Scotsmen." "[A]mong
-them," Professor Mark Rose writes, was "the young James Boswell
+and became <quote>something of a center for literary Scotsmen.</quote> <quote>[A]mong
+them,</quote> Professor Mark Rose writes, was <quote>the young James Boswell
who, together with his friend Andrew Erskine, published an anthology
-of contemporary Scottish poems with Donaldson.
"<footnote><para>
+of contemporary Scottish poems with Donaldson.
</quote><footnote><para>
<!-- f9 -->
Ibid., 93.
</para></footnote>
<para>
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 "of the most popular English books, in defiance
+inexpensive editions <quote>of the most popular English books, in defiance
of the supposed common law right of Literary
-Property.
"<footnote><para>
+Property.
</quote><footnote><para>
<!-- f10 -->
Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</citetitle>, 167 (quoting
Borwell).
Anne, the works he was selling had passed out of protection.
</para>
<para>
-The London booksellers quickly brought suit to block "piracy" like
-Donaldson's. A number of actions were successful against the "pirates,"
+The London booksellers quickly brought suit to block <quote>piracy</quote> like
+Donaldson's. A number of actions were successful against the <quote>pirates,</quote>
the most important early victory being <citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>.
</para>
<para>
Millar was a bookseller who in 1729 had purchased the rights to James
-Thomson's poem "The Seasons." Millar complied with the requirements of
+Thomson's poem <quote>The Seasons.</quote> 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.<footnote><para>
<!-- f11 -->
-Howard B. Abrams, "The Historic Foundation of American Copyright Law:
-Exploding the Myth of Common Law Copyright," <citetitle>Wayne Law Review</citetitle> 29
+Howard B. Abrams, <quote>The Historic Foundation of American Copyright Law:
+Exploding the Myth of Common Law Copyright,</quote> <citetitle>Wayne Law Review</citetitle> 29
(1983): 1152.
</para></footnote>
</para>
history, Lord Mansfield, agreed with the booksellers. Whatever
protection the Statute of Anne gave booksellers, it did not, he held,
extinguish any common law right. The question was whether the common
-law would protect the author against subsequent "pirates."
+law would protect the author against subsequent <quote>pirates.</quote>
Mansfield's answer was yes: The common law would bar Taylor from
reprinting Thomson's poem without Millar's permission. That common law
rule thus effectively gave the booksellers a perpetual right to
</para>
<para>
The House of Lords was an odd institution. Legal questions were
-presented to the House and voted upon first by the "law lords,"
+presented to the House and voted upon first by the <quote>law lords,</quote>
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.
passed into the public domain.
</para>
<para>
-"The public domain." Before the case of <citetitle>Donaldson</citetitle>
+<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</citetitle>
v. <citetitle>Beckett</citetitle>, there was no clear idea of a public domain in
England. Before 1774, there was a strong argument that common law
copyrights were perpetual. After 1774, the public domain was
<para>
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 "pirate publishers" did their work, people
+where most of the <quote>pirate publishers</quote> did their work, people
celebrated the decision in the streets. As the <citetitle>Edinburgh Advertiser</citetitle>
-reported, "No private cause has so much engrossed the attention of the
+reported, <quote>No private cause has so much engrossed the attention of the
public, and none has been tried before the House of Lords in the
-decision of which so many individuals were interested." "Great
+decision of which so many individuals were interested.</quote> <quote>Great
rejoicing in Edinburgh upon victory over literary property: bonfires
-and illuminations.
"<footnote><para>
+and illuminations.
</quote><footnote><para>
<!-- f13 -->
Rose, 97.
</para></footnote>
</blockquote>
<para>
<!-- PAGE BREAK 105 -->
-"Ruined" is a bit of an exaggeration. But it is not an exaggeration to
+<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 of Lords
meant that the booksellers could no longer control how culture in
England would grow and develop. Culture in England was thereafter
attempted to clear the rights for those few seconds of <citetitle>The Simpsons</citetitle>.
For of course, those few seconds are copyrighted; and of course, to use
copyrighted material you need the permission of the copyright owner,
-unless "fair use" or some other privilege applies.
+unless <quote>fair use</quote> or some other privilege applies.
</para>
<para>
Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office to get permission.
<indexterm><primary>Gracie Films</primary></indexterm>
</para>
<para>
-Then, as Else told me, "two things happened. First we discovered
+Then, as Else told me, <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."
-And second, Fox "wanted ten thousand dollars as a licensing fee for us
+least that someone [at Fox] believes he doesn't own his own creation.</quote>
+And second, Fox <quote>wanted ten thousand dollars as a licensing fee for us
to use this four-point-five seconds of … entirely unsolicited
-<citetitle>Simpsons</citetitle> which was in the corner of the shot."
+<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
</para>
<para>
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, "There must be some mistake here. … We're
-asking for your educational rate on this." That was the educational
+explained to her, <quote>There must be some mistake here. … We're
+asking for your educational rate on this.</quote> That was the educational
rate, Herrera told Else. A day or so later, Else called again to
confirm what he had been told.
</para>
<para>
-"I wanted to make sure I had my facts straight," he told me. "Yes, you
-have your facts straight," she said. It would cost $10,000 to use the
+<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 cost $10,000 to use the
clip of <citetitle>The Simpsons</citetitle> in the corner of a shot in a documentary film
about
<!-- PAGE BREAK 108 -->
-Wagner's Ring Cycle. And then, astonishingly, Herrera told Else, "And
-if you quote me, I'll turn you over to our attorneys." As an assistant
-to Herrera told Else later on, "They don't give a shit. They just want
-the money."
+Wagner's Ring Cycle. And then, astonishingly, Herrera told Else, <quote>And
+if you quote me, I'll turn you over to our attorneys.</quote> As an assistant
+to Herrera told Else later on, <quote>They don't give a shit. They just want
+the money.</quote>
</para>
<para>
Else didn't have the money to buy the right to replay what was playing
says the owner gets to control.
</para>
<para>
-For example, "public performance" is a use of <citetitle>The Simpsons</citetitle> that the
+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 selection of favorite
-episodes, rent a movie theater, and charge for tickets to come see "My
-Favorite <citetitle>Simpsons</citetitle>," then you need to get permission from the copyright
+episodes, rent a movie theater, and charge for tickets to come see <quote>My
+Favorite <citetitle>Simpsons</citetitle>,</quote> then you need to get permission from the copyright
owner. And the copyright owner (rightly, in my view) can charge
whatever she wants—$10 or $1,000,000. That's her right, as set
by the law.
</para>
<para>
But when lawyers hear this story about Jon Else and Fox, their first
-thought is
"fair use."<footnote><para>
+thought is
<quote>fair use.</quote><footnote><para>
<!-- f1 -->
-For an excellent argument that such use is "fair use," but that
-lawyers don't permit recognition that it is "fair use," see Richard
-A. Posner with William F. Patry, "Fair Use and Statutory Reform in the
-Wake of <citetitle>Eldred</citetitle>" (draft on file with author), University of Chicago
+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 Richard
+A. Posner with William F. Patry, <quote>Fair Use and Statutory Reform in the
+Wake of <citetitle>Eldred</citetitle></quote> (draft on file with author), University of Chicago
Law School, 5 August 2003.
</para></footnote>
Else's use of just 4.5 seconds of an indirect shot of a <citetitle>Simpsons</citetitle>
</para>
<para>
<!-- PAGE BREAK 109 -->
-So I asked Else why he didn't just rely upon "fair use." Here's his reply:
+So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's his reply:
</para>
<blockquote>
<para>
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 is crushingly
relevant in practice to those of us actually trying to make and
-broadcast documentaries. I never had any doubt that it was "clearly
-fair use" in an absolute legal sense. But I couldn't rely on the
+broadcast documentaries. I never had any doubt that it was <quote>clearly
+fair use</quote> in an absolute legal sense. But I couldn't rely on the
concept in any concrete way. Here's why:
</para>
<orderedlist numeration="arabic">
<!-- 1. -->
Before our films can be broadcast, the network requires that we buy
Errors and Omissions insurance. The carriers require a detailed
-"visual cue sheet" listing the source and licensing status of each
-shot in the film. They take a dim view of "fair use," and a claim of
-"fair use" can grind the application process to a halt.
+<quote>visual cue sheet</quote> listing the source and licensing status of each
+shot in the film. They take a dim view of <quote>fair use,</quote> and a claim of
+<quote>fair use</quote> can grind the application process to a halt.
</para></listitem>
<listitem><para>
<!-- 2. -->
<!-- 3. -->
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 would "depose and litigate you to within an inch of your
-life," regardless of the merits of my claim. He made clear that it
+that Fox would <quote>depose and litigate you to within an inch of your
+life,</quote> regardless of the merits of my claim. He made clear that it
would boil down to who had the bigger legal department and the deeper
pockets, me or them.
<!-- PAGE BREAK 110 -->
</para>
<indexterm><primary>Alben, Alex</primary></indexterm>
<para>
-Then Alben and his team decided to include actual film clips. "Our
+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 films," Alben told me. It was here that the problem
-arose. "No one had ever really done this before," Alben explained. "No
+Eastwood's films,</quote> Alben told me. It was here that the problem
+arose. <quote>No one had ever really done this before,</quote> Alben explained. <quote>No
one had ever tried to do this in the context of an artistic look at an
-actor's career."
+actor's career.</quote>
</para>
<indexterm><primary>Alben, Alex</primary></indexterm>
<para>
Alben brought the idea to Michael Slade, the CEO of Starwave.
-Slade asked, "Well, what will it take?"
+Slade asked, <quote>Well, what will it take?</quote>
</para>
<indexterm><primary>Alben, Alex</primary></indexterm>
<para>
-Alben replied, "Well, we're going to have to clear rights from
+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 we want to use in these film clips." Slade said, "Great! Go
-for it."<footnote>
+else that we want to use in these film clips.</quote> Slade said, <quote>Great! Go
+for it.</quote><footnote>
<para>
<!-- f1 -->
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 "Rip, Mix,
-Burn" creativity, as this chapter evinces.
+exploitation of his image. But these rights, too, burden <quote>Rip, Mix,
+Burn</quote> creativity, as this chapter evinces.
<indexterm>
<primary>artists</primary>
<secondary>publicity rights on images of</secondary>
<para>
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 going to use the "Make my day" clip from <citetitle>Dirty
+course we were going to use the <quote>Make my day</quote> clip from <citetitle>Dirty
Harry</citetitle>. But you then need to get the guy on the ground who's wiggling
under the gun and you need to get his permission. And then you have
to decide what you are going to pay him.
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,
-"Hey, can I pay you $600 or maybe if you were in two films, you
-know, $1,200?" And they would say, "Are you for real? Hey, I'd love
-to get $1,200." And some of course were a bit difficult (estranged
+<quote>Hey, can I pay you $600 or maybe if you were in two films, you
+know, $1,200?</quote> And they would say, <quote>Are you for real? Hey, I'd love
+to get $1,200.</quote> And some of course were a bit difficult (estranged
ex-wives, in particular). But eventually, Alben and his team had
cleared the rights to this retrospective CD-ROM on Clint Eastwood's
career.
</para>
<para>
-It was one <emphasis>year</emphasis> later—"and even then we
-weren't sure whether we were totally in the clear."
+It was one <emphasis>year</emphasis> later—<quote>and even then we
+weren't sure whether we were totally in the clear.</quote>
</para>
<indexterm><primary>Alben, Alex</primary></indexterm>
<para>
<blockquote>
<para>
Everyone thought it would be too hard. Everyone just threw up their
-hands and said, "Oh, my gosh, a film, it's so many copyrights, there's
+hands and said, <quote>Oh, my gosh, a film, it's so many copyrights, there's
the music, there's the screenplay, there's the director, there's the
-actors." But we just broke it down. We just put it into its
-constituent parts and said, "Okay, there's this many actors, this many
-directors, … this many musicians," and we just went at it very
+actors.</quote> But we just broke it down. We just put it into its
+constituent parts and said, <quote>Okay, there's this many actors, this many
+directors, … this many musicians,</quote> and we just went at it very
systematically and cleared the rights.
</para>
</blockquote>
<para>
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, "There is
+this efficiently, but as Peter Drucker has famously quipped, <quote>There is
nothing so useless as doing efficiently that which should not be done
-at all.
"<footnote><para>
+at all.
</quote><footnote><para>
<!-- f2 -->
U.S. Department of Commerce Office of Acquisition Management, <citetitle>Seven
Steps to Performance-Based Services Acquisition</citetitle>, available at
has to be made?
</para>
<para>
-For, as he acknowledged, "very few … have the time and resources,
-and the will to do this," and thus, very few such works would ever be
+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 would ever be
made. Does it make sense, I asked him, from the standpoint of what
anybody really thought they were ever giving rights for originally, that
you would have to go clear rights for these kinds of clips?
product hard to get off the ground. If you knew I have a hundred
minutes of film in this product and it's going to cost me X, then you
build your budget around it, and you can get investments and
-everything else that you need to produce it. But if you say, "Oh, I
+everything else that you need to produce it. But if you say, <quote>Oh, I
want a hundred minutes of something and I have no idea what it's going
to cost me, and a certain number of people are going to hold me up for
-money," then it becomes difficult to put one of these things together.
+money,</quote> then it becomes difficult to put one of these things together.
</para>
</blockquote>
<indexterm><primary>Alben, Alex</primary></indexterm>
These rights might well have once made sense; but as circumstances
change, they make no sense at all. Or at least, a well-trained,
regulationminimizing Republican should look at the rights and ask,
-"Does this still make sense?"
+<quote>Does this still make sense?</quote>
</para>
<para>
I've seen the flash of recognition when people get this point, but only
Nimmer, perhaps the leading copyright scholar and practitioner in the
nation. He had an astonished look on his face, as he peered across the
room of over 250 well-entertained judges. Taking an ominous tone, he
-began his talk with a question: "Do you know how many federal laws
-were just violated in this room?"
+began his talk with a question: <quote>Do you know how many federal laws
+were just violated in this room?</quote>
</para>
<indexterm><primary>Boies, David</primary></indexterm>
<para>
couldn't easily do them legally.
</para>
<para>
-We live in a "cut and paste" culture enabled by technology. Anyone
+We live in a <quote>cut and paste</quote> culture enabled by technology. Anyone
building a presentation knows the extraordinary freedom that the cut
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
</para>
<para>
All of these creations are technically illegal. Even if the creators
-wanted to be "legal," the cost of complying with the law is impossibly
+wanted to be <quote>legal,</quote> the cost of complying with the law is impossibly
high. Therefore, for the law-abiding sorts, a wealth of creativity is
never made. And for that part that is made, if it doesn't follow the
clearance rules, it doesn't get released.
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 see fit. We could even make this change without
-necessarily requiring that the "free" use be free as in "free beer."
+necessarily requiring that the <quote>free</quote> use be free as in <quote>free beer.</quote>
Instead, the system could simply make it easy for follow-on creators
to compensate artists without requiring an army of lawyers to come
-along: a rule, for example, that says "the royalty owed the copyright
+along: a rule, for example, that says <quote>the royalty owed the copyright
owner of an unregistered work for the derivative reuse of his work
will be a flat 1 percent of net revenues, to be held in escrow for the
-copyright owner." Under this rule, the copyright owner could benefit
+copyright owner.</quote> Under this rule, the copyright owner could benefit
from some royalty, but he would not have the benefit of a full
property right (meaning the right to name his own price) unless he
registers the work.
Myers, the comic genius of <citetitle>Saturday Night Live</citetitle> and
<!-- PAGE BREAK 118 -->
Austin Powers. According to the announcement, Myers and Dream-Works
-would work together to form a "unique filmmaking pact." Under the
-agreement, DreamWorks "will acquire the rights to existing motion
+would work together to form a <quote>unique filmmaking pact.</quote> Under the
+agreement, DreamWorks <quote>will acquire the rights to existing motion
picture hits and classics, write new storylines and—with the use
of stateof-the-art digital technology—insert Myers and other
actors into the film, thereby creating an entirely new piece of
-entertainment."
+entertainment.</quote>
</para>
<para>
-The announcement called this "film sampling." As Myers explained,
-"Film Sampling is an exciting way to put an original spin on existing
+The announcement called this <quote>film sampling.</quote> As Myers explained,
+<quote>Film Sampling is an exciting way to put an original spin on existing
films and allow audiences to see old movies in a new light. Rap
artists have been doing this for years with music and now we are able
-to take that same concept and apply it to film." Steven Spielberg is
-quoted as saying, "If anyone can create a way to bring old films to
-new audiences, it is Mike."
+to take that same concept and apply it to film.</quote> Steven Spielberg is
+quoted as saying, <quote>If anyone can create a way to bring old films to
+new audiences, it is Mike.</quote>
</para>
<para>
Spielberg is right. Film sampling by Myers will be brilliant. But if
</para>
<para>
This privilege becomes reserved for two sorts of reasons. The first
-continues the story of the last chapter: the vagueness of "fair use."
-Much of "sampling" should be considered "fair use." But few would
+continues the story of the last chapter: the vagueness of <quote>fair use.</quote>
+Much of <quote>sampling</quote> should be considered <quote>fair use.</quote> But few would
rely upon so weak a doctrine to create. That leads to the second reason
that the privilege is reserved for the few: The costs of negotiating the
legal rights for the creative reuse of content are astronomically high.
<chapter label="9" id="collectors">
<title>CHAPTER NINE: Collectors</title>
<para>
-In April 1996, millions of "bots"—computer codes designed to
-"spider," or automatically search the Internet and copy content—began
+In April 1996, millions of <quote>bots</quote>—computer codes designed to
+<quote>spider,</quote> or automatically search the Internet and copy content—began
running across the Net. Page by page, these bots copied Internet-based
information onto a small set of computers located in a basement in San
Francisco's Presidio. Once the bots finished the whole of the Internet,
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 world. Using a technology called "the Way Back Machine," you could
+the world. Using a technology called <quote>the Way Back Machine,</quote> you could
enter a Web page, and see all of its copies going back to 1996, as
well as when those pages changed.
</para>
<!-- f1 -->
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, "Combat Operations in Iraq Have Ended." That was
-later changed, without notice, to "Major Combat Operations in Iraq
-Have Ended." E-mail from Brewster Kahle, 1 December 2003.
+press release stated, <quote>Combat Operations in Iraq Have Ended.</quote> That was
+later changed, without notice, to <quote>Major Combat Operations in Iraq
+Have Ended.</quote> E-mail from Brewster Kahle, 1 December 2003.
</para></footnote>
</para>
<para>
</para>
<para>
The Way Back Machine is the largest archive of human knowledge in
-human history. At the end of 2002, it held "two hundred and thirty
-terabytes of material"—and was "ten times larger than the
-Library of Congress." And this was just the first of the archives that
+human history. At the end of 2002, it held <quote>two hundred and thirty
+terabytes of material</quote>—and was <quote>ten times larger than the
+Library of Congress.</quote> And this was just the first of the archives that
Kahle set out to build. In addition to the Internet Archive, Kahle has
been constructing the Television Archive. Television, it turns out, is
even more ephemeral than the Internet. While much of twentieth-century
that culture is available for anyone to see today. Three hours of news
are recorded each evening by Vanderbilt University—thanks to a
specific exemption in the copyright law. That content is indexed, and
-is available to scholars for a very low fee. "But other than that,
-[television] is almost unavailable," Kahle told me. "If you were
+is available to scholars for a very low fee. <quote>But other than that,
+[television] is almost unavailable,</quote> Kahle told me. <quote>If you were
Barbara Walters you could get access to [the archives], but if you are
-just a graduate student?" As Kahle put it,
+just a graduate student?</quote> As Kahle put it,
</para>
<blockquote>
<indexterm><primary>Quayle, Dan</primary></indexterm>
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
borrow back the deposits—for an unlimited time at no cost. In
-1915 alone, there were more than 5,475 films deposited and "borrowed
-back." Thus, when the copyrights to films expire, there is no copy
+1915 alone, there were more than 5,475 films deposited and <quote>borrowed
+back.</quote> 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.<footnote><para>
<!-- f2 -->
-Doug Herrick, "Toward a National Film Collection: Motion Pictures at
-the Library of Congress," <citetitle>Film Library Quarterly</citetitle> 13 nos. 2–3
+Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at
+the Library of Congress,</quote> <citetitle>Film Library Quarterly</citetitle> 13 nos. 2–3
(1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History of Film
Preservation in the United States</citetitle> ( Jefferson, N.C.: McFarland &
Co., 1992), 36.
<para>
The same is generally true about television. Television broadcasts
were originally not copyrighted—there was no way to capture the
-broadcasts, so there was no fear of "theft." But as technology enabled
+broadcasts, so there was no fear of <quote>theft.</quote> But as technology enabled
capturing, broadcasters relied increasingly upon the law. The law
required they make a copy of each broadcast for the work to be
-"copyrighted." But those copies were simply kept by the
+<quote>copyrighted.</quote> But those copies were simply kept by 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.
</para>
<para>
Kahle had the same idea with film. Working with Rick Prelinger, whose
-archive of film includes close to 45,000 "ephemeral films" (meaning
+archive of film includes close to 45,000 <quote>ephemeral films</quote> (meaning
films other than Hollywood movies, films that were never copyrighted),
Kahle established the Movie Archive. Prelinger let Kahle digitize
1,300 films in this archive and post those films on the Internet to be
material they wanted to use. Some downloaded that material and made
films on their own. Others purchased copies to enable other films to
be made. Either way, the archive enabled access to this important
-part of our culture. Want to see a copy of the "Duck and Cover" film
+part of our culture. Want to see a copy of the <quote>Duck and Cover</quote> film
that instructed children how to save themselves in the middle of
nuclear attack? Go to archive.org, and you can download the film in a
few minutes—for free.
