From 0bb3d3a8013926647284981d16635442e83c76c7 Mon Sep 17 00:00:00 2001
From: Petter Reinholdtsen <pere@hungry.com>
Date: Thu, 30 Aug 2012 22:27:27 +0200
Subject: [PATCH] Update to current status.

---
 archive/freeculture.nb.epub |  Bin 1165867 -> 1167068 bytes
 archive/freeculture.nb.html | 1852 +++++++++++++++++------------------
 archive/freeculture.nb.pdf  |  Bin 1895445 -> 1907095 bytes
 progress.png                |  Bin 4529 -> 4560 bytes
 stats.txt                   |   10 +
 5 files changed, 936 insertions(+), 926 deletions(-)

diff --git a/archive/freeculture.nb.epub b/archive/freeculture.nb.epub
index 2c59420144d80170523458b29e238ff9c96fe684..5299975567fd0140a822f8d1f0988bbb0563ab57 100644
GIT binary patch
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diff --git a/archive/freeculture.nb.html b/archive/freeculture.nb.html
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--- a/archive/freeculture.nb.html
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@@ -1,5 +1,5 @@
 <html><head><meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"><title>Fri kultur</title><meta name="generator" content="DocBook XSL Stylesheets V1.76.1"><meta name="description" content="Om forfatteren Lawrense Lessig (http://www.lessig.org), professor i juss og en John A. Wilson Distinguished Faculty Scholar ved Stanford Law School, er stifteren av Stanford Center for Internet and Society og styreleder i Creative Commons (http://creativecommons.org). Forfatteren har gitt ut The Future of Ideas (Random House, 2001) og Code: And other Laws of Cyberspace (Basic Books, 1999), og er medlem av styrene i Public Library of Science, the Electronic Frontier Foundation, og Public Knowledge. Han har vunnet Free Software Foundation's Award for the Advancement of Free Software, to ganger vært oppført i BusinessWeek's e.biz 25, og omtalt som en av Scientific American's 50 visjonærer. Etter utdanning ved University of Pennsylvania, Cambridge University, og Yale Law School, assisterte Lessig dommer Richard Posner ved U.S. Seventh Circuit Court of Appeals."></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="nb" class="book" title="Fri kultur"><div class="titlepage"><div><div><h1 class="title"><a name="index"></a>Fri kultur</h1></div><div><h2 class="subtitle">Hvordan store medieaktører bruker teknologi og loven til å låse ned kulturen
-og kontrollere kreativiteten</h2></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Lawrence</span> <span class="surname">Lessig</span></h3></div></div></div><div><p class="releaseinfo">Versjon 2004-02-10</p></div><div><p class="copyright">Opphavsrett © 2004 Lawrence Lessig</p></div><div><div class="legalnotice" title="Rettslig merknad"><a name="id2689845"></a><p>
+og kontrollere kreativiteten</h2></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Lawrence</span> <span class="surname">Lessig</span></h3></div></div></div><div><p class="releaseinfo">Versjon 2004-02-10</p></div><div><p class="copyright">Opphavsrett © 2004 Lawrence Lessig</p></div><div><div class="legalnotice" title="Rettslig merknad"><a name="id2993673"></a><p>
      <span class="inlinemediaobject"><img src="images/cc.png" align="middle" height="37.5" alt="Creative Commons, noen rettigheter reservert"></span>
    </p><p>
 Denne versjonen av <em class="citetitle">Fri Kultur</em> er lisensiert med en
@@ -29,10 +29,10 @@ Andre b
 The Future of Ideas: The Fate of the Commons in a Connected World
 </p><p>
 Code: And Other Laws of Cyberspace
-</p></div><div class="dedication"><div class="titlepage"><div><div><h2 class="title"><a name="id2657767"></a></h2></div></div></div><p>
+</p></div><div class="dedication"><div class="titlepage"><div><div><h2 class="title"><a name="id2963012"></a></h2></div></div></div><p>
 Til Eric Eldred &#8212; hvis arbeid først trakk meg til denne saken, og for
 hvem saken fortsetter.
-</p></div><div class="toc"><dl><dt><span class="preface"><a href="#preface">Forord</a></span></dt><dt><span class="chapter">0. <a href="#c-introduction">Introduksjon</a></span></dt><dt><span class="part">I. <a href="#c-piracy"><span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">1. <a href="#creators">Kapittel en: Skaperne</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists">Kapittel to: <span class="quote">«<span class="quote">Kun etter-apere</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Kapittel tre: Kataloger</a></span></dt><dt><span class="chapter">4. <a href="#pirates">Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></a></span></dt><dd><dl><dt><span class="section">4.1. <a href="#film">Film</a></span></dt><dt><span class="section">4.2. <a href="#recordedmusic">Innspilt musikk</a></span></dt><dt><span class="section">4.3. <a href="#radio">Radio</a></span></dt><dt><span class="section">4.4. <a href="#cabletv">Kabel-TV</a></span></dt></dl></dd><dt><span class="chapter">5. <a href="#piracy">Kapittel fem: <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="section">5.1. <a href="#piracy-i">Piratvirksomhet I</a></span></dt><dt><span class="section">5.2. <a href="#piracy-ii">Piratvirksomhet II</a></span></dt></dl></dd></dl></dd><dt><span class="part">II. <a href="#c-property"><span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">6. <a href="#founders">Kapittel seks: Grunnleggerne</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Kapittel sju: Innspillerne</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Kapittel åtte: Omformerne</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Kapittel ni: Samlere</a></span></dt><dt><span class="chapter">10. <a href="#property-i">Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="section">10.1. <a href="#hollywood">Hvorfor Hollywood har rett</a></span></dt><dt><span class="section">10.2. <a href="#beginnings">Opphav</a></span></dt><dt><span class="section">10.3. <a href="#lawduration">Loven: Varighet</a></span></dt><dt><span class="section">10.4. <a href="#lawscope">Loven: Virkeområde</a></span></dt><dt><span class="section">10.5. <a href="#lawreach">Lov og arkitektur: Rekkevidde</a></span></dt><dt><span class="section">10.6. <a href="#lawforce">Arkitektur og lov: Makt</a></span></dt><dt><span class="section">10.7. <a href="#marketconcentration">Marked: Konsentrasjon</a></span></dt><dt><span class="section">10.8. <a href="#together">Sammen</a></span></dt></dl></dd></dl></dd><dt><span class="part">III. <a href="#c-puzzles">Nøtter</a></span></dt><dd><dl><dt><span class="chapter">11. <a href="#chimera">Kapittel elleve: Fantasifoster</a></span></dt><dt><span class="chapter">12. <a href="#harms">Kapittel tolv: Skader</a></span></dt><dd><dl><dt><span class="section">12.1. <a href="#constrain">Constraining Creators</a></span></dt><dt><span class="section">12.2. <a href="#innovators">Constraining Innovators</a></span></dt><dt><span class="section">12.3. <a href="#corruptingcitizens">Corrupting Citizens</a></span></dt></dl></dd></dl></dd><dt><span class="part">IV. <a href="#c-balances">Maktfordeling</a></span></dt><dd><dl><dt><span class="chapter">13. <a href="#eldred">Kapittel tretten: Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Kapittel fjorten: Eldred II</a></span></dt></dl></dd><dt><span class="chapter">15. <a href="#c-conclusion">Konklusjon</a></span></dt><dt><span class="chapter">16. <a href="#c-afterword">Etterord</a></span></dt><dd><dl><dt><span class="section">16.1. <a href="#usnow">Oss, nå</a></span></dt><dd><dl><dt><span class="section">16.1.1. <a href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></span></dt><dt><span class="section">16.1.2. <a href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></span></dt></dl></dd><dt><span class="section">16.2. <a href="#themsoon">Dem, snart</a></span></dt><dd><dl><dt><span class="section">16.2.1. <a href="#formalities">1. Flere formaliteter</a></span></dt><dd><dl><dt><span class="section">16.2.1.1. <a href="#registration">Registrering og fornying</a></span></dt><dt><span class="section">16.2.1.2. <a href="#marking">Merking</a></span></dt></dl></dd><dt><span class="section">16.2.2. <a href="#shortterms">2. Kortere vernetid</a></span></dt><dt><span class="section">16.2.3. <a href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></span></dt><dt><span class="section">16.2.4. <a href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></span></dt><dt><span class="section">16.2.5. <a href="#firelawyers">5. Spark en masse advokater</a></span></dt></dl></dd></dl></dd><dt><span class="chapter">17. <a href="#c-notes">Notater</a></span></dt><dt><span class="chapter">18. <a href="#c-acknowledgments">Takk til</a></span></dt><dt><span class="index"><a href="#id2748782">Indeks</a></span></dt></dl></div><div class="colophon" title="Kolofon"><h2 class="title"><a name="id2658662"></a>Kolofon</h2><p>
+</p></div><div class="toc"><dl><dt><span class="preface"><a href="#preface">Forord</a></span></dt><dt><span class="chapter">0. <a href="#c-introduction">Introduksjon</a></span></dt><dt><span class="part">I. <a href="#c-piracy"><span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">1. <a href="#creators">Kapittel en: Skaperne</a></span></dt><dt><span class="chapter">2. <a href="#mere-copyists">Kapittel to: <span class="quote">«<span class="quote">Kun etter-apere</span>»</span></a></span></dt><dt><span class="chapter">3. <a href="#catalogs">Kapittel tre: Kataloger</a></span></dt><dt><span class="chapter">4. <a href="#pirates">Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></a></span></dt><dd><dl><dt><span class="section">4.1. <a href="#film">Film</a></span></dt><dt><span class="section">4.2. <a href="#recordedmusic">Innspilt musikk</a></span></dt><dt><span class="section">4.3. <a href="#radio">Radio</a></span></dt><dt><span class="section">4.4. <a href="#cabletv">Kabel-TV</a></span></dt></dl></dd><dt><span class="chapter">5. <a href="#piracy">Kapittel fem: <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></a></span></dt><dd><dl><dt><span class="section">5.1. <a href="#piracy-i">Piratvirksomhet I</a></span></dt><dt><span class="section">5.2. <a href="#piracy-ii">Piratvirksomhet II</a></span></dt></dl></dd></dl></dd><dt><span class="part">II. <a href="#c-property"><span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="chapter">6. <a href="#founders">Kapittel seks: Grunnleggerne</a></span></dt><dt><span class="chapter">7. <a href="#recorders">Kapittel sju: Innspillerne</a></span></dt><dt><span class="chapter">8. <a href="#transformers">Kapittel åtte: Omformerne</a></span></dt><dt><span class="chapter">9. <a href="#collectors">Kapittel ni: Samlere</a></span></dt><dt><span class="chapter">10. <a href="#property-i">Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></a></span></dt><dd><dl><dt><span class="section">10.1. <a href="#hollywood">Hvorfor Hollywood har rett</a></span></dt><dt><span class="section">10.2. <a href="#beginnings">Opphav</a></span></dt><dt><span class="section">10.3. <a href="#lawduration">Loven: Varighet</a></span></dt><dt><span class="section">10.4. <a href="#lawscope">Loven: Virkeområde</a></span></dt><dt><span class="section">10.5. <a href="#lawreach">Lov og arkitektur: Rekkevidde</a></span></dt><dt><span class="section">10.6. <a href="#lawforce">Arkitektur og lov: Makt</a></span></dt><dt><span class="section">10.7. <a href="#marketconcentration">Marked: Konsentrasjon</a></span></dt><dt><span class="section">10.8. <a href="#together">Sammen</a></span></dt></dl></dd></dl></dd><dt><span class="part">III. <a href="#c-puzzles">Nøtter</a></span></dt><dd><dl><dt><span class="chapter">11. <a href="#chimera">Kapittel elleve: Fantasifoster</a></span></dt><dt><span class="chapter">12. <a href="#harms">Kapittel tolv: Skader</a></span></dt><dd><dl><dt><span class="section">12.1. <a href="#constrain">Constraining Creators</a></span></dt><dt><span class="section">12.2. <a href="#innovators">Constraining Innovators</a></span></dt><dt><span class="section">12.3. <a href="#corruptingcitizens">Corrupting Citizens</a></span></dt></dl></dd></dl></dd><dt><span class="part">IV. <a href="#c-balances">Maktfordeling</a></span></dt><dd><dl><dt><span class="chapter">13. <a href="#eldred">Kapittel tretten: Eldred</a></span></dt><dt><span class="chapter">14. <a href="#eldred-ii">Kapittel fjorten: Eldred II</a></span></dt></dl></dd><dt><span class="chapter">15. <a href="#c-conclusion">Konklusjon</a></span></dt><dt><span class="chapter">16. <a href="#c-afterword">Etterord</a></span></dt><dd><dl><dt><span class="section">16.1. <a href="#usnow">Oss, nå</a></span></dt><dd><dl><dt><span class="section">16.1.1. <a href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></span></dt><dt><span class="section">16.1.2. <a href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></span></dt></dl></dd><dt><span class="section">16.2. <a href="#themsoon">Dem, snart</a></span></dt><dd><dl><dt><span class="section">16.2.1. <a href="#formalities">1. Flere formaliteter</a></span></dt><dd><dl><dt><span class="section">16.2.1.1. <a href="#registration">Registrering og fornying</a></span></dt><dt><span class="section">16.2.1.2. <a href="#marking">Merking</a></span></dt></dl></dd><dt><span class="section">16.2.2. <a href="#shortterms">2. Kortere vernetid</a></span></dt><dt><span class="section">16.2.3. <a href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></span></dt><dt><span class="section">16.2.4. <a href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></span></dt><dt><span class="section">16.2.5. <a href="#firelawyers">5. Spark en masse advokater</a></span></dt></dl></dd></dl></dd><dt><span class="chapter">17. <a href="#c-notes">Notater</a></span></dt><dt><span class="chapter">18. <a href="#c-acknowledgments">Takk til</a></span></dt><dt><span class="index"><a href="#id3054291">Indeks</a></span></dt></dl></div><div class="colophon" title="Kolofon"><h2 class="title"><a name="id2963348"></a>Kolofon</h2><p>
 THE PENGUIN PRESS, a member of Penguin Group (USA) Inc.  375 Hudson Street
 New York, New York
 </p><p>
@@ -57,9 +57,9 @@ to lock down culture and control creativity / Lawrence Lessig.
 </p><p>
 p. cm.
 </p><p>
-Includes index.
+Inkluderer register.
 </p><p>
-ISBN 1-59420-006-8 (hardcover)
+ISBN 1-59420-006-8 (Innbundet bok)
 </p><p>
 1. Intellectual property&#8212;United States. 2. Mass media&#8212;United
 States.
@@ -71,13 +71,13 @@ KF2979.L47
 </p><p>
 343.7309'9&#8212;dc22
 </p><p>
-This book is printed on acid-free paper.
+Denne boken er trykket på syre-fritt papir.
 </p><p>
-Printed in the United States of America
+Trykt i USA
 </p><p>
 1 3 5 7 9 10 8 6 4
 </p><p>
-Designed by Marysarah Quinn
+Utformet av Marysarah Quinn
 </p><p>
 Oversatt til bokmål av Petter Reinholdtsen og Anders Hagen
 Jarmund. Kildefilene til oversetterprosjektet er <a class="ulink" href="https://github.com/petterreinholdtsen/free-culture-lessig" target="_top">tilgjengelig
@@ -122,7 +122,7 @@ selv etter at modemet er sl
 som nå brer om seg i livet on-line har fundamentalt påvirket <span class="quote">«<span class="quote">folk som
 er ikke pålogget.</span>»</span>  Det finnes ingen bryter som kan isolere oss fra
 internettets effekt.
-</p><a class="indexterm" name="id2657938"></a><p>
+</p><a class="indexterm" name="id2963184"></a><p>
 Men i motsetning til i boken <em class="citetitle">Code</em>, er argumentet her
 ikke så mye om internett i seg selv. Istedet er det om konsekvensen av
 internett for en del av vår tradisjon som er mye mer grunnleggende, og
@@ -132,7 +132,7 @@ Den tradisjonen er m
 sidene som følger, kommer vi fra en tradisjon av <span class="quote">«<span class="quote">fri
 kultur</span>»</span>&#8212;ikke <span class="quote">«<span class="quote">fri</span>»</span> som i <span class="quote">«<span class="quote">fri bar</span>»</span>
 (for å låne et uttrykk fra stifteren av fri
-programvarebevegelsen<sup>[<a name="id2657984" href="#ftn.id2657984" class="footnote">2</a>]</sup>), men
+programvarebevegelsen<sup>[<a name="id2963211" href="#ftn.id2963211" class="footnote">2</a>]</sup>), men
 <span class="quote">«<span class="quote">fri</span>»</span> som i <span class="quote">«<span class="quote">talefrihet</span>»</span>, <span class="quote">«<span class="quote">fritt
 marked</span>»</span>, <span class="quote">«<span class="quote">frihandel</span>»</span>, <span class="quote">«<span class="quote">fri konkurranse</span>»</span>,
 <span class="quote">«<span class="quote">fri vilje</span>»</span> og <span class="quote">«<span class="quote">frie valg</span>»</span>.  En fri kultur støtter
@@ -153,7 +153,7 @@ definert det tjuende 
 du i denne forstand ikke har interesser, vil historien jeg forteller her gi
 deg problemer. For endringene jeg beskriver påvirker verdier som begge sider
 av vår politiske kultur anser som grunnleggende.
-</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="id2658077"></a><a class="indexterm" name="id2658084"></a><a class="indexterm" name="id2658091"></a><p>
+</p><a class="indexterm" name="idxpowerconcentrationof"></a><a class="indexterm" name="id2963921"></a><a class="indexterm" name="id2963927"></a><a class="indexterm" name="id2963934"></a><p>
 Vi så et glimt av dette tverrpolitiske raseri på forsommeren i 2003. Da FCC
 vurderte endringer i reglene for medieeierskap som ville slakke på
 begrensningene rundt mediekonsentrasjon, sendte en ekstraordinær koalisjon
@@ -167,7 +167,7 @@ H
 makt&#8212;politisk, selskapsmessig, pressemessig, kulturelt&#8212;bør være
 bannlyst av konservative.  Spredningen av makt gjennom lokal kontroll, og
 derigjennom oppmuntre til individuell deltagelse, er essensen i føderalismen
-og det største uttrykk for demokrati.<sup>[<a name="id2658136" href="#ftn.id2658136" class="footnote">3</a>]</sup>
+og det største uttrykk for demokrati.<sup>[<a name="id2963980" href="#ftn.id2963980" class="footnote">3</a>]</sup>
 </p></blockquote></div><p>
 Denne idéen er et element i argumentet til <em class="citetitle">Fri
 Kultur</em>, selv om min fokus ikke bare er på konsentrasjonen av
@@ -177,7 +177,7 @@ endring i det effektive virkeomr
 endringen forandrer på hvordan vår kultur blir skapt. Den endringen bør
 bekymre deg&#8212;Uansett om du bryr deg om internett eller ikke, og uansett
 om du er til venstre for Safires eller til høyre.
-</p><a class="indexterm" name="id2658165"></a><p>
+</p><a class="indexterm" name="id2964008"></a><p>
 <span class="strong"><strong>Inspirasjonen</strong></span> til tittelen og mye av
 argumentet i denne boken kommer fra arbeidet til Richard Stallman og Free
 Software Foundation. Faktisk, da jeg leste Stallmans egne tekster på nytt,
@@ -212,11 +212,11 @@ denne boken er skrevet.
 </p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.preface01" href="#preface01" class="para">1</a>] </sup>
 David Pogue, <span class="quote">«<span class="quote">Don't Just Chat, Do Something,</span>»</span> <em class="citetitle">New
 York Times</em>, 30. januar 2000
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2657984" href="#id2657984" class="para">2</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id2963211" href="#id2963211" class="para">2</a>] </sup>
 Richard M. Stallman, <em class="citetitle">Free Software, Free Societies</em> 57
 (Joshua Gay, red. 2002).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2658136" href="#id2658136" class="para">3</a>] </sup> William Safire, <span class="quote">«<span class="quote">The Great Media Gulp,</span>»</span> <em class="citetitle">New York
-Times</em>, 22. mai 2003.  <a class="indexterm" name="id2658147"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id2963980" href="#id2963980" class="para">3</a>] </sup> William Safire, <span class="quote">«<span class="quote">The Great Media Gulp,</span>»</span> <em class="citetitle">New York
+Times</em>, 22. mai 2003.  <a class="indexterm" name="id2963991"></a>
 </p></div></div></div><div class="chapter" title="Introduksjon"><div class="titlepage"><div><div><h2 class="title"><a name="c-introduction"></a>Introduksjon</h2></div></div></div><a class="indexterm" name="idxwrightbrothers"></a><p>
 <span class="strong"><strong>Den 17. desember</strong></span> 1903, på en vindfylt
 strand i Nord-Carolina i såvidt under hundre sekunder, demonstrerte
@@ -229,11 +229,11 @@ den.
 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
 under bakken, helt ned til senterpunktet i jorda, og alt volumet over
-bakken, <span class="quote">«<span class="quote">i ubestemt grad, oppover</span>»</span>.<sup>[<a name="id2657421" href="#ftn.id2657421" class="footnote">4</a>]</sup> I mange år undret lærde over hvordan en best skulle tolke idéen om
+bakken, <span class="quote">«<span class="quote">i ubestemt grad, oppover</span>»</span>.<sup>[<a name="id2962508" href="#ftn.id2962508" class="footnote">4</a>]</sup> I mange år undret lærde over hvordan en best skulle tolke idéen om
 at eiendomsretten gikk helt til himmelen. Betød dette at du eide stjernene?
 Kunne en dømme gjess for at de regelmessig og med vilje tok seg inn på annen
 manns eiendom?
-</p><a class="indexterm" name="id2714860"></a><p>
+</p><a class="indexterm" name="id3019650"></a><p>
 Så kom flymaskiner, og for første gang hadde dette prinsippet i lovverket i
 USA&#8212;dypt nede i grunnlaget for vår tradisjon og akseptert av de
 viktigste juridiske tenkerne i vår fortid&#8212;en betydning. Hvis min
@@ -241,7 +241,7 @@ eiendom rekker til himmelen, hva skjer n
 Har jeg rett til å nekte dem å bruke min eiendom?  Har jeg mulighet til å
 inngå en eksklusiv avtale med Delta Airlines?  Kan vi gjennomføre en auksjon
 for å finne ut hvor mye disse rettighetene er verdt?
-</p><a class="indexterm" name="id2714871"></a><a class="indexterm" name="id2714896"></a><p>
+</p><a class="indexterm" name="id3019660"></a><a class="indexterm" name="id3019685"></a><p>
 I 1945 ble disse spørsmålene en føderal sak. Da bøndene Thomas Lee og Tinie
 Causby i Nord Carolina begynte å miste kyllinger på grunn av lavtflygende
 militære fly (vettskremte kyllinger fløy tilsynelatende i låveveggene og
@@ -251,7 +251,7 @@ hvis det stemte som Blackstone, Kent, og Cola hadde sagt, at deres eiendom
 strakk seg <span class="quote">«<span class="quote">i ubestemt grad, oppover,</span>»</span> så hadde regjeringen
 trengt seg inn på deres eiendom, og Causbys ønsket å sette en stopper for
 dette.
-</p><a class="indexterm" name="id2714922"></a><a class="indexterm" name="id2714928"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
+</p><a class="indexterm" name="id3019711"></a><a class="indexterm" name="id3019718"></a><a class="indexterm" name="idxdouglaswilliamo"></a><a class="indexterm" name="idxsupremecourtusonairspacevslandrights"></a><p>
 Høyesterett gikk med på å ta opp Causbys sak. Kongressen hadde vedtatt at
 luftfartsveiene var tilgjengelig for alle, men hvis ens eiendom virkelig
 rakk til himmelen, da kunne muligens kongressens vedtak ha vært i strid med
@@ -268,10 +268,10 @@ for utallige s
 strid med sunn fornuft.  Å anerkjenne slike private krav til luftrommet
 ville blokkere disse motorveiene, seriøst forstyrre muligheten til kontroll
 og utvikling av dem i fellesskapets interesse og overføre til privat
-eierskap det som kun fellesskapet har et rimelig krav til.<sup>[<a name="id2715005" href="#ftn.id2715005" class="footnote">5</a>]</sup>
+eierskap det som kun fellesskapet har et rimelig krav til.<sup>[<a name="id3019795" href="#ftn.id3019795" class="footnote">5</a>]</sup>
 </p></blockquote></div><p>
 <span class="quote">«<span class="quote">Idéen er i strid med sunn fornuft.</span>»</span>
-</p><a class="indexterm" name="id2715059"></a><p>
+</p><a class="indexterm" name="id3019850"></a><p>
 
