From: Petter Reinholdtsen Date: Tue, 31 Jul 2012 11:47:04 +0000 (+0200) Subject: Replace . . . with … for better typography. X-Git-Tag: edition-2015-10-10~1968 X-Git-Url: https://pere.pagekite.me/gitweb/text-free-culture-lessig.git/commitdiff_plain/32348abba256d07c3a632a3c1a625bbd7017a31a Replace . . . with … for better typography. --- diff --git a/freeculture.xml b/freeculture.xml index 369552d..df76ade 100644 --- a/freeculture.xml +++ b/freeculture.xml @@ -4,7 +4,6 @@ A glass of water was poured before the microphone in Yonkers; it -sounded like a glass of water being poured. . . . A paper was crumpled +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 +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." Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong @@ -648,8 +647,8 @@ described, The forces for FM, largely engineering, could not overcome the weight of strategy devised by the sales, patent, and legal offices to subdue this threat to corporate position. For FM, if allowed to develop -unrestrained, posed . . . a complete reordering of radio power -. . . and the eventual overthrow of the carefully restricted AM system +unrestrained, posed … a complete reordering of radio power +… and the eventual overthrow of the carefully restricted AM system on which RCA had grown to power.Lessing, 226. @@ -1485,9 +1484,9 @@ 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 +in Japan now. … American comics were born out of copying each -other. . . . That's how [the artists] learn to draw—by going into comic +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. @@ -1716,7 +1715,7 @@ Reese V. Jenkins, Images and Enterprise (Baltimore: Johns The principle of the Kodak system is the separation of the work that any person whomsoever can do in making a photograph, from the work -that only an expert can do. . . . We furnish anybody, man, woman or +that only an expert can do. … We furnish anybody, man, woman or child, who has sufficient intelligence to point a box straight and press a button, with an instrument which altogether removes from the practice of photography the necessity for exceptional facilities or, @@ -1760,7 +1759,7 @@ 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 +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." @@ -1909,7 +1908,7 @@ learning more and more of something teachers call "media literacy." "Media literacy," as Dave Yanofsky, the executive director of Just -Think!, puts it, "is the ability . . . to understand, analyze, and +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." @@ -1962,7 +1961,7 @@ 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 +about "the placement of objects, color, … rhythm, pacing, and texture." @@ -2100,10 +2099,10 @@ 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 +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. . . . +about the topic. … That empowers enormously. And then what happens, of @@ -2412,8 +2411,8 @@ extraordinary to report. 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 "human learning and … the +creation of knowledge ecologies for creating … innovation." Brown thus looks at these technologies of digital creativity a bit @@ -2444,7 +2443,7 @@ FS/OSS technology works can tinker with the code. This opportunity creates a "completely new kind of learning platform," -as Brown describes. "As soon as you start doing that, you . . . +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 @@ -2455,7 +2454,7 @@ 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 +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. @@ -2465,8 +2464,8 @@ 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 +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." @@ -2511,7 +2510,7 @@ and want to learn." "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 +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." @@ -2628,8 +2627,8 @@ them, he was increasingly astonished. "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 +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 search engine, @@ -2730,7 +2729,7 @@ activist:
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 +an activist. … [But] I've been pushed into this. In no way did I ever foresee anything like this, but I think it's just completely absurd what the RIAA has done. @@ -2738,7 +2737,7 @@ absurd what the RIAA has done. 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 +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." @@ -3199,7 +3198,7 @@ General Edwin Zimmerman put it, 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 already compensated, who already have a monopoly, -should be permitted to extend that monopoly. . . . The +should be permitted to extend that monopoly. … The question here is how much compensation they should have and @@ -3243,7 +3242,7 @@ permission or compensation—has grown with the Internet." — then every 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 +piracy. Film, records, radio, cable TV. … The list is long and could well be expanded. Every generation welcomes the pirates from the last. Every generation—until now. @@ -3357,7 +3356,7 @@ less money than they otherwise would have had. For an analysis of the economic impact of copying technology, see Stan Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), -144–90. "In some instances . . . the impact of piracy on the +144–90. "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 @@ -3672,7 +3671,7 @@ regulating technology was the answer. 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. "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 @@ -4598,7 +4597,7 @@ way to protect authors. 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 +"The publishers … had as much concern for authors as a cattle rancher has for cattle." Lyman Ray Patterson, "Free Speech, Copyright, and Fair Use," Vanderbilt @@ -4781,7 +4780,7 @@ reported:
-By the above decision . . . near 200,000 pounds worth of what was +By the above decision … near 200,000 pounds worth of what was honestly purchased at public sale, and which was yesterday thought property is now reduced to nothing. The Booksellers of London and Westminster, many of whom sold estates and houses to purchase @@ -4881,16 +4880,16 @@ Else said. He was just confirming the permission with Fox. Then, as Else told me, "two things happened. First we discovered -. . . that Matt Groening doesn't own his own creation—or at +… 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 +to use this four-point-five seconds of … entirely unsolicited Simpsons which was in the corner of the shot." 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 +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. @@ -4989,7 +4988,7 @@ principle. I did, in fact, speak with one of your colleagues at Stanford Law -School . . . who confirmed that it was fair use. He also confirmed +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 @@ -5153,7 +5152,7 @@ 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 +directors, … this many musicians," and we just went at it very systematically and cleared the rights.