</para>
<para>
For here is an idea that we should more clearly recognize. Every bit
-of creative property goes through different "lives." In its first
+of creative property goes through different <quote>lives.</quote> In its first
life, if the
<!-- PAGE BREAK 124 -->
The same has always been true about books. A book goes out of print
very quickly (the average today is after about a year<footnote><para>
<!-- f3 -->
-Dave Barns, "Fledgling Career in Antique Books: Woodstock Landlord,
-Bar Owner Starts a New Chapter by Adopting Business," <citetitle>Chicago Tribune</citetitle>,
+Dave Barns, <quote>Fledgling Career in Antique Books: Woodstock Landlord,
+Bar Owner Starts a New Chapter by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>,
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,
-"The First Sale Doctrine in the Era of Digital Networks," <citetitle>Boston
+<quote>The First Sale Doctrine in the Era of Digital Networks,</quote> <citetitle>Boston
College Law Review</citetitle> 44 (2003): 593 n. 51.
</para></footnote>). After
it is out of print, it can be sold in used book stores without the
<para>
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 these "archives," as warm as the idea of a "library" might seem,
-the "content" that is collected in these digital spaces is also
-someone's "property." And the law of property restricts the freedoms
+call these <quote>archives,</quote> as warm as the idea of a <quote>library</quote> might seem,
+the <quote>content</quote> that is collected in these digital spaces is also
+someone's <quote>property.</quote> And the law of property restricts the freedoms
that Kahle and others would exercise.
</para>
<!-- PAGE BREAK 127 -->
</chapter>
<chapter label="10" id="property-i">
-<title>CHAPTER TEN: "Property"</title>
+<title>CHAPTER TEN: <quote>Property</quote></title>
<para>
Jack Valenti has been the president of the Motion Picture Association
of America since 1966. He first came to Washington, D.C., with Lyndon
speech-regulating harm. But there is an aspect to the organization's
mission that is both the most radical and the most important. This is
the organization's effort, epitomized in Valenti's every act, to
-redefine the meaning of "creative property."
+redefine the meaning of <quote>creative property.</quote>
</para>
<para>
In 1982, Valenti's testimony to Congress captured the strategy
<para>
The strategy of this rhetoric, like the strategy of most of Valenti's
rhetoric, is brilliant and simple and brilliant because simple. The
-"central theme" to which "reasonable men and women" will return is
+<quote>central theme</quote> to which <quote>reasonable men and women</quote> will return is
this:
<!-- PAGE BREAK 129 -->
-"Creative property owners must be accorded the same rights and
-protections resident in all other property owners in the nation."
+<quote>Creative property owners must be accorded the same rights and
+protections resident in all other property owners in the nation.</quote>
There are no second-class citizens, Valenti might have
continued. There should be no second-class property owners.
</para>
extreme a claim made by <emphasis>anyone</emphasis> who is serious in
this debate than this claim of Valenti's. Jack Valenti, however sweet
and however brilliant, is perhaps the nation's foremost extremist when
-it comes to the nature and scope of "creative property." His views
+it comes to the nature and scope of <quote>creative property.</quote> His views
have <emphasis>no</emphasis> reasonable connection to our actual legal
tradition, even if the subtle pull of his Texan charm has slowly
redefined that tradition, at least in Washington.
</para>
<para>
-While "creative property" is certainly "property" in a nerdy and
+While <quote>creative property</quote> is certainly <quote>property</quote> in a nerdy and
precise sense that lawyers are trained to understand,<footnote><para>
<!-- f2 -->
-Lawyers speak of "property" not as an absolute thing, but as a bundle
+Lawyers speak of <quote>property</quote> not as an absolute thing, but as a bundle
of rights that are sometimes associated with a particular
-object. Thus, my "property right" to my car gives me the right to
+object. Thus, my <quote>property right</quote> to my car gives me the right to
exclusive use, but not the right to drive at 150 miles an hour. For
-the best effort to connect the ordinary meaning of "property" to
-"lawyer talk," see Bruce Ackerman, <citetitle>Private Property and the
+the best effort to connect the ordinary meaning of <quote>property</quote> to
+<quote>lawyer talk,</quote> see Bruce Ackerman, <citetitle>Private Property and the
Constitution</citetitle> (New Haven: Yale University Press, 1977), 26–27.
</para></footnote> it has never been the case, nor should it be, that
-"creative property owners" have been "accorded the same rights and
-protection resident in all other property owners." Indeed, if creative
+<quote>creative property owners</quote> have been <quote>accorded the same rights and
+protection resident in all other property owners.</quote> Indeed, if creative
property owners were given the same rights as all other property
owners, that would effect a radical, and radically undesirable, change
in our tradition.
Constitution itself.
</para>
<para>
-The framers of our Constitution loved "property." Indeed, so strongly
+The framers of our Constitution loved <quote>property.</quote> Indeed, so strongly
did they love property that they built into the Constitution an
important requirement. If the government takes your property—if
it condemns your house, or acquires a slice of land from your
-farm—it is required, under the Fifth Amendment's "Takings
-Clause," to pay you "just compensation" for that taking. The
+farm—it is required, under the Fifth Amendment's <quote>Takings
+Clause,</quote> to pay you <quote>just compensation</quote> for that taking. The
Constitution thus guarantees that property is, in a certain sense,
sacred. It cannot <emphasis>ever</emphasis> be taken from the property
owner unless the government pays for the privilege.
</para>
<para>
Yet the very same Constitution speaks very differently about what
-Valenti calls "creative property." In the clause granting Congress the
-power to create "creative property," the Constitution
-<emphasis>requires</emphasis> that after a "limited time," Congress
-take back the rights that it has granted and set the "creative
-property" free to the public domain. Yet when Congress does this, when
-the expiration of a copyright term "takes" your copyright and turns it
+Valenti calls <quote>creative property.</quote> In the clause granting Congress the
+power to create <quote>creative property,</quote> the Constitution
+<emphasis>requires</emphasis> that after a <quote>limited time,</quote> Congress
+take back the rights that it has granted and set the <quote>creative
+property</quote> free to the public domain. Yet when Congress does this, when
+the expiration of a copyright term <quote>takes</quote> your copyright and turns it
over to the public domain, Congress does not have any obligation to
-pay "just compensation" for this "taking." Instead, the same
+pay <quote>just compensation</quote> for this <quote>taking.</quote> Instead, the same
Constitution that requires compensation for your land
<!-- PAGE BREAK 131 -->
-requires that you lose your "creative property" right without any
+requires that you lose your <quote>creative property</quote> right without any
compensation at all.
</para>
<para>
</para>
<para>
To answer this question, we need to get some perspective on the
-history of these "creative property" rights, and the control that they
+history of these <quote>creative property</quote> rights, and the control that they
enabled. Once we see clearly how differently these rights have been
defined, we will be in a better position to ask the question that
should be at the core of this war: Not <emphasis>whether</emphasis>
</para>
<para>
Finally, and for the moment, perhaps, most mysteriously,
-"architecture"—the physical world as one finds it—is a
+<quote>architecture</quote>—the physical world as one finds it—is a
constraint on behavior. A fallen bridge might constrain your ability
to get across a river. Railroad tracks might constrain the ability of
a community to integrate its social life. As with the market,
punishments. Instead, also as with the market, architecture effects
its constraint through simultaneous conditions. These conditions are
imposed not by courts enforcing contracts, or by police punishing
-theft, but by nature, by "architecture." If a 500-pound boulder
+theft, but by nature, by <quote>architecture.</quote> If a 500-pound boulder
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.
<primary>driving speed, constraints on</primary>
</indexterm>
<para>
-So, for example, consider the "freedom" to drive a car at a high
+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
say how fast you can drive in particular places at particular
times. It is in part restricted by architecture: speed bumps, for
right self-consciously to change the other three. The right of the
other three is more timidly expressed. See Lawrence Lessig, <citetitle>Code: And
Other Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95;
-Lawrence Lessig, "The New Chicago School," <citetitle>Journal of Legal Studies</citetitle>,
+Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal Studies</citetitle>,
June 1998.
</para></footnote>
The law, in other words, sometimes operates to increase or decrease
another.<footnote>
<para>
<!-- f4 -->
-Some people object to this way of talking about "liberty." They object
+Some people object to this way of talking about <quote>liberty.</quote> They object
because their focus when considering the constraints that exist at any
particular moment are constraints imposed exclusively by the
government. For instance, if a storm destroys a bridge, these people
minds, not from the fear of government prosecution; John Stuart Mill,
<citetitle>On Liberty</citetitle> (Indiana: Hackett Publishing Co.,
1978), 19. John R. Commons famously defended the economic freedom of
-labor from constraints imposed by the market; John R. Commons, "The
-Right to Work," in Malcom Rutherford and Warren J. Samuels, eds.,
+labor from constraints imposed by the market; John R. Commons, <quote>The
+Right to Work,</quote> in Malcom Rutherford and Warren J. Samuels, eds.,
<citetitle>John R. Commons: Selected Essays</citetitle> (London:
Routledge: 1997), 62. The Americans with Disabilities Act increases
the liberty of people with physical disabilities by changing the
</figure>
<para>
Neither this analysis nor the conclusions that follow are new to the
-warriors. Indeed, in a "White Paper" prepared by the Commerce
+warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce
Department (one heavily influenced by the copyright warriors) in 1995,
this mix of regulatory modalities had already been identified and the
strategy to respond already mapped. In response to the changes the
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 "architecture of revenue."
+Brown describes it, its <quote>architecture of revenue.</quote>
</para>
<indexterm><primary>railroad industry</primary></indexterm>
<para>
percent of their traditional film market to the emerging technologies
of digital cameras.<footnote><para>
<!-- f5 -->
-See Geoffrey Smith, "Film vs. Digital: Can Kodak Build a Bridge?"
+See Geoffrey Smith, <quote>Film vs. Digital: Can Kodak Build a Bridge?</quote>
BusinessWeek online, 2 August 1999, available at
<ulink url="http://free-culture.cc/notes/">link #23</ulink>. For a more
recent analysis of Kodak's place in the market, see Chana
-R. Schoenberger, "Can Kodak Make Up for Lost Moments?" Forbes.com, 6
+R. Schoenberger, <quote>Can Kodak Make Up for Lost Moments?</quote> Forbes.com, 6
October 2003, available at
<ulink url="http://free-culture.cc/notes/">link #24</ulink>.
</para></footnote>
railroads. Does anyone think we should ban trucks from roads
<emphasis>for the purpose of</emphasis> protecting the railroads?
Closer to the subject of this book, remote channel changers have
-weakened the "stickiness" of television advertising (if a boring
+weakened the <quote>stickiness</quote> of television advertising (if a boring
commercial comes on the TV, the remote makes it easy to surf ), and it
may well be that this change has weakened the television advertising
market. But does anyone believe we should regulate remotes to
business against others. Its role is not to pick winners and protect
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, "established companies
-have an interest in excluding future competitors.
"<footnote><para>
+1991, in a memo criticizing software patents, <quote>established companies
+have an interest in excluding future competitors.
</quote><footnote><para>
<!-- f6 -->
Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, 1994), 170–71.
</para></footnote>
should be especially wary of the request. It is always a bad deal for
the government to get into the business of regulating speech
markets. The risks and dangers of that game are precisely why our
-framers created the First Amendment to our Constitution: "Congress
-shall make no law … abridging the freedom of speech." So when
-Congress is being asked to pass laws that would "abridge" the freedom
+framers created the First Amendment to our Constitution: <quote>Congress
+shall make no law … abridging the freedom of speech.</quote> So when
+Congress is being asked to pass laws that would <quote>abridge</quote> the freedom
of speech, it should ask— carefully—whether such
regulation is justified.
</para>
My argument just now, however, has nothing to do with whether
<!-- PAGE BREAK 140 -->
the changes that are being pushed by the copyright warriors are
-"justified." My argument is about their effect. For before we get to
+<quote>justified.</quote> My argument is about their effect. For before we get to
the question of justification, a hard question that depends a great
deal upon your values, we should first ask whether we understand the
effect of the changes the content industry wants.
</para>
<para>
It is to this image precisely that Duke University law professor James
-Boyle appeals when he argues that we need an "environmentalism" for
+Boyle appeals when he argues that we need an <quote>environmentalism</quote> for
culture.<footnote><para>
<!-- f7 -->
-See, for example, James Boyle, "A Politics of Intellectual Property:
-Environmentalism for the Net?" <citetitle>Duke Law Journal</citetitle> 47 (1997): 87.
+See, for example, James Boyle, <quote>A Politics of Intellectual Property:
+Environmentalism for the Net?</quote> <citetitle>Duke Law Journal</citetitle> 47 (1997): 87.
</para></footnote>
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
-"for free." The point is that some of the ways in which we might
+<quote>for free.</quote> The point is that some of the ways in which we might
protect authors will have unintended consequences for the cultural
environment, much like DDT had for the natural environment. And just
<!-- PAGE BREAK 141 -->
<title>Beginnings</title>
<para>
America copied English copyright law. Actually, we copied and improved
-English copyright law. Our Constitution makes the purpose of "creative
-property" rights clear; its express limitations reinforce the English
+English copyright law. Our Constitution makes the purpose of <quote>creative
+property</quote> rights clear; its express limitations reinforce the English
aim to avoid overly powerful publishers.
</para>
<para>
-The power to establish "creative property" rights is granted to
+The power to establish <quote>creative property</quote> rights is granted to
Congress in a way that, for our Constitution, at least, is very
odd. Article I, section 8, clause 8 of our Constitution states that:
</para>
the exclusive Right to their respective Writings and Discoveries.
<!-- PAGE BREAK 142 -->
-We can call this the "Progress Clause," for notice what this clause
+We can call this the <quote>Progress Clause,</quote> for notice what this clause
does not say. It does not say Congress has the power to grant
-"creative property rights." It says that Congress has the power
+<quote>creative property rights.</quote> It says that Congress has the power
<emphasis>to promote progress</emphasis>. The grant of power is its
purpose, and its purpose is a public one, not the purpose of enriching
publishers, nor even primarily the purpose of rewarding authors.
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 "to Authors" only.
+copyrights extend <quote>to Authors</quote> only.
</para>
<para>
The design of the Progress Clause reflects something about the
concentrations of power.
</para>
<para>
-I doubt the framers would recognize the regulation we call "copyright"
+I doubt the framers would recognize the regulation we call <quote>copyright</quote>
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
-"copyright" in context: We need to see how it has changed in the 210
+<quote>copyright</quote> in context: We need to see how it has changed in the 210
years since they first struck its design.
</para>
<para>
We will end here:
</para>
<figure id="fig-1442">
-<title>"Copyright" today.</title>
+<title><quote>Copyright</quote> today.</title>
<graphic fileref="images/1442.png"></graphic>
</figure>
<para>
<!-- f8 -->
William W. Crosskey, <citetitle>Politics and the Constitution in the History of
the United States</citetitle> (London: Cambridge University Press, 1953), vol. 1,
-485–86: "extinguish[ing], by plain implication of `the supreme
+485–86: <quote>extinguish[ing], by plain implication of `the supreme
Law of the Land,' <emphasis>the perpetual rights which authors had, or
-were supposed by some to have, under the Common Law</emphasis>"
+were supposed by some to have, under the Common Law</emphasis></quote>
(emphasis added).
<indexterm><primary>Crosskey, William W.</primary></indexterm>
</para></footnote>
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 a year-by-year analysis of copyright renewal
-rates, see Barbara A. Ringer, "Study No. 31: Renewal of Copyright,"
+rates, see Barbara A. Ringer, <quote>Study No. 31: Renewal of Copyright,</quote>
<citetitle>Studies on Copyright</citetitle>, vol. 1 (New York: Practicing Law Institute,
1963), 618. For a more recent and comprehensive analysis, see William
-M. Landes and Richard A. Posner, "Indefinitely Renewable Copyright,"
+M. Landes and Richard A. Posner, <quote>Indefinitely Renewable Copyright,</quote>
<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, 498–501, and
accompanying figures. </para></footnote>
</para>
<para>
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 "natural" authors, that term was life plus fifty
+maximum term. For <quote>natural</quote> authors, that term was life plus fifty
years. For corporations, the term was seventy-five years. Then, in 1992,
Congress abandoned the renewal requirement for all works created
before 1978. All works still under copyright would be accorded the
domain. And indeed, after these changes, it is unclear whether it is
even possible to put works into the public domain. The public domain
is orphaned by these changes in copyright law. Despite the requirement
-that terms be "limited," we have no evidence that anything will limit
+that terms be <quote>limited,</quote> we have no evidence that anything will limit
them.
</para>
<para>
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, "Indefinitely Renewable Copyright," loc. cit.
+Posner, <quote>Indefinitely Renewable Copyright,</quote> loc. cit.
</para></footnote>
</para>
<!-- PAGE BREAK 147 -->
<section id="lawscope">
<title>Law: Scope</title>
<para>
-The "scope" of a copyright is the range of rights granted by the law.
+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
changes are not necessarily bad. But we should understand the extent
of the changes if we're to keep this debate in context.
</para>
<para>
-In 1790, that scope was very narrow. Copyright covered only "maps,
-charts, and books." That means it didn't cover, for example, music or
+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
architecture. More significantly, the right granted by a copyright gave
-the author the exclusive right to "publish" copyrighted works. That
+the author the exclusive right to <quote>publish</quote> copyrighted works. That
means someone else violated the copyright only if he republished the
work without the copyright owner's permission. Finally, the right granted
by a copyright was an exclusive right to that particular book. The right
-did not extend to what lawyers call "derivative works." It would not,
+did not extend to what lawyers call <quote>derivative works.</quote> It would not,
therefore, interfere with the right of someone other than the author to
translate a copyrighted book, or to adapt the story to a different form
(such as a drama based on a published book).
right covers practically any creative work that is reduced to a
tangible form. It covers music as well as architecture, drama as well
as computer programs. It gives the copyright owner of that creative
-work not only the exclusive right to "publish" the work, but also the
-exclusive right of control over any "copies" of that work. And most
+work not only the exclusive right to <quote>publish</quote> the work, but also the
+exclusive right of control over any <quote>copies</quote> of that work. And most
significant for our purposes here, the right gives the copyright owner
control over not only his or her particular work, but also any
-"derivative work" that might grow out of the original work. In this
+<quote>derivative work</quote> that might grow out of the original work. In this
way, the right covers more creative work, protects the creative work
more broadly, and protects works that are based in a significant way
on the initial creative work.
original author.
</para>
<para>
-All of these "formalities" were abolished in the American system when
+All of these <quote>formalities</quote> 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
so as to prevent that kind of unfair competition. In 1790, there were
174 publishers in the United States.<footnote><para>
<!-- f13 -->
-See Thomas Bender and David Sampliner, "Poets, Pirates, and the
-Creation of American Literature," 29 <citetitle>New York University Journal of
+See Thomas Bender and David Sampliner, <quote>Poets, Pirates, and the
+Creation of American Literature,</quote> 29 <citetitle>New York University Journal of
International Law and Politics</citetitle> 255 (1997), and James Gilraeth, ed.,
Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987).
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 that is not at all obvious. This is the protection of "derivative
-rights." If you write a book, no one can make a movie out of your
+today that is not at all obvious. This is the protection of <quote>derivative
+rights.</quote> If you write a book, no one can make a movie out of your
book without permission. No one can translate it without permission.
CliffsNotes can't make an abridgment unless permission is granted. All
of these derivative uses of your original work are controlled by the
all—they believe that our law, as the framers penned it, should
not protect derivative rights at all.<footnote><para>
<!-- f14 -->
-Jonathan Zittrain, "The Copyright Cage," <citetitle>Legal
+Jonathan Zittrain, <quote>The Copyright Cage,</quote> <citetitle>Legal
Affairs</citetitle>, July/August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #26</ulink>.
<indexterm><primary>Zittrain, Jonathan</primary></indexterm>
<!-- f15 -->
Professor Rubenfeld has presented a powerful constitutional argument
about the difference that copyright law should draw (from the
-perspective of the First Amendment) between mere "copies" and
-derivative works. See Jed Rubenfeld, "The Freedom of Imagination:
-Copyright's Constitutionality," <citetitle>Yale Law
+perspective of the First Amendment) between mere <quote>copies</quote> and
+derivative works. See Jed Rubenfeld, <quote>The Freedom of Imagination:
+Copyright's Constitutionality,</quote> <citetitle>Yale Law
Journal</citetitle> 112 (2002): 1–60 (see especially
pp. 53–59).
<indexterm><primary>Rubenfeld, Jeb</primary></indexterm>
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
-called "Mickey Mouse," why should you be able to make Mickey Mouse
+called <quote>Mickey Mouse,</quote> why should you be able to make Mickey Mouse
toys and be the one to trade on the value that Disney originally
created?
</para>
copies, and the core of the regulation of copyright law is copies.<footnote><para>
<!-- f16 -->
This is a simplification of the law, but not much of one. The law
-certainly regulates more than "copies"—a public performance of a
+certainly regulates more than <quote>copies</quote>—a public performance of a
copyrighted song, for example, is regulated even though performance
per se doesn't make a copy; 17 <citetitle>United States Code</citetitle>, section
-106(4). And it certainly sometimes doesn't regulate a "copy"; 17
+106(4). And it certainly sometimes doesn't regulate a <quote>copy</quote>; 17
<citetitle>United States Code</citetitle>, section 112(a). But the presumption under the
-existing law (which regulates "copies;" 17 <citetitle>United States Code</citetitle>, section
+existing law (which regulates <quote>copies;</quote> 17 <citetitle>United States Code</citetitle>, section
102) is that if there is a copy, there is a right.