 Det er hvordan loven vanligvis fungerer.  Ikke ofte like brått eller
 utålmodig, men til slutt er dette hvordan loven fungerer.  Det var ikke
@@ -282,7 +282,7 @@ det tar flere sider eller kun noen f
 et rettspraksis-system, slik som vårt er, at loven tilpasser seg til
 aktuelle teknologiene.  Og mens den tilpasser seg, så endres den.  Idéer som
 var solide som fjell i en tidsalder knuses i en annen.
-</p><a class="indexterm" name="id2715103"></a><a class="indexterm" name="id2715110"></a><a class="indexterm" name="id2715116"></a><p>
+</p><a class="indexterm" name="id3019895"></a><a class="indexterm" name="id3019901"></a><a class="indexterm" name="id3019908"></a><p>
 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
 mange som dem som var lei av den økende trafikken i luften (og en håper ikke
@@ -299,7 +299,7 @@ kraften i det som virket <span class="quote">
 til <span class="quote">«<span class="quote">sunn fornuft</span>»</span>&#8212;ville vinne frem.  Deres
 <span class="quote">«<span class="quote">personlige interesser</span>»</span> ville ikke få lov til å nedkjempe en
 åpenbar fordel for fellesskapet.
-</p><a class="indexterm" name="id2715165"></a><a class="indexterm" name="id2715176"></a><a class="indexterm" name="id2715187"></a><a class="indexterm" name="id2715199"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="id2715221"></a><a class="indexterm" name="id2715230"></a><a class="indexterm" name="id2715235"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
+</p><a class="indexterm" name="id3019955"></a><a class="indexterm" name="id3019966"></a><a class="indexterm" name="id3019978"></a><a class="indexterm" name="id3019989"></a><a class="indexterm" name="idxarmstrongedwinhoward"></a><a class="indexterm" name="id3020012"></a><a class="indexterm" name="id3020020"></a><a class="indexterm" name="id3020026"></a><a class="indexterm" name="idxradiofmspectrumof"></a><p>
 
 <span class="strong"><strong>Edwin Howard Armstrong</strong></span> er en av USAs
 glemte oppfinnergenier. Han dukket opp på oppfinnerscenen etter titaner som
@@ -337,7 +337,7 @@ det h
 Sousa-marsjer ble spilt av fra plater og en pianosolo og et gitarnummer ble
 utført. &#8230; Musikken ble presentert med en livaktighet som sjeldent om
 noen gang før hadde vært hørt fra en
-radio-<span class="quote">«<span class="quote">musikk-boks</span>»</span>.<sup>[<a name="id2715344" href="#ftn.id2715344" class="footnote">6</a>]</sup>
+radio-<span class="quote">«<span class="quote">musikk-boks</span>»</span>.<sup>[<a name="id3020135" href="#ftn.id3020135" class="footnote">6</a>]</sup>
 </p></blockquote></div><a class="indexterm" name="idxrca"></a><a class="indexterm" name="idxmediaownershipconcentrationin"></a><p>
 
 Som vår egen sunn fornuft forteller oss, hadde Armstrong oppdaget en mye
@@ -346,7 +346,7 @@ Armstrong for RCA. RCA var den dominerende akt
 AM-radiomarkedet. I 1935 var det tusen radiostasjoner over hele USA, men
 stasjonene i de store byene var alle eid av en liten håndfull selskaper.
 
-</p><a class="indexterm" name="id2715399"></a><p>
+</p><a class="indexterm" name="id3020189"></a><p>
 Presidenten i RCA, David Sarnoff, en venn av Armstrong, var ivrig etter å få
 Armstrong til å oppdage en måte å fjerne støyen fra AM-radio. Så Sarnoff var
 ganske spent da Armstrong fortalte ham at han hadde en enhet som fjernet
@@ -355,8 +355,8 @@ oppfinnelse, var ikke Sarnoff forn
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Jeg trodde Armstrong ville finne opp et slags filter for å fjerne skurring
 fra AM-radioen vår. Jeg trodde ikke han skulle starte en revolusjon &#8212;
-starte en hel forbannet ny industri i konkurranse med RCA.<sup>[<a name="id2715280" href="#ftn.id2715280" class="footnote">7</a>]</sup>
-</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="id2715463"></a><p>
+starte en hel forbannet ny industri i konkurranse med RCA.<sup>[<a name="id3020071" href="#ftn.id3020071" class="footnote">7</a>]</sup>
+</p></blockquote></div><a class="indexterm" name="idxfmradio"></a><a class="indexterm" name="id3020253"></a><p>
 Armstrongs oppfinnelse truet RCAs AM-herredømme, så selskapet lanserte en
 kampanje for å knuse FM-radio. Mens FM kan ha vært en overlegen teknologi,
 var Sarnoff en overlegen taktiker. En forfatter beskrev det slik,
@@ -367,7 +367,7 @@ for 
 hvis det fikk utvikle seg uten begrensninger &#8230; en komplett endring i
 maktforholdene rundt radio &#8230; og muligens fjerningen av det nøye
 begrensede AM-systemet som var grunnlaget for RCA stigning til
-makt.<sup>[<a name="id2715512" href="#ftn.id2715512" class="footnote">8</a>]</sup>
+makt.<sup>[<a name="id3020302" href="#ftn.id3020302" class="footnote">8</a>]</sup>
 </p></blockquote></div><a class="indexterm" name="idxfcconfmradio"></a><p>
 RCA holdt først teknologien innomhus, og insistere på at det var nødvendig
 med ytterligere tester. Da Armstrong, etter to år med testing, ble
@@ -383,8 +383,8 @@ FM-radio ville bli forkr
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Serien med slag mot kroppen som FM-radio mottok rett etter krigen, i en
 serie med avgjørelser manipulert gjennom FCC av de store radiointeressene,
-var nesten utrolige i deres kraft og underfundighet.<sup>[<a name="id2715541" href="#ftn.id2715541" class="footnote">9</a>]</sup>
-</p></blockquote></div><a class="indexterm" name="id2715581"></a><a class="indexterm" name="id2715589"></a><p>
+var nesten utrolige i deres kraft og underfundighet.<sup>[<a name="id3020332" href="#ftn.id3020332" class="footnote">9</a>]</sup>
+</p></blockquote></div><a class="indexterm" name="id3020371"></a><a class="indexterm" name="id3020379"></a><p>
 For å gjøre plass i spektrumet for RCAs nyeste satsingsområde, televisjon,
 skulle FM-radioens brukere flyttes til et helt nytt band i spektrumet.
 Sendestyrken til FM-radioene ble også redusert, og gjorde at FM ikke lenger
@@ -393,7 +393,7 @@ kunne brukes for 
 av FM-videresendingsstasjoner ville bety at radiostasjonene ville bli nødt
 til å kjøpe kablede linker fra AT&amp;T.)  Spredningen av FM-radio var
 dermed kvalt, i hvert fall midlertidig.
-</p><a class="indexterm" name="id2715609"></a><a class="indexterm" name="id2715617"></a><p>
+</p><a class="indexterm" name="id3020399"></a><a class="indexterm" name="id3020407"></a><p>
 Armstrong sto imot RCAs innsats. Som svar motsto RCA Armstrongs patenter.
 Etter å ha bakt FM-teknologi inn i den nye standarden for TV, erklærte RCS
 patentene ugyldige&#8212;uten grunn og nesten femten år etter at de ble
@@ -403,7 +403,7 @@ slutt, samtidig som patentene utl
 ikke engang dekket Armstrongs advokatregning.  Beseiret, knust og nå blakk,
 skrev Armstrong i 1954 en kort beskjed til sin kone, før han gikk ut av et
 vindu i trettende etasje og falt i døden.
-</p><a class="indexterm" name="id2715627"></a><a class="indexterm" name="id2715655"></a><p>
+</p><a class="indexterm" name="id3020417"></a><a class="indexterm" name="id3020445"></a><p>
 