@@ -5180,7 +5179,7 @@ Did it make sense, I asked Alben, that this is the way a new work has to be made? -For, as he acknowledged, "very few . . . have the time and resources, +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 @@ -5189,9 +5188,9 @@ you would have to go clear rights for these kinds of clips?
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 +he or she gets paid very well. … And then when 30 seconds of that performance is used in a new product that is a retrospective -of somebody's career, I don't think that that person . . . should be +of somebody's career, I don't think that that person … should be compensated for that.
@@ -5498,8 +5497,8 @@ graduate student wanting to study that, and you wanted to get those original back and forth exchanges between the two, the -60 Minutes episode that came out after it . . . it would be almost -impossible. . . . Those materials are almost unfindable. . . . +60 Minutes episode that came out after it … it would be almost +impossible. … Those materials are almost unfindable. …
@@ -5671,13 +5670,13 @@ Kahle describes, It looks like there's about two to three million recordings of music. Ever. There are about a hundred thousand theatrical releases of -movies, . . . and about one to two million movies [distributed] during +movies, … and about one to two million movies [distributed] during the twentieth century. There are about twenty-six million different titles of books. All of these would fit on computers that would fit in this room and be able to be afforded by a small company. So we're at a turning point in our history. Universal access is the goal. And the opportunity of leading a different life, based on this, is -. . . thrilling. It could be one of the things humankind would be most +… thrilling. It could be one of the things humankind would be most proud of. Up there with the Library of Alexandria, putting a man on the moon, and the invention of the printing press. @@ -6261,7 +6260,7 @@ 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 +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. @@ -7857,7 +7856,7 @@ put it in a recent article about Rupert Murdoch, 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 +… 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 @@ -8538,7 +8537,7 @@ is affected," he reports. "What affects it?" the father asks. "Those queer things that are -called the eyes . . . are diseased . . . in such a way as to affect +called the eyes … are diseased … in such a way as to affect his brain." @@ -8560,7 +8559,7 @@ 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. . . ." +scene. …" @@ -8989,7 +8988,7 @@ As Jed Horovitz, the businessman behind Video Pipeline, said to me, 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 +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 @@ -9174,7 +9173,7 @@ 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. . . . +United States with bona fide MP3 players. … Rafe Needleman, "Driving in Cars with MP3s," Business 2.0, 16 June @@ -9440,7 +9439,7 @@ 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 +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 @@ -9629,7 +9628,7 @@ 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 +webcasters asked the RIAA, … "How do you come up with a rate that's so much higher? Why is it worth more than radio? @@ -9637,7 +9636,7 @@ rate that's so much higher? Why is it worth more than radio? 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. . . ." +of business. …" And the RIAA experts said, "Well, we don't really model this as an @@ -9940,11 +9939,11 @@ explains,
then all of a sudden a lot of basic civil liberty protections -evaporate to one degree or another. . . . If you're a copyright +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, +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." @@ -10061,7 +10060,7 @@ 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 +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. @@ -10259,9 +10258,9 @@ different. As you know, the Constitution says,
-Congress has the power to promote the Progress of Science . . . -by securing for limited Times to Authors . . . exclusive Right to -their . . . Writings. . . . +Congress has the power to promote the Progress of Science … +by securing for limited Times to Authors … exclusive Right to +their … Writings. …
@@ -10270,7 +10269,7 @@ 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 +specific—to "promote … Progress"—through means that are also specific— by "securing" "exclusive Rights" (i.e., copyrights) "for limited Times." @@ -12253,7 +12252,7 @@ Owns the Knowledge Economy? (New York: The New Press, 2003), 37. 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, "The U.S. government pressured South Africa … not to permit compulsory licensing or parallel imports." @@ -12835,7 +12834,7 @@ available at Eminem has just been sued for "sampling" someone else's music. -Jon Wiederhorn, "Eminem Gets Sued . . . by a Little Old Lady," +Jon Wiederhorn, "Eminem Gets Sued … by a Little Old Lady," mtv.com, 17 September 2003, available at link #68.