</para></footnote>
</para>
<para>
<!-- PAGE BREAK 151 -->
-"Copies." That certainly sounds like the obvious thing for
+<quote>Copies.</quote> That certainly sounds like the obvious thing for
<emphasis>copy</emphasis>right law to regulate. But as with Jack
-Valenti's argument at the start of this chapter, that "creative
-property" deserves the "same rights" as all other property, it is the
+Valenti's argument at the start of this chapter, that <quote>creative
+property</quote> deserves the <quote>same rights</quote> as all other property, it is the
<emphasis>obvious</emphasis> that we need to be most careful
about. For while it may be obvious that in the world before the
Internet, copies were the obvious trigger for copyright law, upon
</para>
<para>
Finally, there is a tiny sliver of otherwise regulated copying uses
-that remain unregulated because the law considers these "fair uses."
+that remain unregulated because the law considers these <quote>fair uses.</quote>
</para>
<!-- PAGE BREAK 153 -->
<figure id="fig-1541">
that is quite negative, without my permission, even though that
quoting makes a copy. That copy would ordinarily give the copyright
owner the exclusive right to say whether the copy is allowed or not,
-but the law denies the owner any exclusive right over such "fair uses"
+but the law denies the owner any exclusive right over such <quote>fair uses</quote>
for public policy (and possibly First Amendment) reasons.
</para>
<figure id="fig-1542">
-<title>Unregulated copying considered "fair uses."</title>
+<title>Unregulated copying considered <quote>fair uses.</quote></title>
<graphic fileref="images/1542.png"></graphic>
</figure>
<para> </para>
<!-- PAGE BREAK 154 -->
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 "fair" regardless of the copyright owner's views.
+are nonetheless deemed <quote>fair</quote> regardless of the copyright owner's views.
</para>
<para>
Enter the Internet—a distributed, digital network where every use
of a copyrighted work produces a copy.<footnote><para>
<!-- f18 -->
-I don't mean "nature" in the sense that it couldn't be different, but
+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 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
transformative uses of creative content. Again, we can all understand
the wrong in commercial piracy. But the law now purports to regulate
<emphasis>any</emphasis> transformation you make of creative work
-using a machine. "Copy and paste" and "cut and paste" become
+using a machine. <quote>Copy and paste</quote> and <quote>cut and paste</quote> become
crimes. Tinkering with a story and releasing it to others exposes the
tinkerer to at least a requirement of justification. However
troubling the expansion with respect to copying a particular work, it
Third, this shift from category 1 to category 2 puts an extraordinary
<!-- PAGE BREAK 156 -->
-burden on category 3 ("fair use") that fair use never before had to
+burden on category 3 (<quote>fair use</quote>) that fair use never before had to
bear. If a copyright owner now tried to control how many times I
could read a book on-line, the natural response would be to argue that
this is a violation of my fair use rights. But there has never been
</para>
<para>
The case of Video Pipeline is a good example. Video Pipeline was
-in the business of making "trailer" advertisements for movies available
+in the business of making <quote>trailer</quote> 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.
<para>
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 "selling by sampling"
+previews. The idea was to expand their <quote>selling by sampling</quote>
technique by giving on-line stores the same ability to enable
-"browsing." Just as in a bookstore you can read a few pages of a book
+<quote>browsing.</quote> 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.
</para>
films; he had customers who depended upon his delivering this
content. Disney would agree to talk only if Video Pipeline stopped the
distribution immediately. Video Pipeline thought it was within their
-"fair use" rights to distribute the clips as they had. So they filed a
+<quote>fair use</quote> 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.
</para>
<para>
Disney countersued—for $100 million in damages. Those damages
-were predicated upon a claim that Video Pipeline had "willfully
-infringed" on Disney's copyright. When a court makes a finding of
+were predicated upon a claim that Video Pipeline had <quote>willfully
+infringed</quote> on Disney's copyright. When a court makes a finding of
willful infringement, it can award damages not on the basis of the
actual harm to the copyright owner, but on the basis of an amount set
in the statute. Because Video Pipeline had distributed seven hundred
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
really control how people got access to their content. Once a video
-was in the marketplace, the "first-sale doctrine" would free the
+was in the marketplace, the <quote>first-sale doctrine</quote> would free the
seller to use the video as he wished, including showing portions of it
in order to engender sales of the entire movie video. But with the
Internet, it becomes possible for Disney to centralize control over
serious legal consequences if they went forward with their
plan.<footnote><para>
<!-- f19 -->
-See David Lange, "Recognizing the Public Domain," <citetitle>Law and
+See David Lange, <quote>Recognizing the Public Domain,</quote> <citetitle>Law and
Contemporary Problems</citetitle> 44 (1981): 172–73.
</para></footnote>
</para>
<para>
This led the Marx Brothers to respond in kind. They warned
-Warner Brothers that the Marx Brothers "were brothers long before
-you were.
"<footnote><para>
+Warner Brothers that the Marx Brothers <quote>were brothers long before
+you were.
</quote><footnote><para>
<!-- f20 -->
Ibid. See also Vaidhyanathan, <citetitle>Copyrights and
Copywrongs</citetitle>, 1–3.
<indexterm><primary><citetitle>Politics</citetitle>, (Aristotle)</primary></indexterm>
</para>
<figure id="fig-1621">
-<title>E-book of Aristotle;s "Politics"</title>
+<title>E-book of Aristotle;s <quote>Politics</quote></title>
<graphic fileref="images/1621.png"></graphic>
</figure>
<para>
the book.
</para>
<figure id="fig-1622">
-<title>List of the permissions for Aristotle;s "Politics".</title>
+<title>List of the permissions for Aristotle;s <quote>Politics</quote>.</title>
<graphic fileref="images/1622.png"></graphic>
</figure>
<para>
</para>
<!-- PAGE BREAK 162 -->
<figure id="fig-1631">
-<title>List of the permissions for "The Future of Ideas".</title>
+<title>List of the permissions for <quote>The Future of Ideas</quote>.</title>
<graphic fileref="images/1631.png"></graphic>
</figure>
<para>
</para>
<para>
Now, the Adobe eBook Reader calls these controls
-"permissions"— as if the publisher has the power to control how
+<quote>permissions</quote>— as if the publisher has the power to control how
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
</para>
<para>
The control comes instead from the code—from the technology
-within which the e-book "lives." Though the e-book says that these are
-permissions, they are not the sort of "permissions" that most of us
-deal with. When a teenager gets "permission" to stay out till
+within which the e-book <quote>lives.</quote> Though the e-book says that these are
+permissions, they are not the sort of <quote>permissions</quote> that most of us
+deal with. When a teenager gets <quote>permission</quote> to stay out till
midnight, she knows (unless she's Cinderella) that she can stay out
till 2 A.M., but will suffer a punishment if she's caught. But when
the Adobe eBook Reader says I have the permission to make ten copies
<!-- PAGE BREAK 163 -->
These are <emphasis>controls</emphasis>, not permissions. Imagine a
world where the Marx Brothers sold word processing software that, when
-you tried to type "Warner Brothers," erased "Brothers" from the
+you tried to type <quote>Warner Brothers,</quote> erased <quote>Brothers</quote> from the
sentence.
<indexterm><primary>Marx Brothers</primary></indexterm>
</para>
<indexterm><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
</para>
<figure id="fig-1641">
-<title>List of the permissions for "Alice's Adventures in
-Wonderland".</title>
+<title>List of the permissions for <quote>Alice's Adventures in
+Wonderland</quote>.</title>
<graphic fileref="images/1641.png"></graphic>
</figure>
<beginpage pagenum="164"/>
<para>
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
-"permissions" indicated, not allowed to "read aloud"!
+<quote>permissions</quote> indicated, not allowed to <quote>read aloud</quote>!
</para>
<para>
The public relations nightmare attached to that final permission.
<secondary>Aibo robotic dog produced by</secondary>
</indexterm>
<para>
-Consider the robotic dog made by Sony named "Aibo." The Aibo
+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 that doesn't leave that much of a mess (at least in your house).
</para>
to do tricks in addition to the ones Sony had taught it.
</para>
<para>
-"Teach" here has a special meaning. Aibos are just cute computers.
+<quote>Teach</quote> here has a special meaning. Aibos are just cute computers.
You teach a computer how to do something by programming it
differently. So to say that aibopet.com was giving information about
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 "dog" to make it do new tricks (thus, aibohack.com).
+their computer <quote>dog</quote> to make it do new tricks (thus, aibohack.com).
</para>
<para>
If you're not a programmer or don't know many programmers, the word
term. <citetitle>Hack</citetitle> just means code that enables the
program to do something it wasn't originally intended or enabled to
do. If you buy a new printer for an old computer, you might find the
-old computer doesn't run, or "drive," the printer. If you discovered
+old computer doesn't run, or <quote>drive,</quote> the printer. If you discovered
that, you'd later be happy to discover a hack on the Net by someone
who has written a driver to enable the computer to drive the printer
you just bought.
<para>
But Felten's bravery was really tested in April 2001.<footnote><para>
<!-- f22 -->
-See Pamela Samuelson, "Anticircumvention Rules: Threat to Science,"
-<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, "Play Dead: Sony Muzzles
-the Techies Who Teach a Robot Dog New Tricks," <citetitle>American Prospect</citetitle>,
-January 2002; "Court Dismisses Computer Scientists' Challenge to
-DMCA," <citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 December 2001; Bill
-Holland, "Copyright Act Raising Free-Speech Concerns," <citetitle>Billboard</citetitle>,
-May 2001; Janelle Brown, "Is the RIAA Running Scared?" Salon.com,
-April 2001; Electronic Frontier Foundation, "Frequently Asked
-Questions about <citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> Legal Case," available at
+See Pamela Samuelson, <quote>Anticircumvention Rules: Threat to Science,</quote>
+<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, <quote>Play Dead: Sony Muzzles
+the Techies Who Teach a Robot Dog New Tricks,</quote> <citetitle>American Prospect</citetitle>,
+January 2002; <quote>Court Dismisses Computer Scientists' Challenge to
+DMCA,</quote> <citetitle>Intellectual Property Litigation Reporter</citetitle>, 11 December 2001; Bill
+Holland, <quote>Copyright Act Raising Free-Speech Concerns,</quote> <citetitle>Billboard</citetitle>,
+May 2001; Janelle Brown, <quote>Is the RIAA Running Scared?</quote> Salon.com,
+April 2001; Electronic Frontier Foundation, <quote>Frequently Asked
+Questions about <citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> Legal Case,</quote> available at
<ulink url="http://free-culture.cc/notes/">link #27</ulink>.
<indexterm><primary>Electronic Frontier Foundation</primary></indexterm>
</para></footnote>
owners to exercise much better control over their content than the
Internet, as it originally stood, granted them. Using encryption, SDMI
hoped to develop a standard that would allow the content owner to say
-"this music cannot be copied," and have a computer respect that
-command. The technology was to be part of a "trusted system" of
+<quote>this music cannot be copied,</quote> and have a computer respect that
+command. The technology was to be part of a <quote>trusted system</quote> of
control that would get content owners to trust the system of the
Internet much more.
</para>
<!-- PAGE BREAK 168 -->
Public Challenge would be outside the scope of activities permitted by
the Agreement and could subject you and your research team to actions
-under the Digital Millennium Copyright Act ("DMCA").
+under the Digital Millennium Copyright Act (<quote>DMCA</quote>).
</para>
</blockquote>
<para>
the VCR could be banned because it was a copyright-infringing
technology: It enabled consumers to copy films without the permission
of the copyright owner. No doubt there were uses of the technology
-that were legal: Fred Rogers, aka "<citetitle>Mr. Rogers</citetitle>,"
+that were legal: Fred Rogers, aka <quote><citetitle>Mr. Rogers</citetitle>,</quote>
for example, had testified in that case that he wanted people to feel
free to tape Mr. Rogers' Neighborhood.
<indexterm><primary>Conrad, Paul</primary></indexterm>
<blockquote>
<para>
Some public stations, as well as commercial stations, program the
-"Neighborhood" at hours when some children cannot use it. I think that
+<quote>Neighborhood</quote> at hours when some children cannot use it. I think that
it's a real service to families to be able to record such programs and
show them at appropriate times. I have always felt that with the
advent of all of this new technology that allows people to tape the
-"Neighborhood" off-the-air, and I'm speaking for the "Neighborhood"
+<quote>Neighborhood</quote> off-the-air, and I'm speaking for the <quote>Neighborhood</quote>
because that's what I produce, that they then become much more active
in the programming of their family's television life. Very frankly, I
am opposed to people being programmed by others. My whole approach in
-broadcasting has always been "You are an important person just the way
-you are. You can make healthy decisions." Maybe I'm going on too long,
+broadcasting has always been <quote>You are an important person just the way
+you are. You can make healthy decisions.</quote> 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.<footnote><para>
Kirk. The characters would begin with a plot from a real story, then
simply continue it.<footnote><para>
<!-- f24 -->
-For an early and prescient analysis, see Rebecca Tushnet, "Legal Fictions,
-Copyright, Fan Fiction, and a New Common Law," <citetitle>Loyola of Los Angeles
+For an early and prescient analysis, see Rebecca Tushnet, <quote>Legal Fictions,
+Copyright, Fan Fiction, and a New Common Law,</quote> <citetitle>Loyola of Los Angeles
Entertainment Law Journal</citetitle> 17 (1997): 651.
</para></footnote>
</para>
<para>
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,
"five companies control 85 percent of our media sources."<footnote><para>
+ownership,
<quote>five companies control 85 percent of our media sources.</quote><footnote><para>
<!-- f25 -->
FCC Oversight: Hearing Before the Senate Commerce, Science and
Transportation Committee, 108th Cong., 1st sess. (22 May 2003)
Entertainment, Warner Music Group, and EMI control 84.8 percent of the
U.S. music market.<footnote><para>
<!-- f26 -->
-Lynette Holloway, "Despite a Marketing Blitz, CD Sales Continue to
-Slide," <citetitle>New York Times</citetitle>, 23 December 2002.
+Lynette Holloway, <quote>Despite a Marketing Blitz, CD Sales Continue to
+Slide,</quote> <citetitle>New York Times</citetitle>, 23 December 2002.
</para></footnote>
-The "five largest cable companies pipe
-programming to 74 percent of the cable subscribers nationwide.
"<footnote><para>
+The <quote>five largest cable companies pipe
+programming to 74 percent of the cable subscribers nationwide.
</quote><footnote><para>
<!-- f27 -->
-Molly Ivins, "Media Consolidation Must Be Stopped," <citetitle>Charleston Gazette</citetitle>,
+Molly Ivins, <quote>Media Consolidation Must Be Stopped,</quote> <citetitle>Charleston Gazette</citetitle>,
31 May 2003.
</para></footnote>
<indexterm><primary>BMG</primary></indexterm>
Murdoch becomes DirecTV's largest single owner, that system will serve
the same function in the United States.<footnote><para>
<!-- f28 -->
-James Fallows, "The Age of Murdoch," <citetitle>Atlantic Monthly</citetitle> (September
+James Fallows, <quote>The Age of Murdoch,</quote> <citetitle>Atlantic Monthly</citetitle> (September
2003): 89.
<indexterm><primary>Fallows, James</primary></indexterm>
</para></footnote>
The copyrights that Lear held assured an independence from network
control.<footnote><para>
<!-- f29 -->
-Leonard Hill, "The Axis of Access," remarks before Weidenbaum Center
-Forum, "Entertainment Economics: The Movie Industry," St. Louis,
+Leonard Hill, <quote>The Axis of Access,</quote> remarks before Weidenbaum Center
+Forum, <quote>Entertainment Economics: The Movie Industry,</quote> St. Louis,
Missouri, 3 April 2003 (transcript of prepared remarks available at
<ulink url="http://free-culture.cc/notes/">link #28</ulink>;
for the Lear story, not included in the prepared remarks, see
required a separation between the networks and the content producers;
that separation would guarantee Lear freedom. And as late as 1992,
because of these rules, the vast majority of prime time
-television—75 percent of it—was "independent" of the
+television—75 percent of it—was <quote>independent</quote> of the
networks.
</para>
<para>
In 1994, the FCC abandoned the rules that required this independence.
After that change, the networks quickly changed the balance. In 1985,
there were twenty-five independent television production studios; in
-2002, only five independent television studios remained. "In 1992,
+2002, only five independent television studios remained. <quote>In 1992,
only 15 percent of new series were produced for a network by a company
it controlled. Last year, the percentage of shows produced by
-controlled companies more than quintupled to 77 percent." "In 1992, 16
+controlled companies more than quintupled to 77 percent.</quote> <quote>In 1992, 16
new series were produced independently of conglomerate control, last
-year there was one.
"<footnote><para>
+year there was one.
</quote><footnote><para>
<!-- f30 -->
NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media
Ownership Before the Senate Commerce Committee, 108th Cong., 1st
2003.
</para></footnote>
In 2002, 75 percent of prime time television was owned by the networks
-that ran it. "In the ten-year period between 1992 and 2002, the number
+that ran it. <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%.
</quote><footnote><para>
<!-- f31 -->
Ibid.
</para></footnote>
companies producing television programs. Now you have less than a
handful.<footnote><para>
<!-- f32 -->
-"Barry Diller Takes on Media Deregulation," <citetitle>Now with Bill Moyers</citetitle>, Bill
+<quote>Barry Diller Takes on Media Deregulation,</quote> <citetitle>Now with Bill Moyers</citetitle>, Bill
Moyers, 25 April 2003, edited transcript available at
<ulink url="http://free-culture.cc/notes/">link #31</ulink>.
</para></footnote>
<indexterm><primary>Clark, Kim B.</primary></indexterm>
<para>
Economics itself offers a parallel that explains why this integration
-affects creativity. Clay Christensen has written about the "Innovator's
-Dilemma": the fact that large traditional firms find it rational to ignore
+affects creativity. Clay Christensen has written about the <quote>Innovator's
+Dilemma</quote>: 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.<footnote><para>
Revolutionary National Bestseller that Changed the Way We Do Business</citetitle>
(Cambridge: Harvard Business School Press, 1997). Christensen
acknowledges that the idea was first suggested by Dean Kim Clark. See
-Kim B. Clark, "The Interaction of Design Hierarchies and Market
-Concepts in Technological Evolution," <citetitle>Research Policy</citetitle> 14 (1985):
+Kim B. Clark, <quote>The Interaction of Design Hierarchies and Market
+Concepts in Technological Evolution,</quote> <citetitle>Research Policy</citetitle> 14 (1985):
235–51. For a more recent study, see Richard Foster and Sarah
Kaplan, <citetitle>Creative Destruction: Why Companies That Are Built to Last
Underperform the Market—and How to Successfully Transform Them</citetitle>
</para>
<para>
Beginning in 1998, the Office of National Drug Control Policy launched
-a media campaign as part of the "war on drugs." The campaign produced
+a media campaign as part of the <quote>war on drugs.</quote> The campaign produced
scores of short film clips about issues related to illegal drugs. In
one series (the Nick and Norm series) two men are in a bar, discussing
the idea of legalizing drugs as a way to avoid some of the collateral
</para>
<para>
No. You cannot. Television stations have a general policy of avoiding
-"controversial" ads. Ads sponsored by the government are deemed
+<quote>controversial</quote> ads. Ads sponsored by the government are deemed
uncontroversial; ads disagreeing with the government are
controversial. This selectivity might be thought inconsistent with
the First Amendment, but the Supreme Court has held that stations have
<!-- f34 -->
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 "against
-[their] policy." The local NBC affiliate, WRC, rejected the ads
+the Washington, D.C., area. Comcast rejected the ads as <quote>against
+[their] policy.</quote> The local NBC affiliate, WRC, rejected the ads
without reviewing them. The local ABC affiliate, WJOA, originally
agreed to run the ads and accepted payment to do so, but later decided
not to run the ads and returned the collected fees. Interview with
Neal Levine, 15 October 2003. These restrictions are, of course, not
-limited to drug policy. See, for example, Nat Ives, "On the Issue of
-an Iraq War, Advocacy Ads Meet with Rejection from TV Networks," <citetitle>New
+limited to drug policy. See, for example, Nat Ives, <quote>On the Issue of
+an Iraq War, Advocacy Ads Meet with Rejection from TV Networks,</quote> <citetitle>New
York Times</citetitle>, 13 March 2003, C4. Outside of election-related air time
there is very little that the FCC or the courts are willing to do to
-even the playing field. For a general overview, see Rhonda Brown, "Ad
+even the playing field. For a general overview, see Rhonda Brown, <quote>Ad
Hoc Access: The Regulation of Editorial Advertising on Television and
-Radio," <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): 449–79, and for a
+Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): 449–79, and for a
more recent summary of the stance of the FCC and the courts, see
<citetitle>Radio-Television News Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872
(D.C. Cir. 1999). Municipal authorities exercise the same authority as
the networks. In a recent example from San Francisco, the San
Francisco transit authority rejected an ad that criticized its Muni
-diesel buses. Phillip Matier and Andrew Ross, "Antidiesel Group Fuming
-After Muni Rejects Ad," SFGate.com, 16 June 2003, available at
+diesel buses. Phillip Matier and Andrew Ross, <quote>Antidiesel Group Fuming
+After Muni Rejects Ad,</quote> SFGate.com, 16 June 2003, available at
<ulink url="http://free-culture.cc/notes/">link #32</ulink>. The ground
-was that the criticism was "too controversial."