 Dette er slik loven virker noen ganger.  Ikke ofte like tragisk, og sjelden
 med heltemodig drama, men noen ganger er det slik det virker. Fra starten
@@ -417,13 +417,13 @@ som fjell i en tidsalder, men som overlatt til seg selv, vil falle sammen i
 en annen, er videreført gjennom denne subtile korrupsjonen i vår politiske
 prosess.  RCA hadde hva Causby-ene ikke hadde: Makten til å undertrykke
 effekten av en teknologisk endring.
-</p><a class="indexterm" name="id2715687"></a><a class="indexterm" name="id2715695"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
+</p><a class="indexterm" name="id3020477"></a><a class="indexterm" name="id3020485"></a><a class="indexterm" name="idxinternetdevelopmentof"></a><p>
 <span class="strong"><strong>Det er ingen</strong></span> enkeltoppfinner av
 Internet.  Ei heller er det en god dato som kan brukes til å markere når det
 ble født.  Likevel har internettet i løpet av svært kort tid blitt en del av
 vanlige amerikaneres liv.  I følge the Pew Internet and American
 Life-prosjektet, har 58 prosent av amerikanerne hatt tilgang til internettet
-i 2002, opp fra 49 prosent to år tidligere.<sup>[<a name="id2715737" href="#ftn.id2715737" class="footnote">10</a>]</sup> Det tallet kan uten problemer passere to tredjedeler av nasjonen
+i 2002, opp fra 49 prosent to år tidligere.<sup>[<a name="id3020527" href="#ftn.id3020527" class="footnote">10</a>]</sup> Det tallet kan uten problemer passere to tredjedeler av nasjonen
 ved utgangen av 2004.
 </p><p>
 Etter hvert som internett er blitt integrert inn i det vanlige liv har ting
@@ -443,7 +443,7 @@ Denne endringen vil forandre en tradisjon som er like gammel som republikken
 selv.  De fleste, hvis de la merke til denne endringen, ville avvise den.
 Men de fleste legger ikke engang merke til denne endringen som internettet
 har introdusert.
-</p><a class="indexterm" name="id2715792"></a><a class="indexterm" name="id2715800"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="id2715821"></a><p>
+</p><a class="indexterm" name="id3020582"></a><a class="indexterm" name="id3020590"></a><a class="indexterm" name="idxculturecommercialvsnoncommercial"></a><a class="indexterm" name="id3020611"></a><p>
 
 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.
@@ -468,13 +468,13 @@ styrt av lovverket.
 Fokuset på loven var kommersiell kreativitet.  I starten forsiktig, etter
 hvert betraktelig, beskytter loven insentivet til skaperne ved å tildele dem
 en eksklusiv rett til deres kreative verker, slik at de kan selge disse
-eksklusive rettighetene på en kommersiell markedsplass.<sup>[<a name="id2715912" href="#ftn.id2715912" class="footnote">11</a>]</sup> Dette er også, naturligvis, en viktig del av
+eksklusive rettighetene på en kommersiell markedsplass.<sup>[<a name="id3020702" href="#ftn.id3020702" class="footnote">11</a>]</sup> Dette er også, naturligvis, en viktig del av
 kreativitet og kultur, og det har blitt en viktigere og viktigere del i
 USA.  Men det var på ingen måte dominerende i vår tradisjon.  Det var i
 stedet bare en del, en kontrollert del, balansert mot det frie.
-</p><a class="indexterm" name="id2715950"></a><a class="indexterm" name="id2715958"></a><p>
+</p><a class="indexterm" name="id3020740"></a><a class="indexterm" name="id3020748"></a><p>
 Denne grove inndelingen mellom den frie og den kontrollerte har nå blitt
-fjernet.<sup>[<a name="id2715971" href="#ftn.id2715971" class="footnote">12</a>]</sup> Internettet har satt scenen
+fjernet.<sup>[<a name="id3020762" href="#ftn.id3020762" class="footnote">12</a>]</sup> Internettet har satt scenen
 for denne fjerningen, og pressen frem av store medieaktører har loven nå
 påvirket det.  For første gang i vår tradisjon, har de vanlige måtene som
 individer skaper og deler kultur havnet innen rekekvidde for reguleringene
@@ -484,7 +484,7 @@ Teknologien som tok vare p
 den delen av kulturen vår som var fri og bruken av vår kultur som krevde
 tillatelse&#8212;har blitt borte.  Konsekvensen er at vi er mindre og mindre
 en fri kultur, og mer og mer en tillatelseskultur.
-</p><a class="indexterm" name="id2715987"></a><p>
+</p><a class="indexterm" name="id3020777"></a><p>
 Denne endringen blir rettferdiggjort som nødvendig for å beskytte
 kommersiell kreativitet.  Og ganske riktig, proteksjonisme er nøyaktig det
 som motiverer endringen.  Men proteksjonismen som rettferdiggjør endringene
@@ -496,7 +496,7 @@ internettet for 
 blir skapt og delt, har samlet seg for å få lovgiverne til å bruke loven for
 å beskytte selskapene.  Dette er historien om RCA og Armstrong, og det er
 drømmen til Causbyene.
-</p><a class="indexterm" name="id2716041"></a><p>
+</p><a class="indexterm" name="id3020831"></a><p>
 For internettet har sluppet løs en ekstraordinær mulighet for mange til å
 delta i prosessen med å bygge og kultivere en kultur som rekker lagt utenfor
 lokale grenselinjer.  Den makten har endret markedsplassen for å lage og
@@ -520,7 +520,7 @@ tjuende 
 til å få loven til å beskytte dem mot dette nye, mer effektive, mer levende
 teknologi for å bygge kultur. De lykkes i deres plan om å gjøre om
 internettet før internettet gjør om på dem.
-</p><a class="indexterm" name="id2716069"></a><a class="indexterm" name="id2716080"></a><p>
+</p><a class="indexterm" name="id3020859"></a><a class="indexterm" name="id3020870"></a><p>
 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
 hovedsak å handle om et enklere sett med spørsmål&#8212;hvorvidt
@@ -528,7 +528,7 @@ hovedsak 
 <span class="quote">«<span class="quote">eiendomsretten</span>»</span> vil bli beskyttet.  <span class="quote">«<span class="quote">Krigen</span>»</span> som
 har blitt erklært mot teknologiene til internettet&#8212;det presidenten for
 Motion Picture Association of America (MPAA) Jack Valenti kaller sin
-<span class="quote">«<span class="quote">egen terroristkrig</span>»</span><sup>[<a name="id2716150" href="#ftn.id2716150" class="footnote">13</a>]</sup>&#8212;har blitt rammet inn som en kamp om å følge loven og
+<span class="quote">«<span class="quote">egen terroristkrig</span>»</span><sup>[<a name="id3020940" href="#ftn.id3020940" class="footnote">13</a>]</sup>&#8212;har blitt rammet inn som en kamp om å følge loven og
 respektere eiendomsretten.  For å vite hvilken side vi bør ta i denne
 krigen, de fleste tenker at vi kun trenger å bestemme om hvorvidt vi er for
 eiendomsrett eller mot den.
@@ -545,12 +545,12 @@ og en mye mer dramatisk endring. Min frykt er at med mindre vi begynner 
 legge merke til denne endringen, så vil krigen for å befri verden fra
 internettets <span class="quote">«<span class="quote">pirater</span>»</span> også fjerne verdier fra vår kultur som
 har vært integrert til vår tradisjon helt fra starten.
-</p><a class="indexterm" name="id2716215"></a><a class="indexterm" name="id2716222"></a><a class="indexterm" name="id2716231"></a><a class="indexterm" name="id2716238"></a><p>
+</p><a class="indexterm" name="id3021005"></a><a class="indexterm" name="id3021013"></a><a class="indexterm" name="id3021021"></a><a class="indexterm" name="id3021028"></a><p>
 Disse verdiene bygget en tradisjon som, for i hvert fall de første 180 årene
 av vår republikk, garanterte skaperne rettigheten til å bygge fritt på deres
 fortid, og beskyttet skaperne og innovatørene fra både statlig og privat
 kontroll.  Det første grunnlovstillegget beskyttet skaperne fra statlig
-kontroll.  Og som professor Neil Netanel kraftfylt argumenterer,<sup>[<a name="id2716259" href="#ftn.id2716259" class="footnote">14</a>]</sup> åndsverkslov, skikkelig balansert, beskyttet
+kontroll.  Og som professor Neil Netanel kraftfylt argumenterer,<sup>[<a name="id3021049" href="#ftn.id3021049" class="footnote">14</a>]</sup> åndsverkslov, skikkelig balansert, beskyttet
 skaperne mot privat kontroll.  Vår tradisjon var dermed hverken Sovjet eller
 tradisjonen til velgjørere.  I stedet skar det ut en bred manøvreringsrom
 hvor skapere kunne kultivere og utvide vår kultur.
@@ -579,7 +579,7 @@ fred.  Det er ingen god grunn for 
 internett-teknologiene.  Det vil være til stor skade for vår tradisjon og
 kultur hvis den får lov til å fortsette ukontrollert. Vi må forstå kilden
 til denne krigen.  Vi må finne en løsning snart.
-</p><a class="indexterm" name="id2716348"></a><a class="indexterm" name="id2716354"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
+</p><a class="indexterm" name="id3021138"></a><a class="indexterm" name="id3021144"></a><a class="indexterm" name="idxintellectualpropertyrights"></a><p>
 <span class="strong"><strong>Lik Causbyenes</strong></span> kamp er denne krigen,
 delvis, om <span class="quote">«<span class="quote">eiendomsrett</span>»</span>. Eiendommen i denne krigen er ikke
 like håndfast som den til Causbyene, og ingen uskyldige kyllinger har så
@@ -594,7 +594,7 @@ det var fro dem at de nye teknologiene til internettet <span class="quote">
 rette</span>»</span> mot legitime krav til <span class="quote">«<span class="quote">eiendomsrett</span>»</span>.  Det er
 like klart for oss som det var for dem at loven skulle ta affære for å
 stoppe denne inntrengingen i annen manns eiendom.
-</p><a class="indexterm" name="id2716422"></a><a class="indexterm" name="id2716428"></a><a class="indexterm" name="id2716435"></a><p>
+</p><a class="indexterm" name="id3021212"></a><a class="indexterm" name="id3021218"></a><a class="indexterm" name="id3021224"></a><p>
 
 Og dermed, når nerder og teknologer forsvarer sin tids Armstrong og
 Wright-brødenes teknologi, får de lite sympati fra de fleste av oss. Sunn
@@ -602,7 +602,7 @@ fornuft gj
 er sunn fornuft på samme side som eiendomseierne i denne krigen.  I
 motsetning til hos de heldige Wright-brødrene, har internettet ikke
 inspirert en revolusjon til fordel for seg.
-</p><a class="indexterm" name="id2716458"></a><p>
+</p><a class="indexterm" name="id3021247"></a><p>
 Mitt håp er å skyve denne sunne fornuften videre.  Jeg har blitt stadig mer
 overrasket over kraften til denne idéen om immaterielle rettigheter og, mer
 viktig, dets evne til å slå av kritisk tanke hos lovmakere og innbyggere.
@@ -631,7 +631,7 @@ F
 fornuft faktisk tror på dette ekstreme?  Eller står sunn fornuft i stillhet
 i møtet med dette ekstreme fordi, som med Armstrong versus RCA, at den mer
 mektige siden har sikret seg at det har et mye mer mektig synspunkt?
-</p><a class="indexterm" name="id2716540"></a><a class="indexterm" name="id2716546"></a><p>
+</p><a class="indexterm" name="id3021330"></a><a class="indexterm" name="id3021336"></a><p>
 
 Jeg forsøker ikke å være mystisk.  Mine egne synspunkter er klare. Jeg mener
 det var riktig for sunn fornuft å gjøre opprør mot ekstremismen til
@@ -642,7 +642,7 @@ om lensmannen skulle arrestere en flymaskin for 
 eiendom.  Men konsekvensene av den nye dumskapen vil bli mye mer
 dyptgripende.
 
-</p><a class="indexterm" name="id2716578"></a><p>
+</p><a class="indexterm" name="id3021368"></a><p>
 <span class="strong"><strong>Basketaket</strong></span> som pågår akkurat nå senterer
 seg rundt to idéer: <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> og
 <span class="quote">«<span class="quote">eiendom</span>»</span>.  Mitt mål med denne bokens neste to deler er å
@@ -671,10 +671,10 @@ de interessene som er mest truet er blant de mest mektige akt
 deprimerende kompromitterte prosess for å utforme lover. Denne boken er
 historien om nok en konsekvens for denne type korrupsjon&#8212;en konsekvens
 for de fleste av oss forblir ukjent med.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2657421" href="#id2657421" class="para">4</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2962508" href="#id2962508" class="para">4</a>] </sup>
 St. George Tucker, <em class="citetitle">Blackstone's Commentaries</em> 3 (South
 Hackensack, N.J.: Rothman Reprints, 1969), 18.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715005" href="#id2715005" class="para">5</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3019795" href="#id3019795" class="para">5</a>] </sup>
 USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være
 å <span class="quote">«<span class="quote">ta</span>»</span> hvis regjeringens bruk av sitt land reelt sett hadde
 ødelagt verdien av eiendomen til Causby.  Dette eksemplet ble foreslått for
@@ -682,21 +682,21 @@ meg i Keith Aokis flotte stykke, <span class="quote">
 Sovereignty: Notes Toward a cultural Geography of Authorship</span>»</span>,
 <em class="citetitle">Stanford Law Review</em> 48 (1996): 1293, 1333. Se også
 Paul Goldstein, <em class="citetitle">Real Property</em> (Mineola, N.Y.:
-Foundation Press (1984)), 1112&#8211;13.  <a class="indexterm" name="id2715043"></a> <a class="indexterm" name="id2715039"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715344" href="#id2715344" class="para">6</a>] </sup>
+Foundation Press (1984)), 1112&#8211;13.  <a class="indexterm" name="id3019834"></a> <a class="indexterm" name="id3019829"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020135" href="#id3020135" class="para">6</a>] </sup>
 Lawrence Lessing, <em class="citetitle">Man of High Fidelity:: Edwin Howard
 Armstrong</em> (Philadelphia: J. B. Lipincott Company, 1956), 209.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715280" href="#id2715280" class="para">7</a>] </sup> Se <span class="quote">«<span class="quote">Saints: The Heroes and Geniuses of the Electronic Era,</span>»</span>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020071" href="#id3020071" class="para">7</a>] </sup> Se <span class="quote">«<span class="quote">Saints: The Heroes and Geniuses of the Electronic Era,</span>»</span>
 første elektroniske kirke i USA, hos www.webstationone.com/fecha,
 tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #1</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715512" href="#id2715512" class="para">8</a>] </sup>Lessing, 226.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715541" href="#id2715541" class="para">9</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020302" href="#id3020302" class="para">8</a>] </sup>Lessing, 226.
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020332" href="#id3020332" class="para">9</a>] </sup>
 Lessing, 256.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715737" href="#id2715737" class="para">10</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020527" href="#id3020527" class="para">10</a>] </sup>
 Amanda Lenhart, <span class="quote">«<span class="quote">The Ever-Shifting Internet Population: A New Look at
 Internet Access and the Digital Divide,</span>»</span> Pew Internet and American
 Life Project, 15. april 2003: 6, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #2</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715912" href="#id2715912" class="para">11</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020702" href="#id3020702" class="para">11</a>] </sup>
 Dette er ikke det eneste formålet med opphavsrett, men det er helt klart
 hovedformålet med opphavsretten slik den er etablert i føderal grunnlov.
 Åndsverkslovene i delstatene beskyttet historisk ikke bare kommersielle
@@ -705,18 +705,18 @@ interesse n
 åndsverkslovene forfatterne makt til å kontrollere spredningen av fakta om
 seg selv. Se Samuel D. Warren og Louis Brandeis, <span class="quote">«<span class="quote">The Right to
 Privacy</span>»</span>, Harvard Law Review 4 (1890): 193, 198&#8211;200.
-<a class="indexterm" name="id2715226"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715971" href="#id2715971" class="para">12</a>] </sup>
+<a class="indexterm" name="id3020017"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020762" href="#id3020762" class="para">12</a>] </sup>
 Se Jessica Litman, <em class="citetitle">Digital Copyright</em> (New York:
-Prometheus bøker, 2001), kap. 13.  <a class="indexterm" name="id2715980"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2716150" href="#id2716150" class="para">13</a>] </sup>
+Prometheus bøker, 2001), kap. 13.  <a class="indexterm" name="id3020770"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020940" href="#id3020940" class="para">13</a>] </sup>
 Amy Harmon, <span class="quote">«<span class="quote">Black Hawk Download: Moving Beyond Music, Pirates Use New
 Tools to Turn the Net into an Illicit Video Club,</span>»</span> <em class="citetitle">New
 York Times</em>, 17. januar 2002.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2716259" href="#id2716259" class="para">14</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3021049" href="#id3021049" class="para">14</a>] </sup>
 Neil W. Netanel, <span class="quote">«<span class="quote">Copyright and a Democratic Civil Society,</span>»</span>
-<em class="citetitle">Yale Law Journal</em> 106 (1996): 283.  <a class="indexterm" name="id2716270"></a>
-</p></div></div></div><div class="part" title="Del I. «Piratvirksomhet»"><div class="titlepage"><div><div><h1 class="title"><a name="c-piracy"></a>Del I. <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></h1></div></div></div><div class="partintro" title="«Piratvirksomhet»"><div></div><a class="indexterm" name="id2716680"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="id2716702"></a><a class="indexterm" name="id2716708"></a><p>
+<em class="citetitle">Yale Law Journal</em> 106 (1996): 283.  <a class="indexterm" name="id3021060"></a>
+</p></div></div></div><div class="part" title="Del I. «Piratvirksomhet»"><div class="titlepage"><div><div><h1 class="title"><a name="c-piracy"></a>Del I. <span class="quote">«<span class="quote">Piratvirksomhet</span>»</span></h1></div></div></div><div class="partintro" title="«Piratvirksomhet»"><div></div><a class="indexterm" name="id3021470"></a><a class="indexterm" name="idxmansfieldwilliammurraylord"></a><a class="indexterm" name="id3021492"></a><a class="indexterm" name="id3021498"></a><p>
 <span class="strong"><strong>Helt siden</strong></span> loven begynte å regulere
 kreative eierrettigheter, har det vært en krig mot
 <span class="quote">«<span class="quote">piratvirksomhet</span>»</span>.  De presise konturene av dette konseptet,
@@ -726,8 +726,8 @@ som utvidet rekkevidden for engelsk 
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 En person kan bruke kopien til å spille den, men han har ingen rett til å
 robbe forfatteren for profitten, ved å lage flere kopier og distribuere
-etter eget forgodtbefinnende.<sup>[<a name="id2716750" href="#ftn.id2716750" class="footnote">15</a>]</sup>
-</p><a class="indexterm" name="id2716764"></a></blockquote></div><a class="indexterm" name="id2716776"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
+etter eget forgodtbefinnende.<sup>[<a name="id3021540" href="#ftn.id3021540" class="footnote">15</a>]</sup>
+</p><a class="indexterm" name="id3021554"></a></blockquote></div><a class="indexterm" name="id3021565"></a><a class="indexterm" name="idxpeertopeerppfilesharingefficiencyof"></a><p>
 
 I dag er vi midt inne i en annen <span class="quote">«<span class="quote">krig</span>»</span> mot
 <span class="quote">«<span class="quote">piratvirksomhet</span>»</span>. Internettet har fremprovosert denne krigen.
@@ -745,7 +745,7 @@ v
 delingen har i sin tur ansporet til krigen, på grunn av at eiere av
 opphavsretter frykter delingen vil <span class="quote">«<span class="quote">frata forfatteren
 overskuddet.</span>»</span>
-</p><a class="indexterm" name="id2716843"></a><p>
+</p><a class="indexterm" name="id3021633"></a><p>
 Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større
 grad til teknologi for å forsvare sin <span class="quote">«<span class="quote">eiendom</span>»</span> mot denne
 <span class="quote">«<span class="quote">piratvirksomheten</span>»</span>.  En generasjon amerikanere, advarer
@@ -766,17 +766,17 @@ kreative arbeidet til andre, s
 tar noe av verdi fra noen andre, bør jeg få tillatelse fra dem.  Å ta noe
 som har verdi fra andre uten tillatelse er galt.  Det er en form for
 piratvirksomhet.
-</p></blockquote></div><a class="indexterm" name="id2716922"></a><a class="indexterm" name="id2716928"></a><a class="indexterm" name="id2716934"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3021711"></a><a class="indexterm" name="id3021718"></a><a class="indexterm" name="id3021724"></a><a class="indexterm" name="idxcreativepropertyifvaluethenrighttheoryof"></a><a class="indexterm" name="idxifvaluethenrighttheory"></a><p>
 Dette synet går dypt i de pågående debattene.  Det er hva jussprofessor
 Rochelle Dreyfuss ved NYU kritiserer som <span class="quote">«<span class="quote">hvis verdi, så
-rettighet</span>»</span>-teorien for kreative eierrettigheter <sup>[<a name="id2716981" href="#ftn.id2716981" class="footnote">16</a>]</sup>&#8212;hvis det finnes verdi, så må noen ha
+rettighet</span>»</span>-teorien for kreative eierrettigheter <sup>[<a name="id3021770" href="#ftn.id3021770" class="footnote">16</a>]</sup>&#8212;hvis det finnes verdi, så må noen ha
 rettigheten til denne verdien.  Det er perspektivet som fikk komponistenes
 rettighetsorganisasjon, ASCAP, til å saksøke jentespeiderne for å ikke
 betale for sangene som jentene sagt rundt jentespeidernes
-leirbål.<sup>[<a name="id2717004" href="#ftn.id2717004" class="footnote">17</a>]</sup> Det fantes
+leirbål.<sup>[<a name="id3021793" href="#ftn.id3021793" class="footnote">17</a>]</sup> Det fantes
 <span class="quote">«<span class="quote">verdi</span>»</span> (sangene), så det måtte ha vært en
 <span class="quote">«<span class="quote">rettighet</span>»</span>&#8212;til og med mot jentespeiderne.
-</p><a class="indexterm" name="id2717048"></a><p>
+</p><a class="indexterm" name="id3021837"></a><p>
 
 Denne idéen er helt klart en mulig forståelse om hvordan kreative
 eierrettigheter bør virke.  Det er helt klart et mulig design for et
@@ -784,7 +784,7 @@ lovsystem som beskytter kreative eierrettigheter.  Men teorien om
 <span class="quote">«<span class="quote">hvis verdi, så rettighet</span>»</span> for kreative eierrettigheter har
 aldri vært USAs teori for kreative eierrettigheter.  It har aldri stått rot
 i vårt lovverk.
-</p><a class="indexterm" name="id2717079"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
+</p><a class="indexterm" name="id3021868"></a><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork"></a><a class="indexterm" name="idxcreativitylegalrestrictionson"></a><p>
 I vår tradisjon har immaterielle rettigheter i stedet vært et instrument.
 Det bygger fundamentet for et rikt kreativt samfunn, men er fortsatt servilt
 til verdien av kreativitet.  Dagens debatt har snudd dette helt rundt.  Vi
@@ -795,14 +795,14 @@ Kilden til denne forvirringen er et skille som loven ikke lenger bryr seg om
 å markere&#8212;skillet mellom å gjenpublisere noens verk på den ene siden,
 og bygge på og gjøre om verket på den andre.  Da opphavsretten kom var det
 kun publisering som ble berørt. Opphavsretten i dag regulerer begge.
-</p><a class="indexterm" name="id2717134"></a><p>
+</p><a class="indexterm" name="id3021923"></a><p>
 Før teknologiene til internettet dukket opp, betød ikke denne begrepsmessige
 sammenblandingen mye.  Teknologiene for å publisere var kostbare, som betød
 at det meste av publisering var kommersiell. Kommersielle aktører kunne
 håndtere byrden pålagt av loven&#8212;til og med byrden som den bysantiske
 kompleksiteten som åndsverksloven har blitt.  Det var bare nok en kostnad
 ved å drive forretning.
-</p><a class="indexterm" name="id2717157"></a><a class="indexterm" name="id2717181"></a><a class="indexterm" name="id2717187"></a><p>
+</p><a class="indexterm" name="id3021947"></a><a class="indexterm" name="id3021970"></a><a class="indexterm" name="id3021977"></a><p>
 Men da internettet dukket opp, forsvant denne naturlige begrensningen til
 lovens virkeområde.  Loven kontrollerer ikke bare kreativiteten til
 kommersielle skapere, men effektivt sett kreativiteten til alle. Selv om
@@ -818,33 +818,33 @@ digital teknologi kunne sluppet l
 og ikke-kommersiell kreativitet, tynger loven denne kreativiteten med
 sinnsykt kompliserte og vage regler og med trusselen om uanstendig harde
 straffer.  Vi ser kanskje, som Richard Florida skriver, <span class="quote">«<span class="quote">Fremveksten
-av den kreative klasse</span>»</span><sup>[<a name="id2717210" href="#ftn.id2717210" class="footnote">18</a>]</sup>
+av den kreative klasse</span>»</span><sup>[<a name="id3021999" href="#ftn.id3021999" class="footnote">18</a>]</sup>
 Dessverre ser vi også en ekstraordinær fremvekst av reguleringer av denne
 kreative klassen.
-</p><a class="indexterm" name="id2717273"></a><p>
+</p><a class="indexterm" name="id3022063"></a><p>
 Disse byrdene gir ingen mening i vår tradisjon.  Vi bør begynne med å forstå
 den tradisjonen litt mer, og ved å plassere dagens slag om oppførsel med
 merkelappen <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> i sin rette sammenheng.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2716750" href="#id2716750" class="para">15</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3021540" href="#id3021540" class="para">15</a>] </sup>
 
 
 <em class="citetitle">Bach</em> v. <em class="citetitle">Longman</em>, 98
 Eng. Rep. 1274 (1777) (Mansfield).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2716981" href="#id2716981" class="para">16</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3021770" href="#id3021770" class="para">16</a>] </sup>
 
 
 Se Rochelle Dreyfuss, <span class="quote">«<span class="quote">Expressive Genericity: Trademarks as Language
 in the Pepsi Generation,</span>»</span> <em class="citetitle">Notre Dame Law
 Review</em> 65 (1990): 397.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2717004" href="#id2717004" class="para">17</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3021793" href="#id3021793" class="para">17</a>] </sup>
 
 Lisa Bannon, <span class="quote">«<span class="quote">The Birds May Sing, but Campers Can't Unless They Pay
 Up,</span>»</span> <em class="citetitle">Wall Street Journal</em>, 21. august 1996,
 tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #3</a>;
 Jonathan Zittrain, <span class="quote">«<span class="quote">Calling Off the Copyright War: In Battle of
 Property vs. Free Speech, No One Wins,</span>»</span> <em class="citetitle">Boston
-Globe</em>, 24. november 2002.  <a class="indexterm" name="id2717029"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2717210" href="#id2717210" class="para">18</a>] </sup>
+Globe</em>, 24. november 2002.  <a class="indexterm" name="id3021818"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3021999" href="#id3021999" class="para">18</a>] </sup>
 