+was that the criticism was <quote>too controversial.</quote>
<indexterm><primary>ABC</primary></indexterm>
<indexterm><primary>Comcast</primary></indexterm>
<indexterm><primary>Marijuana Policy Project</primary></indexterm>
<title>Together</title>
<para>
There is something innocent and obvious about the claim of the
-copyright warriors that the government should "protect my property."
+copyright warriors that the government should <quote>protect my property.</quote>
In the abstract, it is obviously true and, ordinarily, totally
harmless. No sane sort who is not an anarchist could disagree.
</para>
<para>
-But when we see how dramatically this "property" has changed—
+But when we see how dramatically this <quote>property</quote> has changed—
when we recognize how it might now interact with both technology and
markets to mean that the effective constraint on the liberty to
cultivate our culture is dramatically different—the claim begins
less innocent and obvious. Given (1) the power of technology to
supplement the law's control, and (2) the power of concentrated
markets to weaken the opportunity for dissent, if strictly enforcing
-the massively expanded "property" rights granted by copyright
+the massively expanded <quote>property</quote> rights granted by copyright
fundamentally changes the freedom within this culture to cultivate and
build upon our past, then we have to ask whether this property should
be redefined.
significant regulation of culture that our free society has
known.<footnote><para>
<!-- f35 -->
-Siva Vaidhyanathan captures a similar point in his "four surrenders" of
+Siva Vaidhyanathan captures a similar point in his <quote>four surrenders</quote> of
copyright law in the digital age. See Vaidhyanathan, 159–60.
<indexterm><primary>Vaidhyanathan, Siva</primary></indexterm>
</para></footnote>
</para>
<para>
The issue is therefore not simply whether copyright is property. Of
-course copyright is a kind of "property," and of course, as with any
+course copyright is a kind of <quote>property,</quote> 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<footnote><para>
<!-- f36 -->
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, "The
-Disintegration of Property," in <citetitle>Nomos XXII: Property</citetitle>, J. Roland
+balance public and private interests. See Thomas C. Grey, <quote>The
+Disintegration of Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland
Pennock and John W. Chapman, eds. (New York: New York University
Press, 1980).
<indexterm><primary>legal realist movement</primary></indexterm>
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
-technologies. And for almost half of our tradition, the "copyright"
+technologies. And for almost half of our tradition, the <quote>copyright</quote>
did not control <emphasis>at all</emphasis> the freedom of others to
build upon or transform a creative work. American culture was born
free, and for almost 180 years our country consistently protected a
</para>
<para>
We achieved that free culture because our law respected important
-limits on the scope of the interests protected by "property." The very
-birth of "copyright" as a statutory right recognized those limits, by
+limits on the scope of the interests protected by <quote>property.</quote> The very
+birth of <quote>copyright</quote> as a statutory right recognized those limits, by
granting copyright owners protection for a limited time only (the
-story of chapter 6). The tradition of "fair use" is animated by a
+story of chapter 6). The tradition of <quote>fair use</quote> is animated by a
similar concern that is increasingly under strain as the costs of
exercising any fair use right become unavoidably high (the story of
chapter 7). Adding
<primary>Wells, H. G.</primary>
</indexterm>
<indexterm id="idxtcotb" class='startofrange'>
- <primary>"Country of the Blind, The" (Wells)</primary>
+ <primary><quote>Country of the Blind, The</quote> (Wells)</primary>
</indexterm>
<para>
named Nunez trips (literally, down an ice slope) into an unknown and
isolated valley in the Peruvian Andes.<footnote><para>
<!-- f1. -->
-H. G. Wells, "The Country of the Blind" (1904, 1911). See H. G. Wells,
+H. G. Wells, <quote>The Country of the Blind</quote> (1904, 1911). See H. G. Wells,
<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael Sherborne, ed. (New
York: Oxford University Press, 1996).
</para></footnote>
-The valley is extraordinarily beautiful, with "sweet water, pasture,
+The valley is extraordinarily beautiful, with <quote>sweet water, pasture,
an even climate, slopes of rich brown soil with tangles of a shrub
-that bore an excellent fruit." But the villagers are all blind. Nunez
-takes this as an opportunity. "In the Country of the Blind," he tells
-himself, "the One-Eyed Man is King." So he resolves to live with the
+that bore an excellent fruit.</quote> But the villagers are all blind. Nunez
+takes this as an opportunity. <quote>In the Country of the Blind,</quote> he tells
+himself, <quote>the One-Eyed Man is King.</quote> So he resolves to live with the
villagers to explore life as a king.
</para>
<para>
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
-"blind." They don't have the word <citetitle>blind</citetitle>. They think he's just thick.
+<quote>blind.</quote> They don't have the word <citetitle>blind</citetitle>. They think he's just thick.
Indeed, as they increasingly notice the things he can't do (hear the
sound of grass being stepped on, for example), they increasingly try
-to control him. He, in turn, becomes increasingly frustrated. "`You
+to control him. He, in turn, becomes increasingly frustrated. <quote>`You
don't understand,' he cried, in a voice that was meant to be great and
resolute, and which broke. `You are blind and I can see. Leave me
-alone!'"
+alone!'</quote>
</para>
<para>
<!-- PAGE BREAK 187 -->
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, a young woman who to him seems "the most beautiful thing in
-the whole of creation," understands the beauty of sight. Nunez's
-description of what he sees "seemed to her the most poetical of
+affection, a young woman who to him seems <quote>the most beautiful thing in
+the whole of creation,</quote> understands the beauty of sight. Nunez's
+description of what he sees <quote>seemed to her the most poetical of
fancies, and she listened to his description of the stars and the
mountains and her own sweet white-lit beauty as though it was a guilty
-indulgence." "She did not believe," Wells tells us, and "she could
-only half understand, but she was mysteriously delighted."
+indulgence.</quote> <quote>She did not believe,</quote> Wells tells us, and <quote>she could
+only half understand, but she was mysteriously delighted.</quote>
</para>
<para>
-When Nunez announces his desire to marry his "mysteriously delighted"
-love, the father and the village object. "You see, my dear," her
-father instructs, "he's an idiot. He has delusions. He can't do
-anything right." They take Nunez to the village doctor.
+When Nunez announces his desire to marry his <quote>mysteriously delighted</quote>
+love, the father and the village object. <quote>You see, my dear,</quote> her
+father instructs, <quote>he's an idiot. He has delusions. He can't do
+anything right.</quote> They take Nunez to the village doctor.
</para>
<para>
-After a careful examination, the doctor gives his opinion. "His brain
-is affected," he reports.
+After a careful examination, the doctor gives his opinion. <quote>His brain
+is affected,</quote> he reports.
</para>
<para>
-"What affects it?" the father asks. "Those queer things that are
+<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 affect
-his brain."
+his brain.</quote>
</para>
<para>
-The doctor continues: "I think I may say with reasonable certainty
+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 easy surgical operation—namely, to remove these
-irritant bodies [the eyes]."
+irritant bodies [the eyes].</quote>
</para>
<para>
-"Thank Heaven for science!" says the father to the doctor. They inform
+<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.
(You'll have to read the original to learn what happens in the end. I
believe in free culture, but never in giving away the end of a story.)
It sometimes happens that the eggs of twins fuse in the mother's
-womb. That fusion produces a "chimera." A chimera is a single creature
+womb. That fusion produces a <quote>chimera.</quote> A chimera is a single creature
with two sets of DNA. The DNA in the blood, for example, might be
different from the DNA of the skin. This possibility is an underused
<!-- PAGE BREAK 188 -->
-plot for murder mysteries. "But the DNA shows with 100 percent
+plot for murder mysteries. <quote>But the DNA shows with 100 percent
certainty that she was not the person whose blood was at the
-scene. …"
+scene. …</quote>
</para>
<indexterm startref="idxtcotb" class='endofrange'/>
<indexterm startref="idxwells" class="endofrange"/>
of DNA is that it is the code of an individual. Yet in fact, not only
can two individuals have the same set of DNA (identical twins), but
one person can have two different sets of DNA (a chimera). Our
-understanding of a "person" should reflect this reality.
+understanding of a <quote>person</quote> should reflect this reality.
</para>
<para>
The more I work to understand the current struggle over copyright and
culture, which I've sometimes called unfairly, and sometimes not
-unfairly enough, "the copyright wars," the more I think we're dealing
-with a chimera. For example, in the battle over the question "What is
-p2p file sharing?" both sides have it right, and both sides have it
-wrong. One side says, "File sharing is just like two kids taping each
+unfairly enough, <quote>the copyright wars,</quote> the more I think we're dealing
+with a chimera. For example, in the battle over the question <quote>What is
+p2p file sharing?</quote> both sides have it right, and both sides have it
+wrong. One side says, <quote>File sharing is just like two kids taping each
others' records—the sort of thing we've been doing for the last
-thirty years without any question at all." That's true, at least in
+thirty years without any question at all.</quote> That's true, at least in
part. When I tell my best friend to try out a new CD that I've bought,
but rather than just send the CD, I point him to my p2p server, that
is, in all relevant respects, just like what every executive in every
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 friends can get access, but it stretches the meaning of
-"friends" beyond recognition to say "my ten thousand best friends" can
+<quote>friends</quote> beyond recognition to say <quote>my ten thousand best friends</quote> can
get access. Whether or not sharing my music with my best friend is
-what "we have always been allowed to do," we have not always been
-allowed to share music with "our ten thousand best friends."
+what <quote>we have always been allowed to do,</quote> we have not always been
+allowed to share music with <quote>our ten thousand best friends.</quote>
</para>
<para>
-Likewise, when the other side says, "File sharing is just like walking
+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 it," that's true, at least in part. If, after Lyle Lovett
+with it,</quote> that's true, at least in part. If, after Lyle Lovett
(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.
<!-- f2. -->
For an excellent summary, see the report prepared by GartnerG2 and the
Berkman Center for Internet and Society at Harvard Law School,
-"Copyright and Digital Media in a Post-Napster World," 27 June 2003,
+<quote>Copyright and Digital Media in a Post-Napster World,</quote> 27 June 2003,
available at
<ulink url="http://free-culture.cc/notes/">link
#33</ulink>. Reps. John Conyers Jr. (D-Mich.) and Howard L. Berman
(D-Calif.) have introduced a bill that would treat unauthorized
on-line copying as a felony offense with punishments ranging as high
-as five years imprisonment; see Jon Healey, "House Bill Aims to Up
-Stakes on Piracy," <citetitle>Los Angeles Times</citetitle>, 17 July 2003, available at
+as five years imprisonment; see Jon Healey, <quote>House Bill Aims to Up
+Stakes on Piracy,</quote> <citetitle>Los Angeles Times</citetitle>, 17 July 2003, available at
<ulink url="http://free-culture.cc/notes/">link #34</ulink>. Civil
penalties are currently set at $150,000 per copied song. For a recent
(and unsuccessful) legal challenge to the RIAA's demand that an ISP
$12,000 to $17,500 for four students accused of heavy file sharing on
university networks must have seemed a mere pittance next to the $98
billion the RIAA could seek should the matter proceed to court. See
-Elizabeth Young, "Downloading Could Lead to Fines," redandblack.com,
+Elizabeth Young, <quote>Downloading Could Lead to Fines,</quote> redandblack.com,
August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #35</ulink>. For an
example of the RIAA's targeting of student file sharing, and of the
subpoenas issued to universities to reveal student file-sharer
-identities, see James Collins, "RIAA Steps Up Bid to Force BC, MIT to
-Name Students," <citetitle>Boston Globe</citetitle>, 8 August 2003, D3, available at
+identities, see James Collins, <quote>RIAA Steps Up Bid to Force BC, MIT to
+Name Students,</quote> <citetitle>Boston Globe</citetitle>, 8 August 2003, D3, available at
<ulink url="http://free-culture.cc/notes/">link #36</ulink>.
<indexterm><primary>Conyers, John, Jr.</primary></indexterm>
<indexterm><primary>Berman, Howard L.</primary></indexterm>
innovation and new creativity will be lost.
</para>
<para>
-I'm not talking about the opportunities for kids to "steal" music. My
+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 war
will also kill. We have never seen the power to innovate spread so
broadly among our citizens, and we have just begun to see the
<!-- PAGE BREAK 191 -->
<para>
In April 2001, eMusic.com was purchased by Vivendi Universal,
-one of "the major labels." Its position on these matters has now
+one of <quote>the major labels.</quote> Its position on these matters has now
changed.
<indexterm><primary>Vivendi Universal</primary></indexterm>
</para>
<chapter label="12" id="harms">
<title>CHAPTER TWELVE: Harms</title>
<para>
-To fight "piracy," to protect "property," the content industry has
+To fight <quote>piracy,</quote> to protect <quote>property,</quote> the content industry has
launched a war. Lobbying and lots of campaign contributions have now
brought the government into this war. As with any war, this one will
have both direct and collateral damage. As with any war of
</para>
<para>
My aim so far has been to describe the consequences of this war, in
-particular, the consequences for "free culture." But my aim now is to
+particular, the consequences for <quote>free culture.</quote> But my aim now is to
extend this description of consequences into an argument. Is this war
justified?
</para>
<para>
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 the property called "intellectual property" is at its greatest in
+power of the property called <quote>intellectual property</quote> is at its greatest in
our history.
</para>
<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
<indexterm><primary>Causby, Tinie</primary></indexterm>
<para>
-Yet "common sense" does not see it this way. Common sense is still on
+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 claims
of control in the name of property still resonate; the uncritical
-rejection of "piracy" still has play.
+rejection of <quote>piracy</quote> still has play.
</para>
<para>
<!-- PAGE BREAK 193 -->
favorite artists in a collage and make it available on the Net.
</para>
<para>
-This digital "capturing and sharing" is in part an extension of the
+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 in part it is something new. It is continuous with the Kodak, but
it explodes the boundaries of Kodak-like technologies. The technology
-of digital "capturing and sharing" promises a world of extraordinarily
+of digital <quote>capturing and sharing</quote> promises a world of extraordinarily
diverse creativity that can be easily and broadly shared. And as that
creativity is applied to democracy, it will enable a broad range of
citizens to use technology to express and criticize and contribute to
<!-- f1. -->
See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</citetitle>
(Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; for details of
-the settlement, see MCI press release, "MCI Wins U.S. District Court
-Approval for SEC Settlement" (7 July 2003), available at
+the settlement, see MCI press release, <quote>MCI Wins U.S. District Court
+Approval for SEC Settlement</quote> (7 July 2003), available at
<ulink url="http://free-culture.cc/notes/">link #37</ulink>.
<indexterm><primary>Worldcom</primary></indexterm>
</para></footnote>
<para>
<!-- f2. --> The bill, modeled after California's tort reform model, was passed in the
House of Representatives but defeated in a Senate vote in July 2003. For
-an overview, see Tanya Albert, "Measure Stalls in Senate: `We'll Be Back,'
-Say Tort Reformers," amednews.com, 28 July 2003, available at
+an overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,'
+Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at
<ulink url="http://free-culture.cc/notes/">link #38</ulink>,
-and "Senate Turns Back Malpractice Caps," CBSNews.com, 9 July 2003,
+and <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003,
available at
<ulink url="http://free-culture.cc/notes/">link #39</ulink>. President Bush has continued to urge tort reform in
recent months.
high penalties, is that an extraordinary amount of creativity will
either never be exercised, or never be exercised in the open. We drive
this creative process underground by branding the modern-day Walt
-Disneys "pirates." We make it impossible for businesses to rely upon a
+Disneys <quote>pirates.</quote> We make it impossible for businesses to rely upon a
public domain, because the boundaries of the public domain are
designed to
we will begin to see a world of underground art—not because the
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 "illegal art" tour the United
+fraught. Already, exhibits of <quote>illegal art</quote> tour the United
States.<footnote><para>
<!-- f3. -->
-See Danit Lidor, "Artists Just Wanna Be Free," <citetitle>Wired</citetitle>, 7 July
+See Danit Lidor, <quote>Artists Just Wanna Be Free,</quote> <citetitle>Wired</citetitle>, 7 July
2003, available at
<ulink url="http://free-culture.cc/notes/">link #40</ulink>. For an overview of the exhibition, see
<ulink url="http://free-culture.cc/notes/">link #41</ulink>.
</para></footnote>
- In what does their "illegality" consist?
+ In what does their <quote>illegality</quote> consist?
In the act of mixing the culture around us with an expression that is
critical or reflective.
</para>
</para>
<para>
Judges and lawyers can tell themselves that fair use provides adequate
-"breathing room" between regulation by the law and the access the law
+<quote>breathing room</quote> between regulation by the law and the access the law
should allow. But it is a measure of how out of touch our legal system
has become that anyone actually believes this. The rules that
publishers impose upon writers, the rules that film distributors
impose upon filmmakers, the rules that newspapers impose upon
journalists— these are the real laws governing creativity. And
-these rules have little relationship to the "law" with which judges
+these rules have little relationship to the <quote>law</quote> with which judges
comfort themselves.
</para>
<para>
which would never return to the wrongfully accused defendant anything
of the costs she suffered to defend her right to speak—in that
world, the astonishingly broad regulations that pass under the name
-"copyright" silence speech and creativity. And in that world, it takes
+<quote>copyright</quote> silence speech and creativity. And in that world, it takes
a studied blindness for people to continue to believe they live in a
culture that is free.
</para>
won't get distributed. Even if the stuff gets made … you're not
going to get it distributed in the mainstream media unless
<!-- PAGE BREAK 197 -->
-you've got a little note from a lawyer saying, "This has been
-cleared." You're not even going to get it on PBS without that kind of
+you've got a little note from a lawyer saying, <quote>This has been
+cleared.</quote> You're not even going to get it on PBS without that kind of
permission. That's the point at which they control it.
</para>
</blockquote>
Indeed, it is an aspect that could be written by the most extreme
promarket ideologue. And if you're one of these sorts (and a special
one at that, 188 pages into a book like this), then you can see this
-other aspect by substituting "free market" every place I've spoken of
-"free culture." The point is the same, even if the interests
+other aspect by substituting <quote>free market</quote> every place I've spoken of
+<quote>free culture.</quote> The point is the same, even if the interests
affecting culture are more fundamental.
</para>
<para>
industries. That lesson has been taught through a series of cases
that were designed and executed to teach venture capitalists a
lesson. That lesson—what former Napster CEO Hank Barry calls a
-"nuclear pall" that has fallen over the Valley—has been learned.
+<quote>nuclear pall</quote> that has fallen over the Valley—has been learned.
</para>
<para>
Consider one example to make the point, a story whose beginning
its development, its cofounder ( John Hummer), and general partner
(Hank Barry).<footnote><para>
<!-- f4. -->
-See Joseph Menn, "Universal, EMI Sue Napster Investor," <citetitle>Los Angeles
+See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> <citetitle>Los Angeles
Times</citetitle>, 23 April 2003. For a parallel argument about the effects on
-innovation in the distribution of music, see Janelle Brown, "The Music
-Revolution Will Not Be Digitized," Salon.com, 1 June 2001, available
+innovation in the distribution of music, see Janelle Brown, <quote>The Music
+Revolution Will Not Be Digitized,</quote> Salon.com, 1 June 2001, available
at <ulink url="http://free-culture.cc/notes/">link #42</ulink>.
-See also Jon Healey, "Online Music Services Besieged," <citetitle>Los Angeles
+See also Jon Healey, <quote>Online Music Services Besieged,</quote> <citetitle>Los Angeles
Times</citetitle>, 28 May 2001.
</para></footnote>
The claim here, as well, was that the VC should have recognized the
United States with bona fide MP3 players. … <footnote>
<para>
<!-- f5. -->
-Rafe Needleman, "Driving in Cars with MP3s," <citetitle>Business 2.0</citetitle>, 16 June
+Rafe Needleman, <quote>Driving in Cars with MP3s,</quote> <citetitle>Business 2.0</citetitle>, 16 June
2003, available at
<ulink url="http://free-culture.cc/notes/">link #43</ulink>. I am grateful
to Dr. Mohammad Al-Ubaydli for this example.
</para>
</blockquote>
<para>
-This is the world of the mafia—filled with "your money or your
-life" offers, governed in the end not by courts but by the threats
+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
that the law empowers copyright holders to exercise. It is a system
that will obviously and necessarily stifle new innovation. It is hard
enough to start a company. It is impossibly hard if that company is
<!-- PAGE BREAK 201 -->
The point is not that businesses should have a right to start illegal
-enterprises. The point is the definition of "illegal." The law is a
+enterprises. The point is the definition of <quote>illegal.</quote> The law is a
mess of uncertainty. We have no good way to know how it should apply
to new technologies. Yet by reversing our tradition of judicial
deference, and by embracing the astonishingly high penalties that
</para>
<para>
The point is directly parallel to the crunchy-lefty point about fair
-use. Whatever the "real" law is, realism about the effect of law in
+use. Whatever the <quote>real</quote> law is, realism about the effect of law in
both contexts is the same. This wildly punitive system of regulation
will systematically stifle creativity and innovation. It will protect
some industries and some creators, but it will harm industry and
The motivation for this response is obvious. The Internet enables the
efficient spread of content. That efficiency is a feature of the
Internet's design. But from the perspective of the content industry,
-this feature is a "bug." The efficient spread of content means that
+this feature is a <quote>bug.</quote> The efficient spread of content means that
content distributors have a harder time controlling the distribution
of content. One obvious response to this efficiency is thus to make
-the Internet less efficient. If the Internet enables "piracy," then,
+the Internet less efficient. If the Internet enables <quote>piracy,</quote> then,
this response says, we should break the kneecaps of the Internet.