 I <em class="citetitle">The Rise of the Creative Class</em> (New York: Basic
 Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot
@@ -852,7 +852,7 @@ kreativitetsarbeide.  Hans tekst omhandler derimot ikke direkte de juridiske
 vilkår som kreativiteten blir muliggjort eller hindret under.  Jeg er helt
 klart enig med ham i viktigheten og betydningen av denne endringen, men jeg
 tror også at vilkårene som disse endringene blir aktivert under er mye
-vanskeligere.  <a class="indexterm" name="id2717252"></a> <a class="indexterm" name="id2717261"></a>
+vanskeligere.  <a class="indexterm" name="id3022042"></a> <a class="indexterm" name="id3022050"></a>
 </p></div></div></div><div class="chapter" title="Kapittel en: Skaperne"><div class="titlepage"><div><div><h2 class="title"><a name="creators"></a>Kapittel en: Skaperne</h2></div></div></div><a class="indexterm" name="idxanimatedcartoons"></a><a class="indexterm" name="idxcartoonfilms"></a><a class="indexterm" name="idxfilmsanimated"></a><a class="indexterm" name="idxsteamboatwillie"></a><a class="indexterm" name="idxmickeymouse"></a><p>
 <span class="strong"><strong>I 1928</strong></span> ble en tegnefilmfigur født.  En
 tidlig Mikke Mus debuterte i mai dette året, i en stille flopp ved navn
@@ -883,8 +883,8 @@ bl
 Effekten på vårt lille publikum var intet mindre enn elektrisk.  De reagerte
 nesten instinktivt til denne union av lyd og bevegelse.  Jeg trodde de
 tullet med meg.  Så de puttet meg i publikum og satte igang på nytt.  Det
-var grufullt, men det var fantastisk.  Og det var noe nytt!<sup>[<a name="id2717457" href="#ftn.id2717457" class="footnote">19</a>]</sup>
-</p></blockquote></div><a class="indexterm" name="id2717471"></a><p>
+var grufullt, men det var fantastisk.  Og det var noe nytt!<sup>[<a name="id3022247" href="#ftn.id3022247" class="footnote">19</a>]</sup>
+</p></blockquote></div><a class="indexterm" name="id3022260"></a><p>
 Disneys daværende partner, og en av animasjonsverdenens mest ekstraordinære
 talenter, Ub Iwerks, uttalte det sterkere: <span class="quote">«<span class="quote">Jeg har aldri vært så
 begeistret i hele mitt liv. Ingenting annet har noen sinne vært like
@@ -896,7 +896,7 @@ Disneys hender&#8212;v
 animasjonens tidligere historie var det Disneys oppfinnelse som satte
 standarden som andre måtte sloss for å oppfylle.  Og ganske ofte var Disneys
 store geni, hans gnist av kreativitet, bygget på arbeidet til andre.
-</p><a class="indexterm" name="id2717509"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
+</p><a class="indexterm" name="id3022299"></a><a class="indexterm" name="idxkeatonbuster"></a><a class="indexterm" name="idxsteamboatbilljr"></a><p>
 Dette er kjent stoff.  Det du kanskje ikke vet er at 1928 også markerer en
 annen viktig overgang.  I samme år laget et komedie-geni (i motsetning til
 tegnefilm-geni) sin siste uavhengig produserte stumfilm.  Dette geniet var
@@ -912,16 +912,16 @@ popul
 <em class="citetitle">Steamboat Bill, Jr</em>. kom før Disneys tegnefilm
 Steamboat Willie.  Det er ingen tilfeldighet at titlene er så
 like. Steamboat Willie er en direkte tegneserieparodi av Steamboat
-Bill,<sup>[<a name="id2717609" href="#ftn.id2717609" class="footnote">20</a>]</sup> og begge bygger på en felles sang
+Bill,<sup>[<a name="id3022398" href="#ftn.id3022398" class="footnote">20</a>]</sup> og begge bygger på en felles sang
 som kilde.  Det er ikke kun fra nyskapningen med synkronisert lyd i
 <em class="citetitle">The Jazz Singer</em> at vi får <em class="citetitle">Steamboat
 Willie</em>.  Det er også fra Buster Keatons nyskapning Steamboat
 Bill, Jr., som igjen var inspirert av sangen <span class="quote">«<span class="quote">Steamboat Bill</span>»</span>,
 at vi får Steamboat Willie.  Og fra Steamboat Willie får vi så Mikke Mus.
-</p><a class="indexterm" name="id2717674"></a><a class="indexterm" name="id2717682"></a><a class="indexterm" name="id2717690"></a><a class="indexterm" name="id2717698"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
+</p><a class="indexterm" name="id3022463"></a><a class="indexterm" name="id3022472"></a><a class="indexterm" name="id3022480"></a><a class="indexterm" name="id3022488"></a><a class="indexterm" name="idxcreativitybytransformingpreviousworks"></a><a class="indexterm" name="idxdisneyinc"></a><p>
 Denne <span class="quote">«<span class="quote">låningen</span>»</span> var ikke unik, hverken for Disney eller for
 industrien.  Disney apet alltid etter full-lengde massemarkedsfilmene rundt
-ham.<sup>[<a name="id2717740" href="#ftn.id2717740" class="footnote">21</a>]</sup> Det samme gjorde mange andre.
+ham.<sup>[<a name="id3022530" href="#ftn.id3022530" class="footnote">21</a>]</sup> Det samme gjorde mange andre.
 Tidlige tegnefilmer er stappfulle av etterapninger&#8212;små variasjoner
 over suksessfulle temaer, gamle historier fortalt på nytt.  Nøkkelen til
 suksess var brilliansen i forskjellene.  Med Disney var det lyden som ga
@@ -962,7 +962,7 @@ Planet</em> (2003). I alle disse tilfellene, har Disney (eller
 Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet med
 kreativiteten fra sitt eget ekstraordinære talent, og deretter brent denne
 blandingen inn i sjelen til sin kultur. Hente, blande og brenne.
-</p><a class="indexterm" name="id2717880"></a><p>
+</p><a class="indexterm" name="id3022669"></a><p>
 Dette er en type kreativitet.  Det er en kreativitet som vi bør huske på og
 feire.  Det er noen som vil si at det finnes ingen kreativitet bortsett fra
 denne typen.  Vi trenger ikke gå så langt for å anerkjenne dens betydning.
@@ -970,11 +970,11 @@ Vi kan kalle dette <span class="quote">
 litt misvisende.  Det er mer presist <span class="quote">«<span class="quote">Walt
 Disney-kreativitet</span>»</span>&#8212;en uttrykksform og genialitet som bygger på
 kulturen rundt oss og omformer den til noe annet.
-</p><a class="indexterm" name="id2717912"></a><a class="indexterm" name="id2717920"></a><a class="indexterm" name="id2717928"></a><a class="indexterm" name="idxcopyrightdurationof"></a><a class="indexterm" name="idxpublicdomaindefined"></a><a class="indexterm" name="idxpublicdomaintraditionaltermforconversionto"></a><p> I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt
+</p><a class="indexterm" name="id3022701"></a><a class="indexterm" name="id3022709"></a><a class="indexterm" name="id3022717"></a><a class="indexterm" name="idxcopyrightdurationof"></a><a class="indexterm" name="idxpublicdomaindefined"></a><a class="indexterm" name="idxpublicdomaintraditionaltermforconversionto"></a><p> I 1928 var kulturen som Disney fritt kunne trekke veksler på relativt
 fersk.  Allemannseie i 1928 var ikke veldig gammelt og var dermed ganske
 levende.  Gjennomsnittlig vernetid i opphavsretten var bare rundt tredve
 år&#8212;for den lille delen av kreative verk som faktisk var
-opphavsrettsbeskyttet.<sup>[<a name="id2717906" href="#ftn.id2717906" class="footnote">22</a>]</sup> Det betyr at i
+opphavsrettsbeskyttet.<sup>[<a name="id3022695" href="#ftn.id3022695" class="footnote">22</a>]</sup> Det betyr at i
 tredve år, i gjennomsnitt, hadde forfattere eller kreative verks
 opphavsrettighetsinnehaver en <span class="quote">«<span class="quote">eksklusiv rett</span>»</span> til a
 kontrollere bestemte typer bruk av verket.  For å bruke disse
@@ -989,7 +989,7 @@ verket.  Ingen tillatelse og dermed, ingen advokater. Allemannseie er en
 1928.  Det var tilgjengelig for enhver&#8212;uansett om de hadde
 forbindelser eller ikke, om de var rik eller ikke, om de var akseptert eller
 ikke&#8212;til å bruke og bygge videre på.
-</p><a class="indexterm" name="id2718044"></a><a class="indexterm" name="id2718066"></a><p>
+</p><a class="indexterm" name="id3022833"></a><a class="indexterm" name="id3022855"></a><p>
 
 Dette er slik det alltid har vært&#8212;inntil ganske nylig.  For
 mesteparten av vår historie, har allemannseiet vært like over horisonten.
@@ -1000,7 +1000,7 @@ fra noen.  Tilsvarende for i dag ville v
 1970-tallet nå ville være fritt tilgjengelig for de neste Walt Disney å
 bygge på uten tillatelse.  Men i dag er allemannseie presumtivt kun for
 innhold fra før mellomkrigstiden.
-</p><a class="indexterm" name="id2718093"></a><a class="indexterm" name="id2718101"></a><a class="indexterm" name="id2718110"></a><a class="indexterm" name="id2718118"></a><a class="indexterm" name="id2718126"></a><a class="indexterm" name="id2718136"></a><p>
+</p><a class="indexterm" name="id3022883"></a><a class="indexterm" name="id3022891"></a><a class="indexterm" name="id3022899"></a><a class="indexterm" name="id3022907"></a><a class="indexterm" name="id3022915"></a><a class="indexterm" name="id3022925"></a><p>
 <span class="strong"><strong>Walt Disney</strong></span> hadde selvfølgelig ikke
 monopol på <span class="quote">«<span class="quote">Walt Disney-kreativitet</span>»</span>.  Det har heller ikke
 USA.  Normen med fri kultur har, inntil nylig, og unntatt i totalitære
@@ -1053,7 +1053,7 @@ kommersielle massemarkeds-manga-markedet.  P
 kontrollerer det kommersielle manga-markedet for å stenge
 doujinshi-markedet.  Det blomstrer, på tross av konkurransen og til tross
 for loven.
-</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="id2718386"></a><p>
+</p><a class="indexterm" name="idxcopyrightlawjapanese"></a><a class="indexterm" name="id3023176"></a><p>
 Den mest gåtefulle egenskapen med doujinshi-markedet, for de som har
 juridisk trening i hvert fall, er at det overhodet tillates å eksistere.
 Under japansk åndsverkslov, som i hvert fall på dette området (på papiret)
@@ -1066,7 +1066,7 @@ japansk og USAs lov, er 
 opprinnelige opphavsrettsinnehaver ulovlig.  Det er et brudd på
 opphavsretten til det opprinnelige verket å lage en kopi eller et avledet
 verk uten tillatelse fra den opprinnelige rettighetsinnehaveren.
-</p><a class="indexterm" name="id2718432"></a><a class="indexterm" name="idxwinickjudd"></a><p>
+</p><a class="indexterm" name="id3023222"></a><a class="indexterm" name="idxwinickjudd"></a><p>
 Likevel eksisterer dette illegale markedet og faktisk blomstrer i Japan, og
 etter manges syn er det nettopp fordi det eksisterer at japansk manga
 blomstrer.  Som USAs tegneserieskaper Judd Winick fortalte meg, <span class="quote">«<span class="quote">I
@@ -1074,8 +1074,8 @@ amerikansk tegneseriers f
 Japan i dag. &#8230; Amerikanske tegneserier kom til verden ved å kopiere
 hverandre. &#8230; Det er slik [kunstnerne] lærer å tegne&#8212;ved å se i
 tegneseriebøker og ikke følge streken, men ved å se på dem og kopiere
-dem</span>»</span> og bygge basert på dem.<sup>[<a name="id2718459" href="#ftn.id2718459" class="footnote">23</a>]</sup>
-</p><a class="indexterm" name="id2718485"></a><a class="indexterm" name="id2718494"></a><p>
+dem</span>»</span> og bygge basert på dem.<sup>[<a name="id3023249" href="#ftn.id3023249" class="footnote">23</a>]</sup>
+</p><a class="indexterm" name="id3023275"></a><a class="indexterm" name="id3023283"></a><p>
 Amerikanske tegneserier nå er ganske annerledes, forklarer Winick, delvis på
 grunn av de juridiske problemene med å tilpasse tegneserier slik doujinshi
 får lov til.  Med for eksempel Supermann, fortalte Winick meg, <span class="quote">«<span class="quote">er det
@@ -1083,15 +1083,15 @@ en rekke regler, og du m
 <span class="quote">«<span class="quote">ikke kan</span>»</span> gjøre.  <span class="quote">«<span class="quote">For en som lager tegneserier er det
 frustrerende å måtte begrense seg til noen parameter som er femti år
 gamle.</span>»</span>
-</p><a class="indexterm" name="id2718526"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="id2718547"></a><a class="indexterm" name="idxmehrasalil"></a><p>
+</p><a class="indexterm" name="id3023315"></a><a class="indexterm" name="idxcopyrightlawjapanese2"></a><a class="indexterm" name="id3023336"></a><a class="indexterm" name="idxmehrasalil"></a><p>
 Normen i Japan reduserer denne juridiske utfordringen.  Noen sier at det
 nettopp er den oppsamlede fordelen i det japanske mangamarkedet som
 forklarer denne reduksjonen.  Jussprofessor Salil Mehra ved Temple
 University hypnotiserer for eksempel med at manga-markedet aksepterer disse
 teoretiske bruddene fordi de får mangamarkedet til å bli rikere og mer
 produktivt.  Alle ville få det verre hvis doujinshi ble bannlyst, så loven
-bannlyser ikke doujinshi.<sup>[<a name="id2718581" href="#ftn.id2718581" class="footnote">24</a>]</sup>
-</p><a class="indexterm" name="id2718610"></a><a class="indexterm" name="id2718618"></a><a class="indexterm" name="id2718627"></a><p>
+bannlyser ikke doujinshi.<sup>[<a name="id3023370" href="#ftn.id3023370" class="footnote">24</a>]</sup>
+</p><a class="indexterm" name="id3023399"></a><a class="indexterm" name="id3023407"></a><a class="indexterm" name="id3023415"></a><p>
 Problemet med denne historien, derimot, og som Mehra helt klart erkjenner,
 er at mekanismen som produserer denne <span class="quote">«<span class="quote">hold hendene
 borte</span>»</span>-responsen ikke er forstått.  Det kan godt være at markedet som
@@ -1101,7 +1101,7 @@ ikke saks
 finnes faktisk noen tilfeller der individuelle manga-kunstnere har saksøkt
 doujinshi-kunstnere, hvorfor er det ikke et mer generelt mønster for å
 blokkere denne <span class="quote">«<span class="quote">frie takingen</span>»</span> hos doujinshi-kulturen?
-</p><a class="indexterm" name="id2718657"></a><a class="indexterm" name="id2718665"></a><p>
+</p><a class="indexterm" name="id3023446"></a><a class="indexterm" name="id3023454"></a><p>
 Jeg var fire nydelige måneder i Japan, og jeg stilte dette spørsmål så ofte
 som jeg kunne.  Kanskje det beste svaret til slutt kom fra en venn i et
 større japansk advokatfirma. <span class="quote">«<span class="quote">Vi har ikke nok advokater</span>»</span>,
@@ -1118,7 +1118,7 @@ noe viktig hvis de kunne stoppe praksisen med deling uten kompensasjon?
 Skader piratvirksomhet ofrene for piratvirksomheten, eller hjelper den dem?
 Ville advokaters kamp mot denne piratvirksomheten hjelpe deres klienter,
 eller skade dem?
-</p><a class="indexterm" name="id2718709"></a><p>
+</p><a class="indexterm" name="id3023498"></a><p>
 <span class="strong"><strong>La oss ta</strong></span> et øyeblikks pause.
 </p><p>
 Hvis du er som meg et tiår tilbake, eller som folk flest når de først
@@ -1128,10 +1128,10 @@ du ikke hadde tenkt igjennom f
 Vi lever i en verden som feirer <span class="quote">«<span class="quote">eiendom</span>»</span>.  Jeg er en av de som
 feierer.  Jeg tror på verdien av eiendom generelt, og jeg tror også på
 verdien av den sære formen for eiendom som advokater kaller
-<span class="quote">«<span class="quote">immateriell eiendom</span>»</span>.<sup>[<a name="id2718751" href="#ftn.id2718751" class="footnote">25</a>]</sup> Et
+<span class="quote">«<span class="quote">immateriell eiendom</span>»</span>.<sup>[<a name="id3023540" href="#ftn.id3023540" class="footnote">25</a>]</sup> Et
 stort og variert samfunn kan ikke overleve uten eiendom, og et moderne
 samfunn kan ikke blomstre uten immaterielle eierrettigheter.
-</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="id2718811"></a><p>
+</p><a class="indexterm" name="idxdisneywalt3"></a><a class="indexterm" name="idxgrimmfairytales2"></a><a class="indexterm" name="id3023599"></a><p>
 Men det tar bare noen sekunders refleksjon for å innse at det er masse av
 verdi der ute som <span class="quote">«<span class="quote">eiendom</span>»</span> ikke dekker.  Jeg mener ikke
 <span class="quote">«<span class="quote">kjærlighet kan ikke kjøpes med penger</span>»</span> men heller, at en verdi
@@ -1151,19 +1151,19 @@ som blir tatt av enhver som ut
 verdifulle, så anser ikke vår tradisjon det som galt å ta disse tingene.
 Noen ting forblir frie til å bli tatt i en fri kultur og denne friheten er
 bra.
-</p><a class="indexterm" name="id2718887"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="id2718907"></a><a class="indexterm" name="idxdoujinshicomics2"></a><a class="indexterm" name="idxjapanesecomics2"></a><a class="indexterm" name="idxmanga2"></a><p>
+</p><a class="indexterm" name="id3023676"></a><a class="indexterm" name="idxcopyrightlawjapanese3"></a><a class="indexterm" name="id3023697"></a><a class="indexterm" name="idxdoujinshicomics2"></a><a class="indexterm" name="idxjapanesecomics2"></a><a class="indexterm" name="idxmanga2"></a><p>
 Det er det samme med doujinshi-kulturen.  Hvis en doujinshi-kunstner brøt
 seg inn på kontoret til en forlegger, og stakk av med tusen kopier av hans
 siste verk&#8212;eller bare en kopi&#8212;uten å betale, så ville vi uten å
 nøle si at kunstneren har gjort noe galt.  I tillegg til å ha trengt seg inn
 på andres eiendom, ville han ha stjålet noe av verdi. Loven forbyr stjeling
 i enhver form, uansett hvor stort eller lite som blir tatt.
-</p><a class="indexterm" name="id2718962"></a><p>
+</p><a class="indexterm" name="id3023752"></a><p>
 Likevel er det en åpenbar motvilje, selv blant japanske advokater, for å si
 at etterapende tegneseriekunstnere <span class="quote">«<span class="quote">stjeler</span>»</span>.  Denne formen for
 Walt Disney-kreativitet anses som rimelig og riktig, selv om spesielt
 advokater synes det er vanskelig å forklare hvorfor.
-</p><a class="indexterm" name="id2718987"></a><a class="indexterm" name="id2718995"></a><a class="indexterm" name="id2719004"></a><a class="indexterm" name="id2719012"></a><a class="indexterm" name="id2719020"></a><a class="indexterm" name="id2719028"></a><a class="indexterm" name="id2719036"></a><p>
+</p><a class="indexterm" name="id3023777"></a><a class="indexterm" name="id3023785"></a><a class="indexterm" name="id3023793"></a><a class="indexterm" name="id3023801"></a><a class="indexterm" name="id3023809"></a><a class="indexterm" name="id3023817"></a><a class="indexterm" name="id3023826"></a><p>
 Det er det same med tusen eksempler som dukker opp over alt med en gang en
 begynner å se etter dem.  Forskerne bygger på arbeidet til andre forskere
 uten å spørre eller betale for privilegiet. (<span class="quote">«<span class="quote">Unnskyld meg, professor
@@ -1187,7 +1187,7 @@ en bestemt bit av sin kultur v
 ta&#8212;frie samfunn muligens i større grad enn ufrie, men en viss grad i
 alle samfunn.
 
-</p><a class="indexterm" name="id2719083"></a><p>
+</p><a class="indexterm" name="id3023872"></a><p>
 Det vanskelige spørsmålet er derfor ikke <span class="emphasis"><em>om</em></span> en kultur
 er fri.  Alle kulturer er frie til en viss grad. Det vanskelige spørsmålet
 er i stedet <span class="quote">«<span class="quote"><span class="emphasis"><em>hvor</em></span> fri er denne kulturen
@@ -1202,12 +1202,12 @@ uansett om de er tilknyttet et studio eller ikke?
 Frie kulturer er kulturer som etterlater mye åpent for andre å bygge på.
 Ufrie, eller tillatelse-kulturer etterlater mye mindre.  Vår var en fri
 kultur. Den er på tur til å bli mindre fri.
-</p><a class="indexterm" name="id2719154"></a><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2717457" href="#id2717457" class="para">19</a>] </sup>
+</p><a class="indexterm" name="id3023944"></a><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3022247" href="#id3022247" class="para">19</a>] </sup>
 
 
 Leonard Maltin, <em class="citetitle">Of Mice and Magic: A History of American Animated
 Cartoons</em> (New York: Penguin Books, 1987), 34&#8211;35.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2717609" href="#id2717609" class="para">20</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3022398" href="#id3022398" class="para">20</a>] </sup>
 
 
 Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie,
@@ -1220,12 +1220,12 @@ No. 1</span>
 <span class="quote">«<span class="quote">The Turkey in the Straw,</span>»</span> var allerede allemannseie.  Brev fra
 David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet til
 forfatteren.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2717740" href="#id2717740" class="para">21</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3022530" href="#id3022530" class="para">21</a>] </sup>
 
 
 Han var også tilhenger av allmannseiet. Se Chris Sprigman, <span class="quote">«<span class="quote">The Mouse
 that Ate the Public Domain,</span>»</span> Findlaw, 5. mars 2002, fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #5</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2717906" href="#id2717906" class="para">22</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3022695" href="#id3022695" class="para">22</a>] </sup>
 
 
 Inntil 1976 ga åndsverksloven en forfatter to mulige verneperioder: en
@@ -1237,12 +1237,12 @@ fornyingsvernetiden er 28 
 år. Fornyingsdata og andre relevante data ligger på nettsidene tilknyttet
 denne boka, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #6</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2718459" href="#id2718459" class="para">23</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3023249" href="#id3023249" class="para">23</a>] </sup>
 
 
 For en utmerket historie, se Scott McCloud, <em class="citetitle">Reinventing
 Comics</em> (New York: Perennial, 2000).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2718581" href="#id2718581" class="para">24</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3023370" href="#id3023370" class="para">24</a>] </sup>
 
 
 Se Salil K. Mehra, <span class="quote">«<span class="quote">Copyright and Comics in Japan: Does Law Explain
@@ -1253,9 +1253,9 @@ anime-kunstnere til ikke 
 alle manga-kunstnere kan være bedre stilt hvis de setter sin individuelle
 egeninteresse til side og bestemmer seg for ikke å forfølge sine juridiske
 rettigheter. Dette er essensielt en løsning på fangens dilemma.</span>»</span>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2718751" href="#id2718751" class="para">25</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3023540" href="#id3023540" class="para">25</a>] </sup>
 
-<a class="indexterm" name="id2718754"></a> Begrepet <em class="citetitle">immateriell
+<a class="indexterm" name="id3023543"></a> Begrepet <em class="citetitle">immateriell
 eiendom</em> er av relativ ny opprinnelse. Se See Siva Vaidhyanathan,
 <em class="citetitle">Copyrights and Copywrongs</em>, 11 (New York: New York
 University Press, 2001). Se også Lawrence Lessig, <em class="citetitle">The Future of
@@ -1264,7 +1264,7 @@ presist beskriver et sett med
 <span class="quote">«<span class="quote">eiendoms</span>»</span>-rettigheter&#8212;opphavsretter, patenter,
 varemerker og forretningshemmeligheter&#8212;men egenskapene til disse
 rettighetene er svært forskjellige.
-</p></div></div></div><div class="chapter" title="Kapittel to: «Kun etter-apere»"><div class="titlepage"><div><div><h2 class="title"><a name="mere-copyists"></a>Kapittel to: <span class="quote">«<span class="quote">Kun etter-apere</span>»</span></h2></div></div></div><a class="indexterm" name="id2719179"></a><a class="indexterm" name="idxcameratechnology"></a><a class="indexterm" name="idxphotography"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel to: «Kun etter-apere»"><div class="titlepage"><div><div><h2 class="title"><a name="mere-copyists"></a>Kapittel to: <span class="quote">«<span class="quote">Kun etter-apere</span>»</span></h2></div></div></div><a class="indexterm" name="id3023968"></a><a class="indexterm" name="idxcameratechnology"></a><a class="indexterm" name="idxphotography"></a><p>
 <span class="strong"><strong>I 1839</strong></span> fant Louis Daguerre opp den første
 praktiske teknologien for å produsere det vi ville kalle
 <span class="quote">«<span class="quote">fotografier</span>»</span>.  Rimelig nok ble de kalt
@@ -1273,7 +1273,7 @@ feltet var dermed begrenset til profesjonelle og noen f
 velstående amatører.  (Det var til og med en amerikansk Daguerre-forening
 som hjalp til med å regulere industrien, slik alle slike foreninger gjør,
 ved å holde konkurransen ned slik at prisene var høye.)
-</p><a class="indexterm" name="id2719235"></a><p>
+</p><a class="indexterm" name="id3024024"></a><p>
 Men til tross for høye priser var etterspørselen etter daguerreotyper
 sterk.  Dette inspirerte oppfinnere til å finne enklere og billigere måter å
 lage <span class="quote">«<span class="quote">automatiske bilder</span>»</span>.  William Talbot oppdaget snart en
@@ -1297,7 +1297,7 @@ kunne utvide andelen fotografer.
 Eastman utviklet bøyelig, emulsjons-belagt papirfilm og plasserte ruller med
 dette i små, enkle kameraer: Kodaken.  Enheten ble markedsfør med grunnlag
 dens enkelhet. <span class="quote">«<span class="quote">Du trykker på knappen og vi fikser
-resten.</span>»</span><sup>[<a name="id2719330" href="#ftn.id2719330" class="footnote">26</a>]</sup> Som han beskrev det i
+resten.</span>»</span><sup>[<a name="id3024120" href="#ftn.id3024120" class="footnote">26</a>]</sup> Som han beskrev det i
 <em class="citetitle">The Kodak Primer</em>:
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Prinsippet til Kodak-systemet er skillet mellom arbeidet som enhver kan
@@ -1307,8 +1307,8 @@ tilstrekkelig intelligens til 
 en knapp, med et instrument som helt fjernet fra praksisen med å fotografere
 nødvendigheten av uvanlig utstyr eller for den del, noe som helst spesiell
 kunnskap om kunstarten.  Det kan tas i bruk uten forutgående studier, uten
-et mørkerom og uten kjemikalier.<sup>[<a name="id2715521" href="#ftn.id2715521" class="footnote">27</a>]</sup>
-</p></blockquote></div><a class="indexterm" name="id2719387"></a><p>
+et mørkerom og uten kjemikalier.<sup>[<a name="id3020312" href="#ftn.id3020312" class="footnote">27</a>]</sup>
+</p></blockquote></div><a class="indexterm" name="id3024177"></a><p>
 For $25 kunne alle ta bilder.  Det var allerede film i kameraet, og når det
 var brukt ble kameraet returnert til en Eastman-fabrikk hvor filmen ble
 fremkalt.  Etter hvert, naturligvis, ble både kostnaden til kameraet og hvor
@@ -1317,9 +1317,9 @@ eksplosiv vekst i fotografering blant folket. Eastmans kamera ble lagt ut
 for salg i 1888, og et år senere trykket Kodak mer enn seks tusen negativer
 om dagen.  Fra 1888 til 1909, mens produksjonen i industrien vokste med 4,7
 prosent, økte salget av fotografisk utstyr og materiale med 11
-prosent.<sup>[<a name="id2719410" href="#ftn.id2719410" class="footnote">28</a>]</sup> Salget til Eastman Kodak i
-samme periode opplevde en årlig vekst på over 17 prosent.<sup>[<a name="id2719420" href="#ftn.id2719420" class="footnote">29</a>]</sup>
-</p><a class="indexterm" name="id2719429"></a><p>
+prosent.<sup>[<a name="id3024200" href="#ftn.id3024200" class="footnote">28</a>]</sup> Salget til Eastman Kodak i
+samme periode opplevde en årlig vekst på over 17 prosent.<sup>[<a name="id3024209" href="#ftn.id3024209" class="footnote">29</a>]</sup>
+</p><a class="indexterm" name="id3024218"></a><p>
 
 
 Den virkelige betydningen av oppfinnelsen til Eastman, var derimot ikke
@@ -1330,8 +1330,8 @@ stand til tidligere.  Som forfatter Brian Coe skriver, <span class="quote">
 gang tilbød fotoalbumet mannen i gata et permanent arkiv over hans familie
 og dens aktiviteter. &#8230; For første gang i historien fantes det en
 autentisk visuell oppføring av utseende og aktivitet til vanlige mennesker
-laget uten [skrivefør] tolkning eller forutinntatthet.</span>»</span><sup>[<a name="id2719354" href="#ftn.id2719354" class="footnote">30</a>]</sup>
-</p><a class="indexterm" name="id2719471"></a><a class="indexterm" name="id2719480"></a><p>
+laget uten [skrivefør] tolkning eller forutinntatthet.</span>»</span><sup>[<a name="id3024144" href="#ftn.id3024144" class="footnote">30</a>]</sup>
+</p><a class="indexterm" name="id3024260"></a><a class="indexterm" name="id3024270"></a><p>
 På denne måten var Kodak-kameraet og film uttrykksteknologier. Blyanten og
 malepenselen var selvfølgelig også en uttrykksteknologi. Men det tok årevis
 med trening før de kunne bli brukt nyttig og effektiv av amatører.  Med
@@ -1342,15 +1342,15 @@ hvordan best velge bildemotiv og du f
 kreativitetserfaring som Kodaken muliggjorde.  Demokratiske verktøy ga
 vanlige folk en måte å uttrykke dem selv på enklere enn noe annet verktøy
 kunne ha gjort før.
-</p><a class="indexterm" name="id2719517"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
+</p><a class="indexterm" name="id3024307"></a><a class="indexterm" name="idxpermissionsphotographyexemptedfrom"></a><p>
 Hva krevdes for at denne teknologien skulle blomstre.  Eastmans genialitet
 var åpenbart en viktig del.  Men den juridiske miljøet som Eastmans
 oppfinnelse vokste i var også viktig.  For tidlig i historien til
 fotografering, var det en rekke av rettsavgjørelser som godt kunne ha endret
 kursen til fotograferingen betydelig.  Domstoler ble spurt om fotografen,
 amatør eller profesjonell, måtte ha tillatelse før han kunne fange og trykke
-hvilket som helst bilde han ønsket.  Svaret var nei.<sup>[<a name="id2719555" href="#ftn.id2719555" class="footnote">31</a>]</sup>
-</p><a class="indexterm" name="id2719583"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
+hvilket som helst bilde han ønsket.  Svaret var nei.<sup>[<a name="id3024344" href="#ftn.id3024344" class="footnote">31</a>]</sup>
+</p><a class="indexterm" name="id3024372"></a><a class="indexterm" name="idxdisneywalt4"></a><a class="indexterm" name="idximagesownershipof"></a><p>
 
 Argumentene til fordel for å kreve tillatelser vil høres overraskende kjent
 ut.  Fotografen <span class="quote">«<span class="quote">tok</span>»</span> noe fra personen eller bygningen som ble
@@ -1358,16 +1358,16 @@ fotografert&#8212;r
 tok målets sjel.  På samme måte som Disney ikke var fri til å ta blyantene
 som hans animatører brukte til å tegne Mikke, så skulle heller ikke disse
 fotografene være fri til å ta bilder som de fant verdi i.
-</p><a class="indexterm" name="id2719095"></a><a class="indexterm" name="id2719641"></a><p>
+</p><a class="indexterm" name="id3023884"></a><a class="indexterm" name="id3024430"></a><a class="indexterm" name="idxcameratechnology2"></a><p>
 På den andre siden var et argument som også bør bør være kjent. Joda, det
 var kanskje noe av verdi som ble brukt.  Men borgerne burde ha rett til å
 fange i hvert fall de bildene som var tatt av offentlig område.  (Louis
 Brandeis, som senere ble høyesterettsjustitiarus, mente regelen skulle være
-annerledes for bilder tatt av private områder.<sup>[<a name="id2719660" href="#ftn.id2719660" class="footnote">32</a>]</sup>) Det kan være at dette betyr at fotografen får noe for ingenting.
+annerledes for bilder tatt av private områder.<sup>[<a name="id3024459" href="#ftn.id3024459" class="footnote">32</a>]</sup>) Det kan være at dette betyr at fotografen får noe for ingenting.
 På samme måte som Disney kunne hente inspirasjon fra <em class="citetitle">Steamboat
 Bill, Jr</em>. eller Grimm-brødrene, så burde fotografene stå fritt
 til å fange et bilde uten å kompensere kilden.
-</p><a class="indexterm" name="id2719699"></a><p>
+</p><a class="indexterm" name="id3024499"></a><p>
 Heldigvis for Mr. Eastman, og for fotografering generelt, gikk disse
 tidligere avgjørelsene i favør av piratene.  Generelt ble det ikke nødvendig
 å sikre seg tillatelse før et bilde kunne tas og deles med andre.  I stedet
@@ -1375,8 +1375,8 @@ var det antatt at tillatelse var gitt.  Frihet var utgangspunktet.  (Loven
 ga etter en stund et unntak for berømte personer: kommersielle fotografer
 som tok bilder av berømte personer for kommersielle formål har flere
 begrensninger enn resten av oss.  Men i det vanlige tilfellet, kan bildet
-fanges uten å klarere rettighetene for a fange det.<sup>[<a name="id2719722" href="#ftn.id2719722" class="footnote">33</a>]</sup>)
-</p><a class="indexterm" name="id2719752"></a><p>
+fanges uten å klarere rettighetene for a fange det.<sup>[<a name="id3024522" href="#ftn.id3024522" class="footnote">33</a>]</sup>)
+</p><a class="indexterm" name="id3024552"></a><a class="indexterm" name="id3024558"></a><p>
 Vi kan kun spekulere om hvordan fotografering ville ha utviklet seg om loven
 hadde slått ut den andre veien.  Hvis den hadde vært mot fotografen, da
 ville fotografen måttet dokumentere at tillatelse var på plass.  Kanskje
@@ -1389,7 +1389,7 @@ nytt fordeler fra <span class="quote">
 fotografer.  Vi kan forestille oss at loven da krevede at en form for
 tillatelse ble vist frem før et selskap fremkalte bildene.  Vi kan
 forestille oss et system bli utviklet for å legge frem slike tillatelser.
-</p><a class="indexterm" name="id2719794"></a><a class="indexterm" name="id2719804"></a><p>
+</p><a class="indexterm" name="id3024600"></a><a class="indexterm" name="idxcameratechnology3"></a><a class="indexterm" name="id3024619"></a><a class="indexterm" name="id3024628"></a><p>
 