</para>
<para>
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.<footnote><para>
-<!-- f6. --> "Copyright and Digital Media in a Post-Napster World," GartnerG2 and
+<!-- f6. --> <quote>Copyright and Digital Media in a Post-Napster World,</quote> GartnerG2 and
the Berkman Center for Internet and Society at Harvard Law School
(2003), 33–35, available at
<ulink url="http://free-culture.cc/notes/">link #44</ulink>.
</para></footnote>
Congress has already launched proceedings to explore a mandatory
-"broadcast flag" that would be required on any device capable of
+<quote>broadcast flag</quote> 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
Intel, tried to get Congress to see the harm that such legislation
would impose.<footnote><para>
<!-- f8. -->
-See David McGuire, "Tech Execs Square Off Over Piracy," Newsbytes,
+See David McGuire, <quote>Tech Execs Square Off Over Piracy,</quote> Newsbytes,
February 2002 (Entertainment).
</para></footnote>
Their argument was obviously not that copyright should not be
copyright holders use technology to stop copyright infringement. In
August 2002, Representative Billy Tauzin introduced a bill to mandate
that technologies capable of rebroadcasting digital copies of films
-broadcast on TV (i.e., computers) respect a "broadcast flag" that
+broadcast on TV (i.e., computers) respect a <quote>broadcast flag</quote> that
would disable copying of that content. And in March of the same year,
Senator Fritz Hollings introduced the Consumer Broadband and Digital
Television Promotion Act, which mandated copyright protection
-technology in all digital media devices. See GartnerG2, "Copyright and
-Digital Media in a Post-Napster World," 27 June 2003, 33–34,
+technology in all digital media devices. See GartnerG2, <quote>Copyright and
+Digital Media in a Post-Napster World,</quote> 27 June 2003, 33–34,
available at
<ulink url="http://free-culture.cc/notes/">link #44</ulink>.
<indexterm><primary>Berman, Howard L.</primary></indexterm>
<!-- PAGE BREAK 204 -->
As I described in chapter <xref xrefstyle="select: labelnumber"
linkend="pirates"/>, when a radio station plays a song, the recording
-artist doesn't get paid for that "radio performance" unless he or she
+artist doesn't get paid for that <quote>radio performance</quote> unless he or she
is also the composer. So, for example if Marilyn Monroe had recorded a
-version of "Happy Birthday"—to memorialize her famous
+version of <quote>Happy Birthday</quote>—to memorialize her famous
performance before President Kennedy at Madison Square Garden—
then whenever that recording was played on the radio, the current
-copyright owners of "Happy Birthday" would get some money, whereas
+copyright owners of <quote>Happy Birthday</quote> would get some money, whereas
Marilyn Monroe would not.
<indexterm><primary>Kennedy, John F.</primary></indexterm>
</para>
Enter Internet radio. Like regular radio, Internet radio is a
technology to stream content from a broadcaster to a listener. The
broadcast travels across the Internet, not across the ether of radio
-spectrum. Thus, I can "tune in" to an Internet radio station in
+spectrum. Thus, I can <quote>tune in</quote> to an Internet radio station in
Berlin while sitting in San Francisco, even though there's no way for
me to tune in to a regular radio station much beyond the San Francisco
metropolitan area.
<para>
This potential for FM radio was never realized—not
because Armstrong was wrong about the technology, but because he
-underestimated the power of "vested interests, habits, customs and
-legislation
"<footnote><para>
+underestimated the power of <quote>vested interests, habits, customs and
+legislation
</quote><footnote><para>
<!-- f13. -->
Ibid., 229.
</para></footnote>
a different rule for Internet radio than the rule that applies to
terrestrial radio. While terrestrial radio does not have to pay our
hypothetical Marilyn Monroe when it plays her hypothetical recording
-of "Happy Birthday" on the air, <emphasis>Internet radio
+of <quote>Happy Birthday</quote> on the air, <emphasis>Internet radio
does</emphasis>. Not only is the law not neutral toward Internet
radio—the law actually burdens Internet radio more than it
burdens terrestrial radio.
DTRA 1 and 2, available at
<ulink url="http://free-culture.cc/notes/">link #45</ulink>.
For an excellent analysis making a similar point, see Randal
-C. Picker, "Copyright as Entry Policy: The Case of Digital
-Distribution," <citetitle>Antitrust Bulletin</citetitle> (Summer/Fall 2002): 461: "This was
+C. Picker, <quote>Copyright as Entry Policy: The Case of Digital
+Distribution,</quote> <citetitle>Antitrust Bulletin</citetitle> (Summer/Fall 2002): 461: <quote>This was
not confusion, these are just old-fashioned entry barriers. Analog
radio stations are 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."
+interests, that could have been done in a media-neutral way.</quote>
<indexterm><primary>CARP (Copyright Arbitration Royalty Panel)</primary></indexterm>
<indexterm><primary>Picker, Randal C.</primary></indexterm>
</para></footnote>
pay to a willing seller, and it was much higher. It was ten times
higher than what radio stations pay to perform the same songs for
the same period of time. And so the attorneys representing the
-webcasters asked the RIAA, … "How do you come up with a
+webcasters asked the RIAA, … <quote>How do you come up with a
<!-- PAGE BREAK 208 -->
rate that's so much higher? Why is it worth more than radio? Because
here we have hundreds of thousands of webcasters who want to pay, and
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. …"
+business. …</quote>
</para>
<para>
-And the RIAA experts said, "Well, we don't really model this as an
+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 industry with, you know, five or seven big players who can pay a
-high rate and it's a stable, predictable market</emphasis>." (Emphasis
+high rate and it's a stable, predictable market</emphasis>.</quote> (Emphasis
added.)
</para>
</blockquote>
every war of prohibition, it is targeted against the behavior of a very
large number of citizens. According to <citetitle>The New York Times</citetitle>, 43 million
Americans downloaded music in May 2002.<footnote><para>
-<!-- f15. --> Mike Graziano and Lee Rainie, "The Music Downloading Deluge," Pew
+<!-- f15. --> Mike Graziano and Lee Rainie, <quote>The Music Downloading Deluge,</quote> Pew
Internet and American Life Project (24 April 2001), available at
<ulink url="http://free-culture.cc/notes/">link #46</ulink>.
The Pew Internet and American Life Project reported that 37 million
housing and a seventy-year-old man who had no idea what file sharing
was.<footnote><para>
<!-- f16. -->
-Alex Pham, "The Labels Strike Back: N.Y. Girl Settles RIAA Case," <citetitle>Los
+Alex Pham, <quote>The Labels Strike Back: N.Y. Girl Settles RIAA Case,</quote> <citetitle>Los
Angeles Times</citetitle>, 10 September 2003, Business.
</para></footnote>
As these scapegoats discovered, it will always cost more to defend
level. Americans were drinking just about as much, but now, a vast
number were criminals.<footnote><para>
<!-- f17. -->
-Jeffrey A. Miron and Jeffrey Zwiebel, "Alcohol Consumption During
-Prohibition," <citetitle>American Economic Review</citetitle> 81, no. 2 (1991): 242.
+Jeffrey A. Miron and Jeffrey Zwiebel, <quote>Alcohol Consumption During
+Prohibition,</quote> <citetitle>American Economic Review</citetitle> 81, no. 2 (1991): 242.
</para></footnote>
We have
<!-- PAGE BREAK 210 -->
tax system that a majority of cash businesses regularly
cheat.<footnote><para>
<!-- f19. -->
-See James Andreoni, Brian Erard, and Jonathon Feinstein, "Tax
-Compliance," <citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey of
+See James Andreoni, Brian Erard, and Jonathon Feinstein, <quote>Tax
+Compliance,</quote> <citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey of
compliance literature).
</para></footnote>
-We pride ourselves on our "free society," but an endless array of
+We pride ourselves on our <quote>free society,</quote> 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.
<indexterm><primary>alcohol prohibition</primary></indexterm>
<para>
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 "ethics." As my colleague Charlie
+students about the importance of <quote>ethics.</quote> As my colleague Charlie
Nesson told a class at Stanford, each year law schools admit thousands
of students who have illegally downloaded music, illegally consumed
alcohol and sometimes drugs, illegally worked without paying taxes,
that will mean that your case is over. Generations of
Americans—more significantly in some parts of America than in
others, but still, everywhere in America today—can't live their
-lives both normally and legally, since "normally" entails a certain
+lives both normally and legally, since <quote>normally</quote> entails a certain
degree of illegality.
<indexterm><primary>law schools</primary></indexterm>
</para>
whether my students respect the law. And I do care if the rules of law
sow increasing disrespect because of the extreme of regulation they
impose. Twenty million Americans have come of age since the Internet
-introduced this different idea of "sharing." We need to be able to
-call these twenty million Americans "citizens," not "felons."
+introduced this different idea of <quote>sharing.</quote> We need to be able to
+call these twenty million Americans <quote>citizens,</quote> not <quote>felons.</quote>
</para>
<para>
When at least forty-three million citizens download content from the
used
<!-- PAGE BREAK 212 -->
-record store and buy jazz records to replace them. That "use" of the
+record store and buy jazz records to replace them. That <quote>use</quote> of the
recordings is free.
</para>
<para>
But as the MP3 craze has demonstrated, there is another use of
phonograph records that is effectively free. Because these recordings
-were made without copy-protection technologies, I am "free" to copy,
-or "rip," music from my records onto a computer hard disk. Indeed,
-Apple Corporation went so far as to suggest that "freedom" was a
-right: In a series of commercials, Apple endorsed the "Rip, Mix, Burn"
+were made without copy-protection technologies, I am <quote>free</quote> to copy,
+or <quote>rip,</quote> music from my records onto a computer hard disk. Indeed,
+Apple Corporation went so far as to suggest that <quote>freedom</quote> was a
+right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, Burn</quote>
capacities of digital technologies.
</para>
<indexterm><primary>Adromeda</primary></indexterm>
<para>
-This "use" of my records is certainly valuable. I have begun a large
+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
them in one archive. Then, using Apple's iTunes, or a wonderful
program called Andromeda, we can build different play lists of our
<!-- PAGE BREAK 213 -->
use of CDs. The technology, in other words, would force us all back to
the world where we either listened to music by manipulating pieces of
-plastic or were part of a massively complex "digital rights
-management" system.
+plastic or were part of a massively complex <quote>digital rights
+management</quote> system.
</para>
<para>
If the only way to assure that artists get paid were the elimination
There's one more aspect to this corruption that is particularly
important to civil liberties, and follows directly from any war of
prohibition. As Electronic Frontier Foundation attorney Fred von
-Lohmann describes, this is the "collateral damage" that "arises
+Lohmann describes, this is the <quote>collateral damage</quote> that <quote>arises
whenever you turn a very large percentage of the population into
-criminals." This is the collateral damage to civil liberties
+criminals.</quote> This is the collateral damage to civil liberties
generally.
<indexterm><primary>Electronic Frontier Foundation</primary></indexterm>
</para>
<para>
-"If you can treat someone as a putative lawbreaker," von Lohmann
+<quote>If you can treat someone as a putative lawbreaker,</quote> von Lohmann
explains,
<indexterm><primary>von Lohmann, Fred</primary></indexterm>
</para>
infringer, how can you hope to have any privacy rights? If you're a
copyright infringer, how can you hope to be secure against seizures of
your computer? How can you hope to continue to receive Internet
-access? … Our sensibilities change as soon as we think, "Oh, well,
-but that person's a criminal, a lawbreaker." Well, what this campaign
+access? … Our sensibilities change as soon as we think, <quote>Oh, well,
+but that person's a criminal, a lawbreaker.</quote> Well, what this campaign
against file sharing has done is turn a remarkable percentage of the
-American Internet-using population into "lawbreakers."
+American Internet-using population into <quote>lawbreakers.</quote>
</para>
</blockquote>
<para>
the RIAA from suing a number of these families, just as they had sued
Jesse Jordan.<footnote><para>
<!-- f20. -->
-See Frank Ahrens, "RIAA's Lawsuits Meet Surprised Targets; Single
-Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,"
-<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, "Worried Parents
+See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single
+Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote>
+<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, <quote>Worried Parents
Pull Plug on File `Stealing'; With the Music Industry Cracking Down on
File Swapping, Parents are Yanking Software from Home PCs to Avoid
-Being Sued," <citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; Jefferson
-Graham, "Recording Industry Sues Parents," <citetitle>USA Today</citetitle>, 15 September
-2003, 4D; John Schwartz, "She Says She's No Music Pirate. No Snoop
-Fan, Either," <citetitle>New York Times</citetitle>, 25 September 2003, C1; Margo Varadi, "Is
-Brianna a Criminal?" <citetitle>Toronto Star</citetitle>, 18 September 2003, P7.
+Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; Jefferson
+Graham, <quote>Recording Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September
+2003, 4D; John Schwartz, <quote>She Says She's No Music Pirate. No Snoop
+Fan, Either,</quote> <citetitle>New York Times</citetitle>, 25 September 2003, C1; Margo Varadi, <quote>Is
+Brianna a Criminal?</quote> <citetitle>Toronto Star</citetitle>, 18 September 2003, P7.
</para></footnote>
</para>
RIAA. A report from CNN late last summer described a strategy the
RIAA had adopted to track Napster users.<footnote><para>
<!-- f21. -->
-See "Revealed: How RIAA Tracks Downloaders: Music Industry Discloses
-Some Methods Used," CNN.com, available at
+See <quote>Revealed: How RIAA Tracks Downloaders: Music Industry Discloses
+Some Methods Used,</quote> CNN.com, available at
<ulink url="http://free-culture.cc/notes/">link #47</ulink>.
</para></footnote>
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 "fingerprint."
+one of those MP3s will have the same <quote>fingerprint.</quote>
</para>
<para>
So imagine the following not-implausible scenario: Imagine a
neither does your daughter, where these songs came from. But she
copies these songs onto her computer. She then takes her computer to
college and connects it to a college network, and if the college
-network is "cooperating" with the RIAA's espionage, and she hasn't
+network is <quote>cooperating</quote> with the RIAA's espionage, and she hasn't
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 "criminal." And under the rules that universities are beginning
+as a <quote>criminal.</quote> And under the rules that universities are beginning
to deploy,<footnote><para>
<!-- f22. -->
-See Jeff Adler, "Cambridge: On Campus, Pirates Are Not Penitent,"
-<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank Ahrens, "Four
+See Jeff Adler, <quote>Cambridge: On Campus, Pirates Are Not Penitent,</quote>
+<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank Ahrens, <quote>Four
Students Sued over Music Sites; Industry Group Targets File Sharing at
-Colleges," <citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth Armstrong,
-"Students `Rip, Mix, Burn' at Their Own Risk," <citetitle>Christian Science
-Monitor</citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, "Music
+Colleges,</quote> <citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth Armstrong,
+<quote>Students `Rip, Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science
+Monitor</citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, <quote>Music
Pirate Hunt Turns to Loyola; Two Students Names Are Handed Over;
-Lawsuit Possible," <citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, "RIAA
-Trains Antipiracy Guns on Universities," <citetitle>Internet News</citetitle>, 30 January
+Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, <quote>RIAA
+Trains Antipiracy Guns on Universities,</quote> <citetitle>Internet News</citetitle>, 30 January
2003, available at <ulink url="http://free-culture.cc/notes/">link
-#48</ulink>; Benny Evangelista, "Download Warning 101: Freshman
+#48</ulink>; Benny Evangelista, <quote>Download Warning 101: Freshman
Orientation This Fall to Include Record Industry Warnings Against File
-Sharing," <citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; "Raid, Letters
-Are Weapons at Universities," <citetitle>USA Today</citetitle>, 26 September 2000, 3D.
+Sharing,</quote> <citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; <quote>Raid, Letters
+Are Weapons at Universities,</quote> <citetitle>USA Today</citetitle>, 26 September 2000, 3D.
</para></footnote>
your daughter can lose the right to use the university's computer
network. She can, in some cases, be expelled.
plead that she didn't know anything about the source of the songs or
that they came from Napster. And it may well be that the university
believes her. But the university might not believe her. It might treat
-this "contraband" as presumptive of guilt. And as any number of
+this <quote>contraband</quote> as presumptive of guilt. And as any number of
college students
<!-- PAGE BREAK 216 -->
</para>
</blockquote>
<para>
-When forty to sixty million Americans are considered "criminals" under
+When forty to sixty million Americans are considered <quote>criminals</quote> under
the law, and when the law could achieve the same objective—
securing rights to authors—without these millions being
-considered "criminals," who is the villain? Americans or the law?
+considered <quote>criminals,</quote> 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?
</para>
thousands of others. Hundreds of thousands from across the world have
discovered this platform of expression and now use it to share works
that are, by law, free for the taking. This has produced what we might
-call the "noncommercial publishing industry," which before the
+call the <quote>noncommercial publishing industry,</quote> which before the
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
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
-
"copyrights should be forever."<footnote><para>
+
<quote>copyrights should be forever.</quote><footnote><para>
<!-- f2. -->
-The full text is: "Sonny [Bono] wanted the term of copyright
+The full text is: <quote>Sonny [Bono] wanted the term of copyright
protection to last forever. I am informed by staff that such a change
would violate the Constitution. I invite all of you to work with me to
strengthen our copyright laws in all of the ways available to us. As
you know, there is also Jack Valenti's proposal for a term to last
forever less one day. Perhaps the Committee may look at that next
-Congress," 144 Cong. Rec. H9946, 9951-2 (October 7, 1998).
+Congress,</quote> 144 Cong. Rec. H9946, 9951-2 (October 7, 1998).
</para></footnote>
</para>
As I've described, this clause is unique within the power-granting
clause of Article I, section 8 of our Constitution. Every other clause
granting power to Congress simply says Congress has the power to do
-something—for example, to regulate "commerce among the several
-states" or "declare War." But here, the "something" is something quite
-specific—to "promote … Progress"—through means that
-are also specific— by "securing" "exclusive Rights" (i.e.,
-copyrights) "for limited Times."
+something—for example, to regulate <quote>commerce among the several
+states</quote> or <quote>declare War.</quote> But here, the <quote>something</quote> is something quite
+specific—to <quote>promote … Progress</quote>—through means that
+are also specific— by <quote>securing</quote> <quote>exclusive Rights</quote> (i.e.,
+copyrights) <quote>for limited Times.</quote>
</para>
<para>
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,
-then the Constitution's requirement that terms be "limited" will have
+then the Constitution's requirement that terms be <quote>limited</quote> will have
<!-- PAGE BREAK 223 -->
no practical effect. If every time a copyright is about to expire,
Congress has the power to extend its term, then Congress can achieve
-what the Constitution plainly forbids—perpetual terms "on the
-installment plan," as Professor Peter Jaszi so nicely put it.
+what the Constitution plainly forbids—perpetual terms <quote>on the
+installment plan,</quote> as Professor Peter Jaszi so nicely put it.
<indexterm><primary>Jaszi, Peter</primary></indexterm>
</para>
<para>
</para>
<para>
For this is the core of the corruption in our present system of
-government. "Corruption" not in the sense that representatives are
-bribed. Rather, "corruption" in the sense that the system induces the
+government. <quote>Corruption</quote> not in the sense that representatives are
+bribed. Rather, <quote>corruption</quote> in the sense that the system induces the
beneficiaries of Congress's acts to raise and give money to Congress
to induce it to act. There's only so much time; there's only so much
Congress can do. Why not limit its actions to those things it must
report:
</para>
<para>
-"Next year," the adviser announces, "our copyrights in works A, B,
+<quote>Next year,</quote> the adviser announces, <quote>our copyrights in works A, B,
<!-- PAGE BREAK 224 -->
and C will expire. That means that after next year, we will no longer be
receiving the annual royalty check of $100,000 from the publishers of
-those works.
+those works.</quote>
</para>
<para>
-"There's a proposal in Congress, however," she continues, "that
+<quote>There's a proposal in Congress, however,</quote> she continues, <quote>that
could change this. A few congressmen are floating a bill to extend the
terms of copyright by twenty years. That bill would be extraordinarily
-valuable to us. So we should hope this bill passes."
+valuable to us. So we should hope this bill passes.</quote>
</para>
<para>
-"Hope?" a fellow board member says. "Can't we be doing something
-about it?"
+<quote>Hope?</quote> a fellow board member says. <quote>Can't we be doing something
+about it?</quote>
</para>
<para>
-"Well, obviously, yes," the adviser responds. "We could contribute
+<quote>Well, obviously, yes,</quote> the adviser responds. <quote>We could contribute
to the campaigns of a number of representatives to try to assure that
-they support the bill."
+they support the bill.</quote>
</para>
<para>
You hate politics. You hate contributing to campaigns. So you want
-to know whether this disgusting practice is worth it. "How much
-would we get if this extension were passed?" you ask the adviser. "How
-much is it worth?"
+to know whether this disgusting practice is worth it. <quote>How much
+would we get if this extension were passed?</quote> you ask the adviser. <quote>How
+much is it worth?</quote>
</para>
<para>
-"Well," the adviser says, "if you're confident that you will continue
+<quote>Well,</quote> the adviser says, <quote>if you're confident that you will continue
to get at least $100,000 a year from these copyrights, and you use the
`discount rate' that we use to evaluate estate investments (6 percent),
-then this law would be worth $1,146,000 to the estate."
+then this law would be worth $1,146,000 to the estate.</quote>
</para>
<para>
You're a bit shocked by the number, but you quickly come to the
correct conclusion:
</para>
<para>
-"So you're saying it would be worth it for us to pay more than
+<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
contributions
-would assure that the bill was passed?"
+would assure that the bill was passed?</quote>
</para>
<para>
-"Absolutely," the adviser responds. "It is worth it to you to
+<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to you to
contribute
up to the `present value' of the income you expect from these
-copyrights. Which for us means over $1,000,000."
+copyrights. Which for us means over $1,000,000.</quote>
</para>
<para>
You quickly get the point—you as the member of the board and, I
<para>
In the lobbying that led to the passage of the Sonny Bono
Copyright
-Term Extension Act, this "theory" about incentives was proved
+Term Extension Act, this <quote>theory</quote> about incentives was proved
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.<footnote><para>
-<!-- f3. --> Associated Press, "Disney Lobbying for Copyright Extension No Mickey
-Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,"
+<!-- f3. --> Associated Press, <quote>Disney Lobbying for Copyright Extension No Mickey
+Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,</quote>
<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22.
</para></footnote>
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.<footnote><para>
-<!-- f4. --> See Nick Brown, "Fair Use No More?: Copyright in the Information
-Age," available at
+<!-- f4. --> See Nick Brown, <quote>Fair Use No More?: Copyright in the Information
+Age,</quote> available at
<ulink url="http://free-culture.cc/notes/">link #49</ulink>.
</para></footnote>
Disney is estimated to have
contributed more than $800,000 to reelection campaigns in the
cycle.<footnote><para>
<!-- f5. -->
-Alan K. Ota, "Disney in Washington: The Mouse That Roars,"
+Alan K. Ota, <quote>Disney in Washington: The Mouse That Roars,</quote>
<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, available at
<ulink url="http://free-culture.cc/notes/">link #50</ulink>.
</para></footnote>
to interpreting and applying the Constitution of our framers would see
that if Congress has the power to extend existing terms, then there
would be no effective constitutional requirement that terms be
- "limited."
+ <quote>limited.</quote>
If they could extend it once, they would extend it again and again
and again.
</para>
<para>
Since 1937, the Supreme Court had interpreted Congress's granted
powers very broadly; so, while the Constitution grants Congress the
-power to regulate only "commerce among the several states" (aka
- "interstate
-commerce"), the Supreme Court had interpreted that power to
+power to regulate only <quote>commerce among the several states</quote> (aka
+ <quote>interstate
+commerce</quote>), the Supreme Court had interpreted that power to
include the power to regulate any activity that merely affected
interstate
commerce.
position to second-guess Congress.
</para>
<para>
-"We pause to consider the implications of the government's arguments,"
+<quote>We pause to consider the implications of the government's arguments,</quote>
the Chief Justice wrote.<footnote><para>
<!-- f6. --> <citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U.S. 549, 564 (1995).
</para></footnote>
notwithstanding. The same point is true in the context of the
Copyright Clause. Here, too, the government's interpretation would
allow the government unending power to regulate copyrights—the
-limitation to "limited times" notwithstanding.
+limitation to <quote>limited times</quote> notwithstanding.
</para></footnote>
And if it is applied to the Progress Clause, the principle should
yield the conclusion that Congress
<!-- PAGE BREAK 227 -->
can't extend an existing term. If Congress could extend an existing
-term, then there would be no "stopping point" to Congress's power over
+term, then there would be no <quote>stopping point</quote> to Congress's power over
terms, though the Constitution expressly states that there is such a
limit. Thus, the same principle applied to the power to grant
copyrights should entail that Congress is not allowed to extend the
rights, using its power over Congress to advance its own personal
political preferences. But I rejected that view of the Supreme Court's
decision. Indeed, shortly after the decision, I wrote an article
-demonstrating the "fidelity" in such an interpretation of the
+demonstrating the <quote>fidelity</quote> in such an interpretation of the
Constitution. The idea that the Supreme Court decides cases based upon
its politics struck me as extraordinarily boring. I was not going to
devote my life to teaching constitutional law if these nine Justices
<!-- PAGE BREAK 228 -->
before the Supreme Court, the Nashville Songwriters Association
-wrote that the public domain is nothing more than
"legal piracy."<footnote><para>
+wrote that the public domain is nothing more than
<quote>legal piracy.</quote><footnote><para>
<!-- f9. -->
Brief of the Nashville Songwriters Association, <citetitle>Eldred</citetitle>
v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618), n.10, available
<para>
It is valuable copyrights that are responsible for terms being
extended.
-Mickey Mouse and "Rhapsody in Blue." These works are too
+Mickey Mouse and <quote>Rhapsody in Blue.</quote> These works are too
valuable for copyright owners to ignore. But the real harm to our
society
from copyright extensions is not that Mickey Mouse remains
not necessarily the current owner. And we're just talking about 1930!
</para>
<para>
-"But there isn't a list of who owns property generally," the
-apologists for the system respond. "Why should there be a list of
-copyright owners?"
+<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
+copyright owners?</quote>
</para>
<para>
Well, actually, if you think about it, there <emphasis>are</emphasis>
currently out of copyright. But for the CTEA, films made after 1923
would have begun entering the public domain. Because Agee controls the
exclusive rights for these popular films, he makes a great deal of
-money. According to one estimate, "Roach has sold about 60,000
+money. According to one estimate, <quote>Roach has sold about 60,000
videocassettes and 50,000 DVDs of the duo's silent
+films.
</quote><footnote><para>
<!-- f11. -->
-See David G. Savage, "High Court Scene of Showdown on Copyright Law,"
-<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, "Classic Movies,
+See David G. Savage, <quote>High Court Scene of Showdown on Copyright Law,</quote>
+<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, <quote>Classic Movies,
Songs, Books at Stake; Supreme Court Hears Arguments Today on Striking
-Down Copyright Extension," <citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002.
+Down Copyright Extension,</quote> <citetitle>Orlando Sentinel Tribune</citetitle>, 9 October 2002.
</para></footnote>
<indexterm><primary>Lucky Dog, The</primary></indexterm>
to these films is exceptionally high.
</para>
<para>
-"But can't you just restore the film, distribute it, and then pay the
-copyright owner when she shows up?" Sure, if you want to commit a
+<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
felony. And even if you're not worried about committing a felony, when
she does show up, she'll have the right to sue you for all the profits you
have made. So, if you're successful, you can be fairly confident you'll be
copyright is a crucially important legal device. For that tiny fraction,
the copyright creates incentives to produce and distribute the
creative
-work. For that tiny fraction, the copyright acts as an "engine of
-free expression."
+work. For that tiny fraction, the copyright acts as an <quote>engine of
+free expression.</quote>
</para>
<para>
But even for that tiny fraction, the actual time during which the
an engine of free expression. Copyright is a brake.
</para>
<para>
-You may well ask, "But if digital technologies lower the costs for
+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 won't Random House do as well as Brewster Kahle in spreading
-culture widely?"
+culture widely?</quote>
</para>
<para>
Maybe. Someday. But there is absolutely no evidence to suggest that
publishers would be as complete as libraries. If Barnes & Noble
offered to lend books from its stores for a low price, would that
eliminate the need for libraries? Only if you think that the only role
-of a library is to serve what "the market" would demand. But if you
+of a library is to serve what <quote>the market</quote> would demand. But if you
think the role of a library is bigger than this—if you think its
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, if access is a value, then 6 percent is a failure
to provide that value.<footnote><para>
<!-- f13. -->
-Jason Schultz, "The Myth of the 1976 Copyright `Chaos' Theory," 20
+Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> 20
December 2002, available at
<ulink url="http://free-culture.cc/notes/">link #54</ulink>.
</para></footnote>
district court in Washington, D.C., asking the court to declare the
Sonny Bono Copyright Term Extension Act unconstitutional. The two
central claims that we made were (1) that extending existing terms
-violated the Constitution's "limited Times" requirement, and (2) that
+violated the Constitution's <quote>limited Times</quote> requirement, and (2) that
extending terms by another twenty years violated the First Amendment.
</para>
<para>
</para>
<para>
Judge David Sentelle said the CTEA violated the requirement that
-copyrights be for "limited Times" only. His argument was as elegant as
+copyrights be for <quote>limited Times</quote> only. His argument was as elegant as
it was simple: If Congress can extend existing terms, then there is no
-"stopping point" to Congress's power under the Copyright Clause. The
+<quote>stopping point</quote> to Congress's power under the Copyright Clause. The
power to extend existing terms means Congress is not required to grant
-terms that are "limited." Thus, Judge Sentelle argued, the court had
-to interpret the term "limited Times" to give it meaning. And the best
+terms that are <quote>limited.</quote> Thus, Judge Sentelle argued, the court had
+to interpret the term <quote>limited Times</quote> to give it meaning. And the best
interpretation, Judge Sentelle argued, would be to deny Congress the
power to extend existing terms.
</para>
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 cases or cases that raise issues specific to the circuit as a
-whole, where the court will sit "en banc" to hear the case.
+whole, where the court will sit <quote>en banc</quote> to hear the case.
</para>
<para>
The Court of Appeals rejected our request to hear the case en banc.
Stewart was the first, but then Dan Bromberg and Don Ayer became
quite involved. Bromberg and Ayer in particular had a common view
about how this case would be won: We would only win, they repeatedly
-told me, if we could make the issue seem "important" to the Supreme
+told me, if we could make the issue seem <quote>important</quote> to the Supreme
Court. It had to seem as if dramatic harm were being done to free
-speech and free culture; otherwise, they would never vote against "the
-most powerful media companies in the world."
+speech and free culture; otherwise, they would never vote against <quote>the
+most powerful media companies in the world.</quote>
</para>
<para>
I hate this view of the law. Of course I thought the Sonny Bono Act
was a dramatic harm to free speech and free culture. Of course I still
think it is. But the idea that the Supreme Court decides the law based
on how important they believe the issues are is just wrong. It might be
-"right" as in "true," I thought, but it is "wrong" as in "it just shouldn't be
-that way." As I believed that any faithful interpretation of what the
+<quote>right</quote> as in <quote>true,</quote> I thought, but it is <quote>wrong</quote> as in <quote>it just shouldn't be
+that way.</quote> As I believed that any faithful interpretation of what the
framers of our Constitution did would yield the conclusion that the
CTEA was unconstitutional, and as I believed that any faithful
interpretation
very beginning. Mrs. Schlafly viewed the CTEA as a sellout by
Congress. In November 1998, she wrote a stinging editorial attacking
the Republican Congress for allowing the law to pass. As she wrote,
-"Do you sometimes wonder why bills that create a financial windfall to
+<quote>Do you sometimes wonder why bills that create a financial windfall to
narrow special interests slide easily through the intricate
legislative process, while bills that benefit the general public seem
-to get bogged down?" The answer, as the editorial documented, was the
+to get bogged down?</quote> The answer, as the editorial documented, was the
power of money. Schlafly enumerated Disney's contributions to the key
players on the committees. It was money, not justice, that gave Mickey
Mouse twenty more years in Disney's control, Schlafly argued.
spectrum. Their conclusions were powerful: There was no plausible
claim that extending the terms of existing copyrights would do
anything to increase incentives to create. Such extensions were
-nothing more than "rent-seeking"—the fancy term economists use
+nothing more than <quote>rent-seeking</quote>—the fancy term economists use
to describe special-interest legislation gone wild.
</para>
<para>
</para>
<para>
The government, in defending the statute, had its collection of
-friends, as well. Significantly, however, none of these "friends" included
+friends, as well. Significantly, however, none of these <quote>friends</quote> included
historians or economists. The briefs on the other side of the case were
written exclusively by major media companies, congressmen, and
copyright holders.
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 "glorify drugs or to create
-pornography.
"<footnote><para>
+domain, then people could use it to <quote>glorify drugs or to create
+pornography.
</quote><footnote><para>
<!-- f14. -->
Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537
U.S. (2003) (No. 01-618), 19.
</para></footnote>
That was also the motive of the Gershwin estate, which defended its
-"protection" of the work of George Gershwin. They refuse, for example,
+<quote>protection</quote> of the work of George Gershwin. They refuse, for example,
to license <citetitle>Porgy and Bess</citetitle> to anyone who refuses to use African
Americans in the cast.<footnote><para>
<!-- f15. -->
-Dinitia Smith, "Immortal Words, Immortal Royalties? Even Mickey
-Mouse Joins the Fray," <citetitle>New York Times</citetitle>, 28 March 1998, B7.
+Dinitia Smith, <quote>Immortal Words, Immortal Royalties? Even Mickey
+Mouse Joins the Fray,</quote> <citetitle>New York Times</citetitle>, 28 March 1998, B7.
</para></footnote>
That's
<!-- PAGE BREAK 241 -->
debate. When Congress decides to extend the term of existing
copyrights, Congress is making a choice about which speakers it will
favor. Famous and beloved copyright owners, such as the Gershwin
-estate and Dr. Seuss, come to Congress and say, "Give us twenty years
+estate and Dr. Seuss, come to Congress and say, <quote>Give us twenty years
to control the speech about these icons of American culture. We'll do
-better with them than anyone else." Congress of course likes to reward
+better with them than anyone else.</quote> Congress of course likes to reward
the popular and famous by giving them what they want. But when
Congress gives people an exclusive right to speak in a certain way,
that's just what the First Amendment is traditionally meant to block.
<indexterm><primary>Rehnquist, William H.</primary></indexterm>
<para>
The Supreme Court was divided into two important camps. One camp we
-called "the Conservatives." The other we called "the Rest." The
+called <quote>the Conservatives.</quote> The other we called <quote>the Rest.</quote> The
Conservatives included Chief Justice Rehnquist, Justice O'Connor,
Justice Scalia, Justice Kennedy, and Justice Thomas. These five had
been the most consistent in limiting Congress's power. They were the
generally. We were fairly confident he would recognize limits here.
</para>
<para>
-This analysis of "the Rest" showed most clearly where our focus had to
+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 these
five and get at least a majority to go our way. Thus, the single
overriding argument that animated our claim rested on the
case, under the government's argument here, Congress would always have
unlimited power to extend existing terms. If anything was plain about
Congress's power under the Progress Clause, it was that this power was
-supposed to be "limited." Our aim would be to get the Court to
+supposed to be <quote>limited.</quote> Our aim would be to get the Court to
reconcile <citetitle>Eldred</citetitle> with
<citetitle>Lopez</citetitle>: If Congress's power to regulate commerce
was limited, then so, too, must Congress's power to regulate copyright
terms regularly—eleven times in forty years.
</para>
<para>
-But this "consistency" should be kept in perspective. Congress
+But this <quote>consistency</quote> should be kept in perspective. Congress
extended
existing terms once in the first hundred years of the Republic.
It then extended existing terms once again in the next fifty. Those rare
Oral argument was scheduled for the first week in October. I
arrived
in D.C. two weeks before the argument. During those two
-weeks, I was repeatedly "mooted" by lawyers who had volunteered to
+weeks, I was repeatedly <quote>mooted</quote> by lawyers who had volunteered to
<!-- PAGE BREAK 244 -->
-help in the case. Such "moots" are basically practice rounds, where
+help in the case. Such <quote>moots</quote> are basically practice rounds, where
wannabe justices fire questions at wannabe winners.
</para>
<para>
<indexterm><primary>Fried, Charles</primary></indexterm>
</para>
<para>
-"I'm just afraid that unless they really see the harm, they won't be
+<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
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."
+don't see that, then we haven't any chance of winning.</quote>
</para>
<indexterm><primary>Ayer, Don</primary></indexterm>
<para>
</para>
</blockquote>
<para>
-She was quite willing to concede "that this flies directly in the face
-of what the framers had in mind." But my response again and again
+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 to emphasize limits on Congress's power.
</para>
<blockquote>
percent of the value of a perpetual term. Breyer said we were wrong,
that the actual number was 99.9997 percent of a perpetual term. Either
way, the point was clear: If the Constitution said a term had to be
-"limited," and the existing term was so long as to be effectively
+<quote>limited,</quote> and the existing term was so long as to be effectively
unlimited, then it was unconstitutional.
</para>
<para>
the depression. This anger was of two sorts.
</para>
<para>
-It was first anger with the five "Conservatives." It would have been
+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 <citetitle>Lopez</citetitle> didn't
apply in this case. That wouldn't have been a very convincing
argument, I don't believe, having read it made by others, and having
tried to make it myself. But it at least would have been an act of
integrity. These justices in particular have repeatedly said that the
-proper mode of interpreting the Constitution is "originalism"—to
+proper mode of interpreting the Constitution is <quote>originalism</quote>—to
first understand the framers' text, interpreted in their context, in
light of the structure of the Constitution. That method had produced
-<citetitle>Lopez</citetitle> and many other "originalist" rulings. Where was their
-"originalism" now?
+<citetitle>Lopez</citetitle> and many other <quote>originalist</quote> rulings. Where was their
+<quote>originalism</quote> now?
</para>
<para>
Here, they had joined an opinion that never once tried to explain
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
-case was a mistake. "The Court is not ready," Peter Jaszi said; this
+case was a mistake. <quote>The Court is not ready,</quote> Peter Jaszi said; this
issue should not be raised until it is.
<indexterm><primary>Jaszi, Peter</primary></indexterm>
</para>
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 on the next page
-(<xref linkend="fig-18"/>). The "powerful and wealthy" line is a bit
+(<xref linkend="fig-18"/>). The <quote>powerful and wealthy</quote> line is a bit
unfair. But the punch in the face felt exactly like that.
<indexterm><primary>Bolling, Ruben</primary></indexterm>
</para>
</figure>
<para>
The image that will always stick in my head is that evoked by the
-quote from <citetitle>The New York Times</citetitle>. That "grand experiment" we call the
-"public domain" is over? When I can make light of it, I think, "Honey,
-I shrunk the Constitution." But I can rarely make light of it. We had
+quote from <citetitle>The New York Times</citetitle>. That <quote>grand experiment</quote> we call the
+<quote>public domain</quote> is over? When I can make light of it, I think, <quote>Honey,
+I shrunk the Constitution.</quote> But I can rarely make light of it. We had
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.
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
important. And alternating with that command was the question of
-Justice Kennedy: "For all these years the act has impeded progress in
+Justice Kennedy: <quote>For all these years the act has impeded progress in
science and the useful arts. I just don't see any empirical evidence for
-that." And so, having failed in the argument of constitutional principle,
+that.</quote> And so, having failed in the argument of constitutional principle,
finally, I turned to an argument of politics.
</para>
<para>
</para>
<para>
Or another two names. For depending upon your perspective, this
-is either the "Public Domain Enhancement Act" or the "Copyright
-Term Deregulation Act." Either way, the essence of the idea is clear
+is either the <quote>Public Domain Enhancement Act</quote> or the <quote>Copyright
+Term Deregulation Act.</quote> Either way, the essence of the idea is clear
and obvious: Remove copyright where it is doing nothing except
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
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 with the 1908 act,
-every text of the Convention has provided that "the enjoyment and the
-exercise" of rights guaranteed by the Convention "shall not be subject
-to any formality." The prohibition against formalities is presently
+every text of the Convention has provided that <quote>the enjoyment and the
+exercise</quote> of rights guaranteed by the Convention <quote>shall not be subject
+to any formality.</quote> The prohibition against formalities is presently
embodied in Article 5(2) of the Paris Text of the Berne
Convention. Many countries continue to impose some form of deposit or
registration requirement, albeit not as a condition of
anonymous or pseudonymous works. Paul Goldstein, <citetitle>International
Intellectual Property Law, Cases and Materials</citetitle> (New York: Foundation
Press, 2001), 153–54. </para></footnote>
-The Europeans are said to view copyright as a "natural right." Natural
+The Europeans are said to view copyright as a <quote>natural right.</quote> Natural
rights don't need forms to exist. Traditions, like the Anglo-American
tradition that required copyright owners to follow form if their
rights were to be protected, did not, the Europeans thought, properly
That's great rhetoric. It sounds wonderfully romantic. But it is
absurd copyright policy. It is absurd especially for authors, because
a world without formalities harms the creator. The ability to spread
-"Walt Disney creativity" is destroyed when there is no simple way to
+<quote>Walt Disney creativity</quote> is destroyed when there is no simple way to
know what's protected and what's not.
</para>
<indexterm><primary>Berne Convention (1908)</primary></indexterm>
<!-- PAGE BREAK 258 -->
should be a second-class form of property. If a carpenter builds a
table, his rights over the table don't depend upon filing a form with
-the government. He has a property right over the table "naturally,"
+the government. He has a property right over the table <quote>naturally,</quote>
and he can assert that right against anyone who would steal the table,
whether or not he has informed the government of his ownership of the
table.
<para>
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 "get." Because we live in a system without formalities, there is no
+didn't <quote>get.</quote> Because we live in a system without formalities, there is no
way easily to build upon or use culture from our past. If copyright
-terms were, as Justice Story said they would be, "short," then this
+terms were, as Justice Story said they would be, <quote>short,</quote> then this
wouldn't matter much. For fourteen years, under the framers' system, a
work would be presumptively controlled. After fourteen years, it would
be presumptively uncontrolled.
the bill drafted. The draft solved any problem with international
law. It imposed the simplest requirement upon copyright owners
possible. In May 2003, it looked as if the bill would be
-introduced. On May 16, I posted on the Eldred Act blog, "we are
-close." There was a general reaction in the blog community that
+introduced. On May 16, I posted on the Eldred Act blog, <quote>we are
+close.</quote> There was a general reaction in the blog community that
something good might happen here.
<indexterm><primary>Lofgren, Zoe</primary></indexterm>
</para>
thinness shows something clear about what this debate is really about.
</para>
<para>
-The MPAA argued first that Congress had "firmly rejected the central
-concept in the proposed bill"—that copyrights be renewed. That
-was true, but irrelevant, as Congress's "firm rejection" had occurred
+The MPAA argued first that Congress had <quote>firmly rejected the central
+concept in the proposed bill</quote>—that copyrights be renewed. That
+was true, but irrelevant, as Congress's <quote>firm rejection</quote> had occurred
<!-- PAGE BREAK 261 -->
long before the Internet made subsequent uses much more likely.