 
 
@@ -1403,7 +1403,7 @@ av godkjenningssystemet.  Men spredningen av fotografering til vanlige folk
 villa aldri ha skjedd.  Veksten det skapte kunne aldri ha skjedd.  Og det
 ville uten tvil aldri vært realisert en slik vekst i demokratisk
 uttrykksteknologi.
-</p><a class="indexterm" name="id2719818"></a><a class="indexterm" name="id2719829"></a><a class="indexterm" name="id2719861"></a><a class="indexterm" name="id2719871"></a><p>
+</p><a class="indexterm" name="id3024642"></a><a class="indexterm" name="id3024653"></a><a class="indexterm" name="id3024685"></a><a class="indexterm" name="id3024696"></a><p>
 <span class="strong"><strong>Hvis du kjører</strong></span> gjennom området Presidio i
 San Francisco, kan det hende du ser to gusjegule skolebusser overmalt med
 fargefulle og iøynefallende bilder, og logoen <span class="quote">«<span class="quote">Just Think!</span>»</span> i
@@ -1422,12 +1422,12 @@ Disse bussene er ikke billige, men teknologien de har med seg blir billigere
 og billigere.  Kostnaden til et høykvalitets digitalt videosystem har falt
 dramatisk.  Som en analytiker omtalte det, <span class="quote">«<span class="quote">for fem år siden kostet et
 godt sanntids redigerinssystem for digital video $25 000.  I dag kan du
-få profesjonell kvalitet for $595.</span>»</span><sup>[<a name="id2719947" href="#ftn.id2719947" class="footnote">34</a>]</sup> Disse bussene er fylt med teknologi som ville kostet
+få profesjonell kvalitet for $595.</span>»</span><sup>[<a name="id3024772" href="#ftn.id3024772" class="footnote">34</a>]</sup> Disse bussene er fylt med teknologi som ville kostet
 hundre-tusenvis av dollar for bare ti år siden.  Og det er nå mulig å
 forestille seg ikke bare slike busser, men klasserom rundt om i landet hvor
 unger kan lære mer og mer av det lærerne kaller
 <span class="quote">«<span class="quote">medie-skriveføre</span>»</span> eller <span class="quote">«<span class="quote">mediekompetanse</span>»</span>.
-</p><a class="indexterm" name="id2719975"></a><p>
+</p><a class="indexterm" name="id3024799"></a><p>
 
 
 <span class="quote">«<span class="quote">Media-skriveføre,</span>»</span> eller <span class="quote">«<span class="quote">mediekompetanse</span>»</span> som
@@ -1440,10 +1440,10 @@ Dette kan virke som en litt rar m
 <span class="quote">«<span class="quote">skrivefør</span>»</span>. For de fleste handler skrivefør å kunne lese og
 skrive. <span class="quote">«<span class="quote">Skriveføre</span>»</span> folk kjenner ting som Faulkner, Hemingway
 og å kjenne igjen delte infinitiver.
-</p><a class="indexterm" name="id2720028"></a><p>
+</p><a class="indexterm" name="id3024853"></a><a class="indexterm" name="id3024860"></a><a class="indexterm" name="id3024866"></a><p>
 Mulig det.  Men i en verden hvor barn ser i gjennomsnitt 390 timer med
 TV-reklamer i året, eller generelt mellom 20 000 og 45 000
-reklameinnslag,<sup>[<a name="id2720042" href="#ftn.id2720042" class="footnote">35</a>]</sup> så er det mer og mer
+reklameinnslag,<sup>[<a name="id3024883" href="#ftn.id3024883" class="footnote">35</a>]</sup> så er det mer og mer
 viktig å forstå <span class="quote">«<span class="quote">grammatikken</span>»</span> til media.  For på samme måte
 som det er en grammatikk for det skrevne ord, så er det også en for media.
 Og akkurat slik som unger lærer å skrive ved å skrive masse grusom prosa, så
@@ -1459,20 +1459,20 @@ forst
 er. Eller mer fundamentalt, de færreste av oss har en følelse for hvordan
 media fungerer, hvordan det holder et publikum eller leder leseren gjennom
 historien, hvordan det utløser følelser eller bygger opp spenningen.
-</p><p>
+</p><a class="indexterm" name="id3024950"></a><p>
 Det tok filmkusten en generasjon før den kunne gjøre disse tingene bra.  Men
 selv da, så var kunnskapen i filmingen, ikke i å skrive om filmen.
 Ferdigheten kom fra erfaring med å lage en film, ikke fra å lese en bok om
 den.  En lærer å skrive ved å skrive, og deretter reflektere over det en har
 skrevet.  En lærer å skrive med bilder ved å lage dem, og deretter
 reflektere over det en har laget.
-</p><a class="indexterm" name="id2720084"></a><p>
+</p><a class="indexterm" name="id3024969"></a><a class="indexterm" name="idxdaleyelizabeth"></a><p>
 Denne gramatikken har endret seg etter hvert som media har endret seg.  Da
 det kun var film, som Elizabeth Daley, administrerende direktør ved
 Universitetet i Sør-Califorias Anneberg-senter for kommunkasjon og rektor
 ved USC skole for Kino-Televisjon, forklarte for meg, var gramatikken om
 <span class="quote">«<span class="quote">plasseringen av objekter, farger, &#8230; rytme, skritt og
-tekstur</span>»</span>.<sup>[<a name="id2720142" href="#ftn.id2720142" class="footnote">36</a>]</sup> Men etter hvert som
+tekstur</span>»</span>.<sup>[<a name="id3025002" href="#ftn.id3025002" class="footnote">36</a>]</sup> Men etter hvert som
 datamaskiner åpner opp et interaktivt rom hvor en historie blir
 <span class="quote">«<span class="quote">spillt</span>»</span> i tillegg til opplevd, endrer gramatikken seg.  Den
 enkle kontrollen til forstellerstemmen er forsvunnet, og dermed er andre
@@ -1481,8 +1481,8 @@ fortellerstemmen til science fiction.  Men da han fors
 dataspill basert på et av sine verk, så var det et nytt håndverk han måtte
 lære.  Det var ikke åpenbart hvordan en leder folk gjennom et spill uten at
 de far følelsen av å ha blitt ledet, selv for en enormt vellykket
-forfatter.<sup>[<a name="id2720187" href="#ftn.id2720187" class="footnote">37</a>]</sup>
-</p><a class="indexterm" name="id2720213"></a><p>
+forfatter.<sup>[<a name="id3025047" href="#ftn.id3025047" class="footnote">37</a>]</sup>
+</p><a class="indexterm" name="id3025073"></a><p>
 Akkurat denne ferdigheten er håndverket en lærer til de som lager
 filmer. Som Daley skriver, <span class="quote">«<span class="quote">folk er svært overrasket over hvordan de
 blir ledet gjennom en film.  Den er perfekt konstruert for å hindre deg fra
@@ -1511,10 +1511,10 @@ forst
 verktøyene som gir skriving mulighet til å veilede eller villede.  Målet med
 enhver skriveførhet, og denne skriveførheten spesielt, er å <span class="quote">«<span class="quote">gi folket
 myndighet til å velge det språket som passer for det de trenger å lage eller
-uttrykke</span>»</span>.<sup>[<a name="id2720298" href="#ftn.id2720298" class="footnote">38</a>]</sup> Det gir studenter
+uttrykke</span>»</span>.<sup>[<a name="id3025159" href="#ftn.id3025159" class="footnote">38</a>]</sup> Det gir studenter
 mulighet <span class="quote">«<span class="quote">til å kommunisere i språket til det tjueførste
-århundret</span>»</span>.<sup>[<a name="id2720320" href="#ftn.id2720320" class="footnote">39</a>]</sup>
-</p><a class="indexterm" name="id2720328"></a><p>
+århundret</span>»</span>.<sup>[<a name="id3025181" href="#ftn.id3025181" class="footnote">39</a>]</sup>
+</p><a class="indexterm" name="idxbarishstephanie"></a><p>
 Som det alle andre språk, læres dette språket lettere for noen enn for
 andre.  Det kommer ikke nødvendigvis lettere for de som gjør det godt
 skriftlig. Daley og Stephanie Barish, direktør for Institutt for
@@ -1525,7 +1525,7 @@ Angeles.  Etter alle tradisjonelle m
 en fiasko.  Men Daley og Barish gjennomførte et program som ga ungene en
 mulighet til å bruke film til å uttrykke sine meninger om noe som studentene
 visste noe om&#8212;våpen-relatert vold.
-</p><p>
+</p><a class="indexterm" name="id3025225"></a><p>
 Klassen møttes fredag ettermiddag, og skapte et relativt nytt problem for
 skolen.  Mens utfordringen i de fleste klasser var å få ungene til å dukke
 opp, var utfordringen for denne klassen å holde dem unna. <span class="quote">«<span class="quote">Ungene
@@ -1549,7 +1549,7 @@ selv i tekstform ikke er noe disse studentene gj
 tekstform en form som kan uttrykke <span class="emphasis"><em>disse</em></span> idéene godt.
 Kraften i denne meldingen avhenger av dens forbindelse med denne for for
 uttrykk.
-</p><p>
+</p><a class="indexterm" name="id3025307"></a><p>
 
 
 
@@ -1590,7 +1590,7 @@ Fordi de trengte det.  Det var en grunn til 
 noe, i motsetning til å kun danse etter din pipe.  De trengte faktisk å
 bruke det språket de ikke håndterte veldig bra.  Men de hadde begynt å
 forstå at de hadde mye gjennomslagskraft med dette språket.
-</p></blockquote></div><a class="indexterm" name="id2720550"></a><p>
+</p></blockquote></div><a class="indexterm" name="idxseptemberterroristattacksof"></a><a class="indexterm" name="id3025439"></a><a class="indexterm" name="idxnewscoverage"></a><p>
 <span class="strong"><strong>Da to fly</strong></span> krasjet inn i World Trade
 Center, og et annet inn i Pentagon, og et fjerde inn i et jorde i
 Pennsylvania, snudde alle medier verden rundt seg til denne nyheten.
@@ -1606,7 +1606,7 @@ over skjermen.  Det var en formel for intervjuer.  Det var
 <span class="quote">«<span class="quote">balanse</span>»</span> og seriøsitet.  Dette var nyheter koreaografert slik
 vi i stadig større grad forventer det, <span class="quote">«<span class="quote">nyheter som
 underholdning</span>»</span>, selv om underholdningen er en tragedie.
-</p><a class="indexterm" name="id2720594"></a><a class="indexterm" name="id2720600"></a><p>
+</p><a class="indexterm" name="id3025502"></a><a class="indexterm" name="id3025509"></a><p>
 Men i tillegg til disse produserte nyhetene om <span class="quote">«<span class="quote">tragedien
 11. september</span>»</span>, kunne de av oss som er knyttet til internettet i
 tillegg se en svært annerledes produksjon. Internettet er fullt av
@@ -1619,7 +1619,7 @@ godt, en ekstraordin
 bruker begrepet i hans bok <em class="citetitle">Cyber Rights</em>, rundt en
 nyhetshendelse som hadde fanget oppmerksomheten til hele verden.  Det var
 ABC og CBS, men det var også internettet.
-</p><p>
+</p><a class="indexterm" name="id3025542"></a><p>
 
 Det er ikke så enkelt som at jeg ønsker å lovprise internettet&#8212;selv om
 jeg mener at folkene som støtter denne formen for tale bør lovprises.  Jeg
@@ -1634,7 +1634,7 @@ kreasjonene med et ekstraordin
 tradisjon&#8212;ikke bare kan kultur fanges inn mekanisk, og åpenbart heller
 ikke at hendelser blir kommentert kritisk, men at denne blandingen av
 bilder, lyd og kommentar kan spres vidt omkring nesten umiddelbart.
-</p><a class="indexterm" name="id2720658"></a><a class="indexterm" name="idxblogsweblogs"></a><a class="indexterm" name="idxinternetblogson"></a><a class="indexterm" name="idxweblogsblogs"></a><p>
+</p><a class="indexterm" name="id3025576"></a><a class="indexterm" name="idxblogsweblogs"></a><a class="indexterm" name="idxinternetblogson"></a><a class="indexterm" name="idxweblogsblogs"></a><p>
 11. september var ikke et avvik.  Det var en start.  Omtrent på samme tid,
 begynte en form for kommunkasjon som hadde vokst dramatisk å komme inn i
 offentlig bevissthet: web-loggen, eller blog.  Bloggen er en slags offentlig
@@ -1642,7 +1642,7 @@ dagbok, og i noen kulturer, slik som i Japan, fungerer den veldig lik en
 dagbok.  I disse kulturene registrerer den private fakta på en offentlig
 måte&#8212;det er en slags elektronisk <em class="citetitle">Jerry
 Springer</em>, tilgjengelig overalt i verden.
-</p><a class="indexterm" name="id2720727"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
+</p><a class="indexterm" name="id3025645"></a><a class="indexterm" name="idxinternetpublicdiscourseconductedon"></a><p>
 Men i USA har blogger inntatt en svært annerledes karakter.  Det er noen som
 bruker denne plassen til å snakke om sitt private liv.  Men det er mange som
 bruker denne plassen til å delta i offentlig debatt. Diskuterer saker med
@@ -1663,7 +1663,7 @@ naturligvis valg, og mesteparten av tiden tillater domstolene at disse
 valgene teller.  Et relativt lite antall mennesker stemmer i disse valgene.
 Syklusen med disse valgene har blitt totalt profesjonalisert og
 rutinepreget.  De fleste av oss tenker på dette som demokrati.
-</p><a class="indexterm" name="id2720839"></a><a class="indexterm" name="id2720847"></a><a class="indexterm" name="id2720855"></a><a class="indexterm" name="id2720863"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="id2720882"></a><p>
+</p><a class="indexterm" name="id3025759"></a><a class="indexterm" name="id3025767"></a><a class="indexterm" name="id3025775"></a><a class="indexterm" name="id3025783"></a><a class="indexterm" name="idxdemocracypublicdiscoursein"></a><a class="indexterm" name="id3025802"></a><p>
 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
 også kontroll gjennom gjennomtenkt meningsbrytning.  Dette var idéen som
@@ -1677,11 +1677,11 @@ frem.  De diskuterte.  Medlemmene argumenterte om hva som var
 <span class="quote">«<span class="quote">riktig</span>»</span> resultat, de forsøkte å overbevise hverandre om
 <span class="quote">«<span class="quote">riktig</span>»</span>resultat, og i hvert fall i kriminalsaker måtte de bli
 enige om et enstemmig resultat for at prosessen skulle
-avsluttes.<sup>[<a name="id2720929" href="#ftn.id2720929" class="footnote">40</a>]</sup>
-</p><a class="indexterm" name="id2720941"></a><p>
+avsluttes.<sup>[<a name="id3025849" href="#ftn.id3025849" class="footnote">40</a>]</sup>
+</p><a class="indexterm" name="id3025861"></a><p>
 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
-innsats for å lage en slik institusjon.<sup>[<a name="id2720958" href="#ftn.id2720958" class="footnote">41</a>]</sup>
+innsats for å lage en slik institusjon.<sup>[<a name="id3025878" href="#ftn.id3025878" class="footnote">41</a>]</sup>
 Og i noen landsbyer i New England er det noe i nærheten av diskusjon igjen.
 Men for de fleste av oss mesteparten av tiden, er det ingen tid og sted for
 å gjennomføre <span class="quote">«<span class="quote">demokratisk diskusjon</span>»</span>.
@@ -1691,9 +1691,9 @@ skje.  Vi, det mektigste demokratiet i verden, har utviklet en sterk norm
 mot å diskutere politikk.  Det er greit å diskutere politikk med folk du er
 enig med, men det er uhøflig å diskutere politikk med folk du er uenig med.
 Politisk debatt blir isolert, og isolert diskusjon blir mer
-ekstrem.<sup>[<a name="id2721007" href="#ftn.id2721007" class="footnote">42</a>]</sup> Vi sier det våre venner vil
+ekstrem.<sup>[<a name="id3025927" href="#ftn.id3025927" class="footnote">42</a>]</sup> Vi sier det våre venner vil
 høre, og hører veldig lite utenom hva våre venner sier.
-</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="id2721032"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="id2721061"></a><a class="indexterm" name="id2721072"></a><a class="indexterm" name="id2721082"></a><p>
+</p><a class="indexterm" name="idxblogsweblogs2"></a><a class="indexterm" name="id3025952"></a><a class="indexterm" name="idxinternetblogson2"></a><a class="indexterm" name="idxweblogsblogs2"></a><a class="indexterm" name="id3025981"></a><a class="indexterm" name="id3025992"></a><a class="indexterm" name="id3026002"></a><p>
 