Second, they argued that the proposal would harm poor copyright
percentage of work covered by copyright law that is still commercially
valuable, but again this was irrelevant, as the proposal would not cut
off the extended term unless the $1 fee was not paid. Fourth, the MPAA
-argued that the bill would impose "enormous" costs, since a
+argued that the bill would impose <quote>enormous</quote> costs, since a
registration system is not free. True enough, but those costs are
certainly less than the costs of clearing the rights for a copyright
whose owner is not known. Fifth, they worried about the risks if the
selfinterest driving this war. This act would free an extraordinary
range of content that is otherwise unused. It wouldn't interfere with
any copyright owner's desire to exercise continued control over his
-content. It would simply liberate what Kevin Kelly calls the "Dark
-Content" that fills archives around the world. So when the warriors
+content. It would simply liberate what Kevin Kelly calls the <quote>Dark
+Content</quote> that fills archives around the world. So when the warriors
oppose a change like this, we should ask one simple question:
<indexterm><primary>Kelly, Kevin</primary></indexterm>
</para>
<para>
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 the protection of "property" but the rejection of a
+its aim not the protection of <quote>property</quote> but the rejection of a
tradition. Their aim is not simply to protect what is
theirs. <emphasis>Their aim is to assure that all there is is what is
theirs</emphasis>.
</para>
<para>
All this seems to follow easily from this untroubled acceptance of the
-"property" in intellectual property. Common sense supports it, and so
+<quote>property</quote> in intellectual property. Common sense supports it, and so
long as it does, the assaults will rain down upon the technologies of
-the Internet. The consequence will be an increasing "permission
-society." The past can be cultivated only if you can identify the
+the Internet. The consequence will be an increasing <quote>permission
+society.</quote> 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.
</para>
population:
$15,000 is thirty times the per capita gross national product of
Zimbabwe. At these prices, the drugs are totally unavailable.<footnote><para>
-<!-- f1. --> Commission on Intellectual Property Rights, "Final Report: Integrating
-Intellectual Property Rights and Development Policy" (London, 2002),
+<!-- f1. --> Commission on Intellectual Property Rights, <quote>Final Report: Integrating
+Intellectual Property Rights and Development Policy</quote> (London, 2002),
available at
<ulink url="http://free-culture.cc/notes/">link #55</ulink>. According to a World Health Organization press
release
importation of patented medicines that had been produced or sold in
another nation's market with the consent of the patent owner. For
example, if the drug was sold in India, it could be imported into
-Africa from India. This is called "parallel importation," and it is
+Africa from India. This is called <quote>parallel importation,</quote> and it is
generally permitted under international trade law and is specifically
permitted within the European Union.<footnote>
<para>
<para>
However, the United States government opposed the bill. Indeed, more
than opposed. As the International Intellectual Property Association
-characterized it, "The U.S. government pressured South Africa …
+characterized it, <quote>The U.S. government pressured South Africa …
not to permit compulsory licensing or parallel
-imports.
"<footnote><para>
+imports.
</quote><footnote><para>
<!-- f3. -->
International Intellectual Property Institute (IIPI), <citetitle>Patent
Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan
<!-- PAGE BREAK 267 -->
about the sanctity of property.<footnote><para>
<!-- f5. -->
-See Sabin Russell, "New Crusade to Lower AIDS Drug Costs: Africa's
-Needs at Odds with Firms' Profit Motive," <citetitle>San Francisco Chronicle</citetitle>, 24
+See Sabin Russell, <quote>New Crusade to Lower AIDS Drug Costs: Africa's
+Needs at Odds with Firms' Profit Motive,</quote> <citetitle>San Francisco Chronicle</citetitle>, 24
May 1999, A1, available at
<ulink url="http://free-culture.cc/notes/">link #57</ulink>
-("compulsory licenses and gray markets pose a threat to the entire
-system of intellectual property protection"); Robert Weissman, "AIDS
+(<quote>compulsory licenses and gray markets pose a threat to the entire
+system of intellectual property protection</quote>); Robert Weissman, <quote>AIDS
and Developing Countries: Democratizing Access to Essential
-Medicines," <citetitle>Foreign Policy in Focus</citetitle> 4:23 (August 1999), available at
+Medicines,</quote> <citetitle>Foreign Policy in Focus</citetitle> 4:23 (August 1999), available at
<ulink url="http://free-culture.cc/notes/">link #58</ulink>
-(describing U.S. policy); John A. Harrelson, "TRIPS, Pharmaceutical
+(describing U.S. policy); John A. Harrelson, <quote>TRIPS, Pharmaceutical
Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between
-Intellectual Property Rights and Compassion, a Synopsis," <citetitle>Widener Law
+Intellectual Property Rights and Compassion, a Synopsis,</quote> <citetitle>Widener Law
Symposium Journal</citetitle> (Spring 2001): 175.
<!-- PAGE BREAK 333 -->
</para></footnote>
-It was because "intellectual property" would be violated that these
+It was because <quote>intellectual property</quote> would be violated that these
drugs should not flow into Africa. It was a principle about the
-importance of "intellectual property" that led these government actors
+importance of <quote>intellectual property</quote> that led these government actors
to intervene against the South African response to AIDS.
</para>
<para>
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
direct cost would be to speed the death of 15 to 30 million Africans,
-and whose only real benefit would be to uphold the "sanctity" of an
+and whose only real benefit would be to uphold the <quote>sanctity</quote> of an
idea? What possible justification could there ever be for a policy
that results in so many deaths? What exactly is the insanity that
would allow so many to die for such an abstraction?
<para>
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 before a Senate or House hearing, and ask, "How
+the drug companies before a Senate or House hearing, and ask, <quote>How
is it you can sell this HIV drug in Africa for only $1 a pill, but the same
-drug would cost an American $1,500?" Because there is no "sound
-bite" answer to that question, its effect would be to induce regulation
+drug would cost an American $1,500?</quote> Because there is no <quote>sound
+bite</quote> answer to that question, its effect would be to induce regulation
of prices in America. The drug companies thus avoid this spiral by
avoiding the first step. They reinforce the idea that property should be
<!-- PAGE BREAK 268 -->
sacred. They adopt a rational strategy in an irrational context, with the
unintended consequence that perhaps millions die. And that rational
strategy thus becomes framed in terms of this ideal—the sanctity of an
-idea called "intellectual property."
+idea called <quote>intellectual property.</quote>
</para>
<para>
So when the common sense of your child confronts you, what will
does not yet see what there could be to revolt about. The extremism
that now dominates this debate fits with ideas that seem natural, and
that fit is reinforced by the RCAs of our day. They wage a frantic war
-to fight "piracy," and devastate a culture for creativity. They defend
-the idea of "creative property," while transforming real creators into
+to fight <quote>piracy,</quote> and devastate a culture for creativity. They defend
+the idea of <quote>creative property,</quote> while transforming real creators into
modern-day sharecroppers. They are insulted by the idea that rights
should be balanced, even though each of the major players in this
content war was itself a beneficiary of a more balanced ideal. The
hypocrisy reeks. Yet in a city like Washington, hypocrisy is not even
noticed. Powerful lobbies, complex issues, and MTV attention spans
-produce the "perfect storm" for free culture.
+produce the <quote>perfect storm</quote> for free culture.
</para>
<indexterm><primary>Reagan, Ronald</primary></indexterm>
<para>
In August 2003, a fight broke out in the United States about a
decision by the World Intellectual Property Organization to cancel a
meeting.<footnote><para>
-<!-- f6. --> Jonathan Krim, "The Quiet War over Open-Source," <citetitle>Washington Post</citetitle>,
+<!-- f6. --> Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> <citetitle>Washington Post</citetitle>,
August 2003, E1, available at
-<ulink url="http://free-culture.cc/notes/">link #59</ulink>; William New, "Global Group's
-Shift on `Open Source' Meeting Spurs Stir," <citetitle>National Journal's Technology
+<ulink url="http://free-culture.cc/notes/">link #59</ulink>; William New, <quote>Global Group's
+Shift on `Open Source' Meeting Spurs Stir,</quote> <citetitle>National Journal's Technology
Daily</citetitle>, 19 August 2003, available at
-<ulink url="http://free-culture.cc/notes/">link #60</ulink>; William New, "U.S. Official
-Opposes `Open Source' Talks at WIPO," <citetitle>National Journal's Technology
+<ulink url="http://free-culture.cc/notes/">link #60</ulink>; William New, <quote>U.S. Official
+Opposes `Open Source' Talks at WIPO,</quote> <citetitle>National Journal's Technology
Daily</citetitle>, 19 August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #61</ulink>.
</para></footnote>
At the request of a wide range of interests, WIPO had decided to hold
-a meeting to discuss "open and collaborative projects to create public
-goods." These are projects that have been successful in producing
+a meeting to discuss <quote>open and collaborative projects to create public
+goods.</quote> These are projects that have been successful in producing
public goods without relying exclusively upon a proprietary use of
intellectual property. Examples include the Internet and the World
Wide Web, both of which were developed on the basis of protocols in
Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche,
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 "open source and free software."
+in the early 1980s. And it included <quote>open source and free software.</quote>
<indexterm><primary>academic journals</primary></indexterm>
<indexterm><primary>IBM</primary></indexterm>
<indexterm><primary>PLoS (Public Library of Science)</primary></indexterm>
prepared, I had actually made the issue of intellectual property
relatively minor. But after this astonishing statement, I made
intellectual property the sole focus of my talk. There was no way to
-talk about an "Information Society" unless one also talked about the
+talk about an <quote>Information Society</quote> unless one also talked about the
range of information and culture that would be free. My talk did not
make my immoderate moderator very happy. And she was no doubt correct
that the scope of intellectual property protections was ordinarily the
<para>
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 meeting about "open and collaborative projects to create
-public goods" seemed perfectly appropriate within the WIPO agenda.
+thus the meeting about <quote>open and collaborative projects to create
+public goods</quote> seemed perfectly appropriate within the WIPO agenda.
</para>
<para>
But there is one project within that list that is highly
-controversial, at least among lobbyists. That project is "open source
-and free software." Microsoft in particular is wary of discussion of
+controversial, at least among lobbyists. That project is <quote>open source
+and free software.</quote> Microsoft in particular is wary of discussion of
the subject. From its perspective, a conference to discuss open source
and free software would be like a conference to discuss Apple's
operating system. Both open source and free software compete with
Microsoft's software. And internationally, many governments have begun
to explore requirements that they use open source or free software,
-rather than "proprietary software," for their own internal uses.
+rather than <quote>proprietary software,</quote> for their own internal uses.
</para>
<para>
I don't mean to enter that debate here. It is important only to
noncommercial software. There are many important companies that depend
fundamentally upon open source and free software, IBM being the most
prominent. IBM is increasingly shifting its focus to the GNU/Linux
-operating system, the most famous bit of "free software"—and IBM
-is emphatically a commercial entity. Thus, to support "open source and
-free software" is not to oppose commercial entities. It is, instead,
+operating system, the most famous bit of <quote>free software</quote>—and IBM
+is emphatically a commercial entity. Thus, to support <quote>open source and
+free software</quote> is not to oppose commercial entities. It is, instead,
to support a mode of software development that is different from
Microsoft's.<footnote><para>
<!-- f8. -->
Microsoft's position about free and open source software is more
sophisticated. As it has repeatedly asserted, it has no problem with
-"open source" software or software in the public domain. Microsoft's
-principal opposition is to "free software" licensed under a "copyleft"
+<quote>open source</quote> software or software in the public domain. Microsoft's
+principal opposition is to <quote>free software</quote> licensed under a <quote>copyleft</quote>
license, meaning a license that requires the licensee to adopt the
-same terms on any derivative work. See Bradford L. Smith, "The Future
-of Software: Enabling the Marketplace to Decide," <citetitle>Government Policy
+same terms on any derivative work. See Bradford L. Smith, <quote>The Future
+of Software: Enabling the Marketplace to Decide,</quote> <citetitle>Government Policy
Toward Open Source Software</citetitle> (Washington, D.C.: AEI-Brookings Joint
Center for Regulatory Studies, American Enterprise Institute for
Public Policy Research, 2002), 69, available at
<ulink url="http://free-culture.cc/notes/">link #63</ulink>.
</para></footnote>
<indexterm><primary>IBM</primary></indexterm>
-<indexterm><primary>"copyleft" licenses</primary></indexterm>
+<indexterm><primary><quote>copyleft</quote> licenses</primary></indexterm>
<indexterm><primary>GNU/Linux operating system</primary></indexterm>
<indexterm><primary>Linux operating system</primary></indexterm>
</para>
<para>
-More important for our purposes, to support "open source and free
-software" is not to oppose copyright. "Open source and free software"
+More important for our purposes, to support <quote>open source and free
+software</quote> is not to oppose copyright. <quote>Open source and free software</quote>
is not software in the public domain. Instead, like Microsoft's
software, the copyright owners of free and open source software insist
quite strongly that the terms of their software license be respected
<citetitle>Washington Post</citetitle>, Microsoft's lobbyists succeeded in getting the United
States government to veto the meeting.<footnote><para>
<!-- f9. -->
-Krim,
"The Quiet War over Open-Source," available at <ulink
+Krim,
<quote>The Quiet War over Open-Source,</quote> available at <ulink
url="http://free-culture.cc/notes/">link #64</ulink>.
</para></footnote>
And without U.S. backing, the meeting was canceled.
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
-Office, explained that "open-source software runs counter to the
-mission of WIPO, which is to promote intellectual-property rights."
-She is quoted as saying, "To hold a meeting which has as its purpose
+Office, explained that <quote>open-source software runs counter to the
+mission of WIPO, which is to promote intellectual-property rights.</quote>
+She is quoted as saying, <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."
+goals of WIPO.</quote>
</para>
<para>
These statements are astonishing on a number of levels.
<para>
First, they are just flat wrong. As I described, most open source and
free software relies fundamentally upon the intellectual property
-right called "copyright". Without it, restrictions imposed by those
-licenses wouldn't work. Thus, to say it "runs counter" to the mission
+right called <quote>copyright</quote>. Without it, restrictions imposed by those
+licenses wouldn't work. Thus, to say it <quote>runs counter</quote> to the mission
of promoting intellectual property rights reveals an extraordinary gap
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.
</para>
<para>
-Second, who ever said that WIPO's exclusive aim was to "promote"
+Second, who ever said that WIPO's exclusive aim was to <quote>promote</quote>
intellectual property maximally? As I had been scolded at the
preparatory conference of WSIS, WIPO is to consider not only how best
to protect intellectual property, but also what the best balance of
intellectual property rights, in our tradition, intellectual property
rights are held by individuals and corporations. They get to decide
what to do with those rights because, again, they are
-<emphasis>their</emphasis> rights. If they want to "waive" or
-"disclaim" their rights, that is, within our tradition, totally
+<emphasis>their</emphasis> rights. If they want to <quote>waive</quote> or
+<quote>disclaim</quote> their rights, that is, within our tradition, totally
appropriate. When Bill Gates gives away more than $20 billion to do
good in the world, that is not inconsistent with the objectives of the
property system. That is, on the contrary, just what a property system
</para>
<para>
When Ms. Boland says that there is something wrong with a meeting
-"which has as its purpose to disclaim or waive such rights," she's
+<quote>which has as its purpose to disclaim or waive such rights,</quote> she's
saying that WIPO has an interest in interfering with the choices of
<!-- PAGE BREAK 274 -->
the individuals who own intellectual property rights. That somehow,
-WIPO's objective should be to stop an individual from "waiving" or
-"disclaiming" an intellectual property right. That the interest of
+WIPO's objective should be to stop an individual from <quote>waiving</quote> or
+<quote>disclaiming</quote> an intellectual property right. That the interest of
WIPO is not just that intellectual property rights be maximized, but
that they also should be exercised in the most extreme and restrictive
way possible.
</para>
<para>
There is a history of just such a property system that is well known
-in the Anglo-American tradition. It is called "feudalism." Under
+in the Anglo-American tradition. It is called <quote>feudalism.</quote> Under
feudalism, not only was property held by a relatively small number of
individuals and entities. And not only were the rights that ran with
that property powerful and extensive. But the feudal system had a
<blockquote>
<para>
George, you misunderstand Lessig: He's only talking about the world as
-it should be ("the goal of WIPO, and the goal of any government,
+it should be (<quote>the goal of WIPO, and the goal of any government,
should be to promote the right balance of intellectual property rights,
-not simply to promote intellectual property rights"), not as it is. If
+not simply to promote intellectual property rights</quote>), not as it is. If
we were talking about the world as it is, then of course Boland didn't
say anything wrong. But in the world
<!-- PAGE BREAK 275 -->
<para>
Obviously, however, the poster was not supporting that idea. Instead,
the poster was ridiculing the very idea that in the real world, the
-"goal" of a government should be "to promote the right balance" of
+<quote>goal</quote> of a government should be <quote>to promote the right balance</quote> of
intellectual property. That was obviously silly to him. And it
-obviously betrayed, he believed, my own silly utopianism. "Typical for
-an academic," the poster might well have continued.
+obviously betrayed, he believed, my own silly utopianism. <quote>Typical for
+an academic,</quote> the poster might well have continued.
</para>
<para>
I understand criticism of academic utopianism. I think utopianism is
</para>
<para>
But when it has become silly to suppose that the role of our
-government should be to "seek balance," then count me with the silly,
+government should be to <quote>seek balance,</quote> then count me with the silly,
for that means that this has become quite serious indeed. If it should
be obvious to everyone that the government does not seek balance, that
the government is simply the tool of the most powerful lobbyists, that
It is therefore significant that so many would rally to demand
competition and increased diversity. Still, if the rally is understood
as being about bigness alone, it is not terribly surprising. We
-Americans have a long history of fighting "big," wisely or not. That
-we could be motivated to fight "big" again is not something new.
+Americans have a long history of fighting <quote>big,</quote> wisely or not. That
+we could be motivated to fight <quote>big</quote> again is not something new.
</para>
<para>
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 "intellectual property." Not because balance is alien to
+the idea of <quote>intellectual property.</quote> Not because balance is alien to
our tradition; indeed, as I've argued, balance is our tradition. But
because the muscle to think critically about the scope of anything
-called "property" is not well exercised within this tradition anymore.
+called <quote>property</quote> is not well exercised within this tradition anymore.
</para>
<para>
If we were Achilles, this would be our heel. This would be the place
As I write these final words, the news is filled with stories about
the RIAA lawsuits against almost three hundred individuals.<footnote><para>
<!-- f11. -->
-John Borland, "RIAA Sues 261 File Swappers," CNET News.com, September
+John Borland, <quote>RIAA Sues 261 File Swappers,</quote> CNET News.com, September
2003, available at
<ulink url="http://free-culture.cc/notes/">link #65</ulink>; Paul
-R. La Monica, "Music Industry Sues Swappers," CNN/Money, 8 September
+R. La Monica, <quote>Music Industry Sues Swappers,</quote> CNN/Money, 8 September
2003, available at
<ulink url="http://free-culture.cc/notes/">link #66</ulink>; Soni
-Sangha and Phyllis Furman with Robert Gearty, "Sued for a Song,
-N.Y.C. 12-Yr-Old Among 261 Cited as Sharers," <citetitle>New York Daily News</citetitle>, 9
-September 2003, 3; Frank Ahrens, "RIAA's Lawsuits Meet Surprised
+Sangha and Phyllis Furman with Robert Gearty, <quote>Sued for a Song,
+N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,</quote> <citetitle>New York Daily News</citetitle>, 9
+September 2003, 3; Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised
Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among
-Defendants," <citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean,
-"Schoolgirl Settles with RIAA," <citetitle>Wired News</citetitle>, 10 September 2003,
+Defendants,</quote> <citetitle>Washington Post</citetitle>, 10 September 2003, E1; Katie Dean,
+<quote>Schoolgirl Settles with RIAA,</quote> <citetitle>Wired News</citetitle>, 10 September 2003,
available at
<ulink url="http://free-culture.cc/notes/">link #67</ulink>.
</para></footnote>
-Eminem has just been sued for "sampling" someone else's
+Eminem has just been sued for <quote>sampling</quote> someone else's
music.<footnote><para>
<!-- f12. -->
-Jon Wiederhorn, "Eminem Gets Sued … by a Little Old Lady,"
+Jon Wiederhorn, <quote>Eminem Gets Sued … by a Little Old Lady,</quote>
mtv.com, 17 September 2003, available at
<ulink url="http://free-culture.cc/notes/">link #68</ulink>.
</para></footnote>
-The story about Bob Dylan "stealing" from a Japanese author has just
+The story about Bob Dylan <quote>stealing</quote> from a Japanese author has just
finished making the rounds.<footnote><para>
<!-- f13. -->
-Kenji Hall, Associated Press, "Japanese Book May Be Inspiration for
-Dylan Songs," Kansascity.com, 9 July 2003, available at
+Kenji Hall, Associated Press, <quote>Japanese Book May Be Inspiration for
+Dylan Songs,</quote> Kansascity.com, 9 July 2003, available at
<ulink url="http://free-culture.cc/notes/">link #69</ulink>.
<!-- PAGE BREAK 334 -->
</para></footnote>
An insider from Hollywood—who insists he must remain
-anonymous—reports "an amazing conversation with these studio
+anonymous—reports <quote>an amazing conversation with these studio
guys. They've got extraordinary [old] content that they'd love to use
but can't because they can't begin to clear the rights. They've got
scores of kids who could do amazing things with the content, but it
-would take scores of lawyers to clean it first." Congressmen are
+would take scores of lawyers to clean it first.</quote> Congressmen are
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.
<indexterm><primary>Gil, Gilberto</primary></indexterm>
<para>
Yet on the other side of the Atlantic, the BBC has just announced
-that it will build a "Creative Archive," from which British citizens can
+that it will build a <quote>Creative Archive,</quote> from which British citizens can
download BBC content, and rip, mix, and burn it.<footnote><para>
-<!-- f14. --> "BBC Plans to Open Up Its Archive to the Public," BBC press release,
+<!-- f14. --> <quote>BBC Plans to Open Up Its Archive to the Public,</quote> BBC press release,
24 August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #70</ulink>.
</para></footnote>
content and free licenses in that Latin American
country.<footnote><para>
<!-- f15. -->
-"Creative Commons and Brazil," Creative Commons Weblog, 6 August 2003,
+<quote>Creative Commons and Brazil,</quote> Creative Commons Weblog, 6 August 2003,
available at
<ulink url="http://free-culture.cc/notes/">link #71</ulink>.
</para></footnote>
<para>
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 believe in maximal copyright—"All Rights
-Reserved"— and those who reject copyright—"No Rights
-Reserved." The "All Rights Reserved" sorts believe that you should ask
-permission before you "use" a copyrighted work in any way. The "No
-Rights Reserved" sorts believe you should be able to do with content
+is. There are those who believe in maximal copyright—<quote>All Rights
+Reserved</quote>— and those who reject copyright—<quote>No Rights
+Reserved.</quote> The <quote>All Rights Reserved</quote> sorts believe that you should ask
+permission before you <quote>use</quote> a copyrighted work in any way. The <quote>No
+Rights Reserved</quote> sorts believe you should be able to do with content
as you wish, regardless of whether you have permission or not.
</para>
<para>
When the Internet was first born, its initial architecture effectively
-tilted in the "no rights reserved" direction. Content could be copied
+tilted in the <quote>no rights reserved</quote> direction. Content could be copied
perfectly and cheaply; rights could not easily be controlled. Thus,
regardless of anyone's desire, the effective regime of copyright under
the
<!-- PAGE BREAK 282 -->
-original design of the Internet was "no rights reserved." Content was
-"taken" regardless of the rights. Any rights were effectively
+original design of the Internet was <quote>no rights reserved.</quote> Content was
+<quote>taken</quote> regardless of the rights. Any rights were effectively
unprotected.
</para>
<para>
book. Through legislation, litigation, and changes to the network's
design, copyright holders have been able to change the essential
character of the environment of the original Internet. If the original
-architecture made the effective default "no rights reserved," the
-future architecture will make the effective default "all rights
-reserved." The architecture and law that surround the Internet's
+architecture made the effective default <quote>no rights reserved,</quote> the
+future architecture will make the effective default <quote>all rights
+reserved.</quote> The architecture and law that surround the Internet's
design will increasingly produce an environment where all use of
-content requires permission. The "cut and paste" world that defines
-the Internet today will become a "get permission to cut and paste"
+content requires permission. The <quote>cut and paste</quote> world that defines
+the Internet today will become a <quote>get permission to cut and paste</quote>
world that is a creator's nightmare.
</para>
<para>
What's needed is a way to say something in the middle—neither
-"all rights reserved" nor "no rights reserved" but "some rights
-reserved"— and thus a way to respect copyrights but enable
+<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but <quote>some rights
+reserved</quote>— 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.
about data about our lives that we broadcast to the world. If you
walked into a bookstore and browsed through some of the works of Karl
Marx, you didn't need to worry about explaining your browsing habits
-to your neighbors or boss. The "privacy" of your browsing habits was
+to your neighbors or boss. The <quote>privacy</quote> of your browsing habits was
assured.
</para>
<para>
us (again, we can hope), spying doesn't pay. The highly inefficient
architecture of real space means we all enjoy a fairly robust amount
of privacy. That privacy is guaranteed to us by friction. Not by law
-(there is no law protecting "privacy" in public places), and in many
+(there is no law protecting <quote>privacy</quote> 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.
</para>
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
at. You know this because at the side of the page, there's a list of
-"recently viewed" pages. Now, because of the architecture of the Net
+<quote>recently viewed</quote> pages. Now, because of the architecture of the Net
and the function of cookies on the Net, it is easier to collect the
-data than not. The friction has disappeared, and hence any "privacy"
+data than not. The friction has disappeared, and hence any <quote>privacy</quote>
protected by the friction disappears, too.
<indexterm><primary>cookies, Internet</primary></indexterm>
</para>
<para>
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 "right" to browse in a library without the
+people should have the <quote>right</quote> to browse in a library without the
government knowing which books you look at (I'm one of those lefties,
too), then this change in the technology of monitoring might concern
you. If it becomes simple to gather and sort who does what in
disappears.
</para>
<para>
-It is this reality that explains the push of many to define "privacy"
+It is this reality that explains the push of many to define <quote>privacy</quote>
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.<footnote><para>
<!-- f1. -->
-See, for example, Marc Rotenberg, "Fair Information Practices and the
-Architecture of Privacy (What Larry Doesn't Get)," <citetitle>Stanford Technology
+See, for example, Marc Rotenberg, <quote>Fair Information Practices and the
+Architecture of Privacy (What Larry Doesn't Get),</quote> <citetitle>Stanford Technology
Law Review</citetitle> 1 (2001): par. 6–18, available at
<ulink url="http://free-culture.cc/notes/">link #72</ulink>
<para>
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 "Linux"
+was the birth of the GNU project, into which Linus Torvalds's <quote>Linux</quote>
kernel was added to produce the GNU/Linux operating system.
<indexterm><primary>GNU/Linux operating system</primary></indexterm>
<indexterm><primary>Linux operating system</primary></indexterm>
Creative Commons license constitutes a grant of freedom to anyone who
accesses the license, and more importantly, an expression of the ideal
that the person associated with the license believes in something
-different than the "All" or "No" extremes. Content is marked with the
+different than the <quote>All</quote> or <quote>No</quote> extremes. Content is marked with the
CC mark, which does not mean that copyright is waived, but that
certain freedoms are given.
</para>
creator can choose a license that permits any use, so long as
attribution is given. She can choose a license that permits only
noncommercial use. She can choose a license that permits any use so
-long as the same freedoms are given to other uses ("share and share
-alike"). Or any use so long as no derivative use is made. Or any use
+long as the same freedoms are given to other uses (<quote>share and share
+alike</quote>). Or any use so long as no derivative use is made. Or any use
at all within developing nations. Or any sampling use, so long as full
copies are not made. Or lastly, any educational use.
</para>
domain or in getting legislators to help build a public domain. Our
aim is to build a movement of consumers and producers
<!-- PAGE BREAK 289 -->
-of content ("content conducers," as attorney Mia Garlick calls them)
+of content (<quote>content conducers,</quote> 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.
<indexterm><primary>Garlick, Mia</primary></indexterm>
</para>
<para>
-The aim is not to fight the "All Rights Reserved" sorts. The aim is to
+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 culture
are produced by insane and unintended consequences of laws written
centuries ago, applied to a technology that only Jefferson could have
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
-reasons. Many who use the "sampling license" do so because anything
+reasons. Many who use the <quote>sampling license</quote> do so because anything
else would be hypocritical. The sampling license says that others are
free, for commercial or noncommercial purposes, to sample content from
the licensed work; they are just not free to make full copies of the
art—they, too, sample from others. Because the
<emphasis>legal</emphasis> costs of sampling are so high (Walter
Leaphart, manager of the rap group Public Enemy, which was born
-sampling the music of others, has stated that he does not "allow"
+sampling the music of others, has stated that he does not <quote>allow</quote>
Public Enemy to sample anymore, because the legal costs are so
high<footnote><para>
<!-- f2. -->
Finally, there are many who mark their content with a Creative Commons
license just because they want to express to others the importance of
balance in this debate. If you just go along with the system as it is,
-you are effectively saying you believe in the "All Rights Reserved"
+you are effectively saying you believe in the <quote>All Rights Reserved</quote>
model. Good for you, but many do not. Many believe that however
appropriate that rule is for Hollywood and freaks, it is not an
appropriate description of how most creators view the rights
associated with their content. The Creative Commons license expresses
-this notion of "Some Rights Reserved," and gives many the chance to
+this notion of <quote>Some Rights Reserved,</quote> and gives many the chance to
say it to others.
</para>
<para>
In contrast, under current copyright law, you automatically get a
copyright, regardless of whether you comply with any formality. You
don't have to register. You don't even have to mark your content. The
-default is control, and "formalities" are banished.
+default is control, and <quote>formalities</quote> are banished.
</para>
<para>
Why?
solved here. In my view, the law of derivatives creates a more complicated
system than is justified by the marginal incentive it creates.
</para></footnote>
-The meaning of an unmarked work would therefore be "use unless someone
-complains." If someone does complain, then the obligation would be to
+The meaning of an unmarked work would therefore be <quote>use unless someone
+complains.</quote> If someone does complain, then the obligation would be to
stop using the work in any new
<!-- PAGE BREAK 296 -->
work from then on though no penalty would attach for existing uses.
copyright term.<footnote><para>
<!-- f3. -->
-"A Radical Rethink," <citetitle>Economist</citetitle>, 366:8308 (25 January 2003): 15,
+<quote>A Radical Rethink,</quote> <citetitle>Economist</citetitle>, 366:8308 (25 January 2003): 15,
available at
<ulink url="http://free-culture.cc/notes/">link #74</ulink>.
</para></footnote>
<!-- (2) -->
<emphasis>Keep it simple:</emphasis> The line between the public
domain and protected content must be kept clear. Lawyers like the
-fuzziness of "fair use," and the distinction between "ideas" and
-"expression." That kind of law gives them lots of work. But our
+fuzziness of <quote>fair use,</quote> and the distinction between <quote>ideas</quote> and
+<quote>expression.</quote> That kind of law gives them lots of work. But our
framers had a simpler idea in mind: protected versus unprotected. The
value of short terms is that there is little need to build exceptions
into copyright when the term itself is kept short. A clear and active
-"lawyer-free zone" makes the complexities of "fair use" and
-"idea/expression" less necessary to navigate.
+<quote>lawyer-free zone</quote> makes the complexities of <quote>fair use</quote> and
+<quote>idea/expression</quote> less necessary to navigate.
<!-- PAGE BREAK 298 -->
</para></listitem>
<listitem><para>
same.
</para>
<para>
-No doubt the extremists will call these ideas "radical." (After all, I
-call them "extremists.") But again, the term I recommended was longer
-than the term under Richard Nixon. How "radical" can it be to ask for
+No doubt the extremists will call these ideas <quote>radical.</quote> (After all, I
+call them <quote>extremists.</quote>) But again, the term I recommended was longer
+than the term under Richard Nixon. How <quote>radical</quote> can it be to ask for
a more generous copyright law than Richard Nixon presided over?
</para>
the emergence of that new technology.
</para>
<para>
-Our Constitution gives Congress the power to give authors "exclusive
-right" to "their writings." Congress has given authors an exclusive
-right to "their writings" plus any derivative writings (made by
+Our Constitution gives Congress the power to give authors <quote>exclusive
+right</quote> to <quote>their writings.</quote> Congress has given authors an exclusive
+right to <quote>their writings</quote> plus any derivative writings (made by
others) that are sufficiently close to the author's original
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 "my writing."
+though that movie is not <quote>my writing.</quote>
</para>
<para>
Congress granted the beginnings of this right in 1870, when it
rights be narrowed. Again, there are some cases in which derivative
rights are important. Those should be specified. But the law should
draw clear lines around regulated and unregulated uses of copyrighted
-material. When all "reuse" of creative material was within the control
+material. When all <quote>reuse</quote> of creative material was within the control
of businesses, perhaps it made sense to require lawyers to negotiate
the lines. It no longer makes sense for lawyers to negotiate the
lines. Think about all the creative possibilities that digital
services charge money for the content they give access to. Already
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 "free" content is available in the
+paying for this content even though <quote>free</quote> content is available in the
form of MP3s across the Web.<footnote><para>
<!-- f8. -->
-See, for example, "Music Media Watch," The J@pan Inc. Newsletter, 3
+See, for example, <quote>Music Media Watch,</quote> The J@pan Inc. Newsletter, 3
April 2002, available at
<ulink url="http://free-culture.cc/notes/">link #76</ulink>.
</para></footnote>
</para>
<para>
This point about the future is meant to suggest a perspective on the
-present: It is emphatically temporary. The "problem" with file
+present: It is emphatically temporary. The <quote>problem</quote> with file
sharing—to the extent there is a real problem—is a problem
that will increasingly disappear as it becomes easier to connect to
the Internet. And thus it is an extraordinary mistake for policy
-makers today to be "solving" this problem in light of a technology
+makers today to be <quote>solving</quote> this problem in light of a technology
that will be gone tomorrow. The question should not be how to
regulate the Internet to eliminate file sharing (the Net will evolve
that problem away). The question instead should be how to assure that
and twenty-first-century technologies.
</para>
<para>
-The answer begins with recognizing that there are different "problems"
+The answer begins with recognizing that there are different <quote>problems</quote>
here to solve. Let's start with type D content—uncopyrighted
content or copyrighted content that the artist wants shared. The
-"problem" with this content is to make sure that the technology that
+<quote>problem</quote> with this content is to make sure that the technology that
would enable this kind of sharing is not rendered illegal. You can
think of it this way: Pay phones are used to deliver ransom demands,
no doubt. But there are many who need to use pay phones who have
order to eliminate kidnapping.
</para>
<para>
-Type C content raises a different "problem." This is content that was,
+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
unavailable because the artist is no longer valuable enough for the
record label he signed with to carry his work. Or it may be
owner when someone reads or buys an out-of-print book. That makes
total sense, of course, since any other system would be so burdensome
as to eliminate the possibility of used book stores' existing. But
-from the author's perspective, this "sharing" of his content without
+from the author's perspective, this <quote>sharing</quote> of his content without
his being compensated is less than ideal.
</para>
<para>
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 music available for sale, then commercial and noncommercial
-providers would be free, under this rule, to "share" that content,
+providers would be free, under this rule, to <quote>share</quote> that content,
even though the sharing involved making a copy. The copy here would be
incidental to the trade; in a context where commercial publishing has
ended, trading music should be as free as trading books.
<ulink url="http://free-culture.cc/notes/">link #78</ulink>. Professor
Netanel has proposed a related idea that would exempt noncommercial
sharing from the reach of copyright and would establish compensation
-to artists to balance any loss. See Neil Weinstock Netanel, "Impose a
-Noncommercial Use Levy to Allow Free P2P File Sharing," available at
-<ulink url="http://free-culture.cc/notes/">link #79</ulink>. For other proposals, see Lawrence Lessig, "Who's Holding Back
-Broadband?" <citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on
+to artists to balance any loss. See Neil Weinstock Netanel, <quote>Impose a
+Noncommercial Use Levy to Allow Free P2P File Sharing,</quote> available at
+<ulink url="http://free-culture.cc/notes/">link #79</ulink>. For other proposals, see Lawrence Lessig, <quote>Who's Holding Back
+Broadband?</quote> <citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip S. Corwin on
behalf of Sharman Networks, A Letter to Senator Joseph R. Biden, Jr.,
Chairman of the Senate Foreign Relations Committee, 26 February 2002,
available at
<ulink url="http://free-culture.cc/notes/">link #80</ulink>; Serguei Osokine, <citetitle>A Quick Case for Intellectual Property
Use Fee (IPUF)</citetitle>, 3 March 2002, available at
<ulink url="http://free-culture.cc/notes/">link #81</ulink>; Jefferson Graham,
-"Kazaa, Verizon Propose to Pay Artists Directly," <citetitle>USA Today</citetitle>, 13 May
+<quote>Kazaa, Verizon Propose to Pay Artists Directly,</quote> <citetitle>USA Today</citetitle>, 13 May
2002, available at
-<ulink url="http://free-culture.cc/notes/">link #82</ulink>; Steven M. Cherry, "Getting Copyright Right,"
+<ulink url="http://free-culture.cc/notes/">link #82</ulink>; Steven M. Cherry, <quote>Getting Copyright Right,</quote>
IEEE Spectrum Online, 1 July 2002, available at
<ulink url="http://free-culture.cc/notes/">link #83</ulink>; Declan
-McCullagh, "Verizon's Copyright Campaign," CNET News.com, 27 August
+McCullagh, <quote>Verizon's Copyright Campaign,</quote> CNET News.com, 27 August
2002, available at
<ulink url="http://free-culture.cc/notes/">link #84</ulink>.
Fisher's proposal is very similar to Richard Stallman's proposal for
<para>
Fisher would balk at the idea of allowing the system to lapse. His aim
is not just to ensure that artists are paid, but also to ensure that
-the system supports the widest range of "semiotic democracy"
+the system supports the widest range of <quote>semiotic democracy</quote>
possible. But the aims of semiotic democracy would be satisfied if the
other changes I described were accomplished—in particular, the
limits on derivative
<indexterm><primary>Real Networks</primary></indexterm>
<para>
No doubt it would be difficult to calculate the proper measure of
-"harm" to an industry. But the difficulty of making that calculation
+<quote>harm</quote> to an industry. But the difficulty of making that calculation
would be outweighed by the benefit of facilitating innovation. This
background system to compensate would also not need to interfere with
innovative proposals such as Apple's MusicStore. As experts predicted
-when Apple launched the MusicStore, it could beat "free" by being
+when Apple launched the MusicStore, it could beat <quote>free</quote> by being
easier than free is. This has proven correct: Apple has sold millions
of songs at even the very high price of 99 cents a song. (At 99 cents,
the cost is the equivalent of a per-song CD price, though the labels
on-line.
</para>
<para>
-This competition has already occurred against the background of "free"
+This competition has already occurred against the background of <quote>free</quote>
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
-that, there is nothing impossible at all about "competing with free."
+that, there is nothing impossible at all about <quote>competing with free.</quote>
Indeed, if anything, the competition spurs the competitors to offer
new and better products. This is precisely what the competitive market
was to be about. Thus in Singapore, though piracy is rampant, movie
-theaters are often luxurious—with "first class" seats, and meals
+theaters are often luxurious—with <quote>first class</quote> seats, and meals
served while you watch a movie—as they struggle and succeed in
-finding ways to compete with "free."
+finding ways to compete with <quote>free.</quote>
</para>
<para>
This regime of competition, with a backstop to assure that artists
</para></listitem>
</orderedlist>
<para>
-But what if "piracy" doesn't disappear? What if there is a competitive
+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 of
-consumers continue to "take" content for nothing? Should the law do
+consumers continue to <quote>take</quote> content for nothing? Should the law do
something then?
</para>
<para>
</para>
<para>
The evidence of this bending is compelling. I'm attacked as a
-"radical" by many within the profession, yet the positions that I am
+<quote>radical</quote> by many within the profession, yet the positions that I am
advocating are precisely the positions of some of the most moderate
and significant figures in the history of this branch of the
law. Many, for example, thought crazy the challenge that we brought to
dominant scholar and practitioner in the field of copyright, Melville
Nimmer, thought it obvious.<footnote><para>
<!-- f10. -->
-Lawrence Lessig, "Copyright's First Amendment" (Melville B. Nimmer
+Lawrence Lessig, <quote>Copyright's First Amendment</quote> (Melville B. Nimmer
Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, 1069–70.
</para></footnote>
J. Liebowitz, <citetitle>Rethinking the Network Economy: The True Forces That
Drive the Digital Marketplace</citetitle> (New York: Amacom, 2002), (reviewing his
original view but expressing skepticism) with Stan J. Liebowitz,
-"Will MP3s Annihilate the Record Industry?" working paper, June 2003,
+<quote>Will MP3s Annihilate the Record Industry?</quote> working paper, June 2003,
available at
<ulink url="http://free-culture.cc/notes/">link #86</ulink>.
Liebowitz's careful analysis is extremely valuable in estimating the
<!-- PAGE BREAK 311 -->
rarely test their power, or the power they promote, against this
-simple pragmatic question: "Will it do good?" When challenged about
-the expanding reach of the law, the lawyer answers, "Why not?"
+simple pragmatic question: <quote>Will it do good?</quote> When challenged about
+the expanding reach of the law, the lawyer answers, <quote>Why not?</quote>
</para>
<para>
-We should ask, "Why?" Show me why your regulation of culture is
+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 lawyers away.
</para>
McMullen, Fred Norton, John Pormann, Pedro A. D. Rezende, Shabbir
Safdar, Saul Schleimer, Clay Shirky, Adam Shostack, Kragen Sitaker,
Chris Smith, Bruce Steinberg, Andrzej Jan Taramina, Sean Walsh, Matt
-Wasserman, Miljenko Williams, "Wink," Roger Wood, "Ximmbo da Jazz,"
+Wasserman, Miljenko Williams, <quote>Wink,</quote> Roger Wood, <quote>Ximmbo da Jazz,</quote>
and Richard Yanco. (I apologize if I have missed anyone; with
computers come glitches, and a crash of my e-mail system meant I lost
a bunch of great replies.)
2012-08-09T2204 872 oversatte meldinger, 747 antatte oversettelser, 239 uoversatte meldinger.
2012-08-10T0808 874 oversatte meldinger, 745 antatte oversettelser, 239 uoversatte meldinger.
2012-08-10T0902 876 oversatte meldinger, 743 antatte oversettelser, 239 uoversatte meldinger.
+2012-08-10T1251 616 oversatte meldinger, 1005 antatte oversettelser, 238 uoversatte meldinger.
projects / text-free-culture-lessig.git / commitdiff