 Så kommer bloggen.  Selve bloggens arkitektur løser en del av dette
 problemet.  Folk publiserer det de ønsker å publisere, og folk leser det de
@@ -1709,12 +1709,12 @@ venstresiden.  Noen av de mest popul
 libertarianske, men det er mange av alle politiske farger.  Til og med
 blogger som ikke er politiske dekker politiske temaer når anledningen krever
 det.
-</p><a class="indexterm" name="id2721122"></a><p>
+</p><a class="indexterm" name="id3026042"></a><p>
 Betydningene av disse bloggene er liten nå, men ikke ubetydelig. Navnet
 Howard Dean har i stor grad forsvunnet fra 2004-presidentvalgkampen bortsett
 fra hos noen få blogger.  Men selv om antallet lesere er lavt, så har det å
 lese dem en effekt.
-</p><a class="indexterm" name="id2721140"></a><a class="indexterm" name="id2721147"></a><p>
+</p><a class="indexterm" name="id3026060"></a><a class="indexterm" name="id3026066"></a><p>
 En direkte effekt er på historier som hadde en annerledes livssyklus i de
 store mediene.  Trend Lott-affæren er et eksempel.  Da Logg <span class="quote">«<span class="quote">sa
 feil</span>»</span> på en fest for senator Storm Thurmond, og essensielt lovpriste
@@ -1724,7 +1724,7 @@ Det skjedde.  Men han regnet ikke med dens livssyklus i bloggsf
 Bloggerne fortsatte å undersøke historien.  Etter hvert dukket flere og
 flere tilfeller av tilsvarende <span class="quote">«<span class="quote">feiluttalelser</span>»</span> opp. Så dukket
 historien opp igjen hos de store mediene.  Lott ble til slutt tvunget til å
-trekke seg som leder for senatets flertall.<sup>[<a name="id2721181" href="#ftn.id2721181" class="footnote">43</a>]</sup>
+trekke seg som leder for senatets flertall.<sup>[<a name="id3026101" href="#ftn.id3026101" class="footnote">43</a>]</sup>
 </p><p>
 Denne annerledes syklusen er mulig på grunn av at et tilsvarende kommersielt
 press ikke eksisterer hos blogger slik det gjør hos andre kanaler.
@@ -1749,12 +1749,12 @@ m
 meg. <span class="quote">«<span class="quote">En amatørjournalist har ganske enkelt ikke interessekonflikt,
 eller interessekonflikten er så enkelt å avsløre at du liksom vet du kan
 rydde den av veien.</span>»</span>
-</p><a class="indexterm" name="id2721265"></a><a class="indexterm" name="id2721271"></a><p>
+</p><a class="indexterm" name="id3026185"></a><a class="indexterm" name="id3026191"></a><p>
 Disse konfliktene blir mer viktig etter hvert som mediene blir mer
 konsentrert (mer om dette under).  Konsentrerte medier kan skjule mer fra
 offentligheten enn ikke-konsentrerte medier kan&#8212;slik CNN innrømte at
 de gjorde etter Irak-krigen fordi de var rett for konsekvensene for sine
-egne ansatte.<sup>[<a name="id2720907" href="#ftn.id2720907" class="footnote">44</a>]</sup> De trenger også å
+egne ansatte.<sup>[<a name="id3025827" href="#ftn.id3025827" class="footnote">44</a>]</sup> De trenger også å
 opprettholde en mer konsistent rapportering.  (Midt under Irak-krigen, leste
 jeg en melding på Internet fra noen som på det tidspunktet lyttet på
 satellitt-forbindelsen til en reporter i Irak.  New York-hovedkvarteret ba
@@ -1768,7 +1768,7 @@ betydningen til en Olympisk atlet, det vil si ikke betalt av noen for 
 komme med deres rapport.  Det tillater en mye bredere rekke av innspill til
 en historie, slik rapporteringen Columbia-katastrofen avdekket, når
 hundrevis fra hele sørvest-USA vendte seg til internettet for å gjenfortelle
-hva de hadde sett.<sup>[<a name="id2721334" href="#ftn.id2721334" class="footnote">45</a>]</sup> Og det får lesere
+hva de hadde sett.<sup>[<a name="id3026254" href="#ftn.id3026254" class="footnote">45</a>]</sup> Og det får lesere
 til å lese på tvers av en rekke fortellinger og <span class="quote">«<span class="quote">triangulere</span>»</span>,
 som Winer formulerer det, sannheten.  Blogger, sier Winer,
 <span class="quote">«<span class="quote">kommunserer direkte med vår velgermasse, og mellommannen er
@@ -1780,7 +1780,7 @@ blogger.  <span class="quote">
 Winer, for offentlige aktører og også i større grad for private aktører.
 Det er ikke klart at <span class="quote">«<span class="quote">journalismen</span>»</span> er glad for
 dette&#8212;noen journalister har blitt bedt om å kutte ut sin
-blogging.<sup>[<a name="id2721370" href="#ftn.id2721370" class="footnote">46</a>]</sup> Men det er klart at vi
+blogging.<sup>[<a name="id3026290" href="#ftn.id3026290" class="footnote">46</a>]</sup> Men det er klart at vi
 fortsatt er i en overgangsfase.  <span class="quote">«<span class="quote">Mye av det vi gjør nå er
 oppvarmingsøvelser</span>»</span>, fortalte Winer meg.  Det er mye som må modne før
 dette området har sin modne effekt.  Og etter som inkludering av innhold i
@@ -1800,7 +1800,7 @@ at noen har bevist at han tok feil.  
 kritikk forbedrer demokratiet.  I dag er det antagelig et par millioner
 blogger der det skrives på denne måten.  Når det er ti millioner, så vil det
 være noe ekstraordinært å rapportere.
-</p><a class="indexterm" name="id2721514"></a><a class="indexterm" name="id2721522"></a><a class="indexterm" name="id2721530"></a><a class="indexterm" name="id2721538"></a><a class="indexterm" name="id2721546"></a><a class="indexterm" name="id2721555"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
+</p><a class="indexterm" name="id3026434"></a><a class="indexterm" name="id3026442"></a><a class="indexterm" name="id3026450"></a><a class="indexterm" name="id3026458"></a><a class="indexterm" name="id3026466"></a><a class="indexterm" name="id3026475"></a><a class="indexterm" name="id3026483"></a><a class="indexterm" name="idxbrownjohnseely"></a><a class="indexterm" name="idxadvertising1"></a><p>
 <span class="strong"><strong>John Seely Brown</strong></span> er sjefsforsker ved
 Xerox Corporation.  Hans arbeid, i følge hans eget nettsted, er
 <span class="quote">«<span class="quote">menneskelig læring og &#8230; å skape kunnskapsøkologier for å skape
@@ -1854,7 +1854,7 @@ fremmer mye mer enn tekst.  <span class="quote">
 hvis du er kunstnerisk, hvis du er visuell, hvis du er interessert i film
 &#8230;da er det en masse du kan gå igang med på dette mediet.  Det kan
 fremme og ta hensyn til alle disse formene for intelligens.</span>»</span>
-</p><a class="indexterm" name="id2721741"></a><a class="indexterm" name="id2721749"></a><p>
+</p><a class="indexterm" name="id3026670"></a><a class="indexterm" name="id3026677"></a><p>
 
 Brown snakker om hva Elizabeth Daley, Stephanie Barish Og Just Think! lærer
 bort: at denne fiklingen med kultur lærer såvel som den skaper. Den utvikler
@@ -1870,7 +1870,7 @@ grad, forstyrrer friheten som teknolog, nysgjerrigheten, ellers ville sikre.
 Disse begresningene har blitt fokusen for forskere og akademikere. Professor
 Ed Felten ved Princeton (som vi vil se mer fra i kapittel <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>) har utviklet et
 kraftfylt argument til fordel for <span class="quote">«<span class="quote">retten til å fikle</span>»</span> slik det
-gjøres i informatikk og til kunnskap generelt.<sup>[<a name="id2721800" href="#ftn.id2721800" class="footnote">47</a>]</sup> Men bekymringen til Brown er tidligere, og mer fundamentalt.  Det
+gjøres i informatikk og til kunnskap generelt.<sup>[<a name="id3026728" href="#ftn.id3026728" class="footnote">47</a>]</sup> Men bekymringen til Brown er tidligere, og mer fundamentalt.  Det
 handler om hva slags læring unger kan få, eller ikke kan få, på grunn av
 loven.
 </p><p>
@@ -1883,7 +1883,7 @@ f
 undertrykker den naturlige tendensen i dagens digitale unger. &#8230; We
 bygger en arkitektur som frigjør 60 prosent av hjernen [og] et juridisk
 system som stenger ned den delen av hjernen</span>»</span>.
-</p><a class="indexterm" name="id2721859"></a><p>
+</p><a class="indexterm" name="id3026787"></a><p>
 Vi bygger en teknologi som tar magien til Kodak, mikser inn bevegelige
 bilder og lyd, og legger inn plass for kommentarer og en mulighet til å spre
 denne kreativiteten over alt.  Men vi bygger loven for å stenge ned denne
@@ -1892,28 +1892,28 @@ teknologien.
 <span class="quote">«<span class="quote">Ikke måten å drive en kultur på</span>»</span>, sa Brewster Kahle, som vi
 møtte i kapittel <a class="xref" href="#collectors" title="Kapittel ni: Samlere">9</a>, kommenterte til meg i et sjeldent øyeblikk av
 nedstemthet.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2719330" href="#id2719330" class="para">26</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3024120" href="#id3024120" class="para">26</a>] </sup>
 
 
 Reese V. Jenkins, <em class="citetitle">Images and Enterprise</em> (Baltimore:
 Johns Hopkins University Press, 1975), 112.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2715521" href="#id2715521" class="para">27</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3020312" href="#id3020312" class="para">27</a>] </sup>
 
-<a class="indexterm" name="id2719352"></a> Brian Coe, <em class="citetitle">The Birth of
+<a class="indexterm" name="id3024142"></a> Brian Coe, <em class="citetitle">The Birth of
 Photography</em> (New York: Taplinger Publishing, 1977), 53.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719410" href="#id2719410" class="para">28</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024200" href="#id3024200" class="para">28</a>] </sup>
 
 
 Jenkins, 177.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719420" href="#id2719420" class="para">29</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024209" href="#id3024209" class="para">29</a>] </sup>
 
 
 Basert på et diagram i Jenkins, s. 178.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719354" href="#id2719354" class="para">30</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024144" href="#id3024144" class="para">30</a>] </sup>
 
 
 Coe, 58.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719555" href="#id2719555" class="para">31</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024344" href="#id3024344" class="para">31</a>] </sup>
 
 
 For illustrerende saker, se for eksempel, <em class="citetitle">Pavesich</em>
@@ -1921,11 +1921,11 @@ mot <em class="citetitle">N.E. Life Ins. Co</em>., 50 S.E. 68 (Ga. 1905);
 <em class="citetitle">Foster-Milburn Co</em>. mot <em class="citetitle">Chinn</em>,
 123090 S.W. 364, 366 (Ky. 1909); <em class="citetitle">Corliss</em> mot
 <em class="citetitle">Walker</em>, 64 F. 280 (Mass.  Dist. Ct. 1894).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719660" href="#id2719660" class="para">32</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024459" href="#id3024459" class="para">32</a>] </sup>
 
 Samuel D. Warren og Louis D. Brandeis, <span class="quote">«<span class="quote">The Right to Privacy</span>»</span>,
-<em class="citetitle">Harvard Law Review</em> 4 (1890): 193.  <a class="indexterm" name="id2719671"></a> <a class="indexterm" name="id2719680"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719722" href="#id2719722" class="para">33</a>] </sup>
+<em class="citetitle">Harvard Law Review</em> 4 (1890): 193.  <a class="indexterm" name="id3024471"></a> <a class="indexterm" name="id3024479"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024522" href="#id3024522" class="para">33</a>] </sup>
 
 
 Se Melville B. Nimmer, <span class="quote">«<span class="quote">The Right of Publicity</span>»</span>, <em class="citetitle">Law
@@ -1934,62 +1934,62 @@ and Contemporary Problems</em> 19 (1954): 203; William L. Prosser,
 (1960) 398&#8211;407; <em class="citetitle">White</em> mot <em class="citetitle">Samsung
 Electronics America, Inc</em>., 971 F.  2d 1395 (9th Cir. 1992),
 sert. nektet, 508 U.S. 951 (1993).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2719947" href="#id2719947" class="para">34</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024772" href="#id3024772" class="para">34</a>] </sup>
 
 
 H. Edward Goldberg, <span class="quote">«<span class="quote">Essential Presentation Tools: Hardware and
 Software You Need to Create Digital Multimedia Presentations,</span>»</span>
 cadalyst, februar 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #7</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720042" href="#id2720042" class="para">35</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3024883" href="#id3024883" class="para">35</a>] </sup>
 
 
 Judith Van Evra, <em class="citetitle">Television and Child Development</em>
 (Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); <span class="quote">«<span class="quote">Findings on
 Family and TV Study</span>»</span>, <em class="citetitle">Denver Post</em>, 25. mai
 1997, B6.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720142" href="#id2720142" class="para">36</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025002" href="#id3025002" class="para">36</a>] </sup>
 
 Intervju med Elizabeth Daley og Stephanie Barish, 13. desember 2002.
-<a class="indexterm" name="id2720150"></a> <a class="indexterm" name="id2720159"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720187" href="#id2720187" class="para">37</a>] </sup>
+<a class="indexterm" name="id3025010"></a> <a class="indexterm" name="id3025018"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025047" href="#id3025047" class="para">37</a>] </sup>
 
 
 Se Scott Steinberg, <span class="quote">«<span class="quote">Crichton Gets Medieval on PCs</span>»</span>, E!online,
 4. november 2000, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #8</a>;
 <span class="quote">«<span class="quote">Timeline</span>»</span>, 22. november 2000, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #9</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720298" href="#id2720298" class="para">38</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025159" href="#id3025159" class="para">38</a>] </sup>
 
-Intervju med Daley og Barish.  <a class="indexterm" name="id2720305"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720320" href="#id2720320" class="para">39</a>] </sup>
+Intervju med Daley og Barish.  <a class="indexterm" name="id3025165"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025181" href="#id3025181" class="para">39</a>] </sup>
 
 
 ibid.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720929" href="#id2720929" class="para">40</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025849" href="#id3025849" class="para">40</a>] </sup>
 
 
 Se for eksempel Alexis de Tocqueville, <em class="citetitle">Democracy in
 America</em>, bk. 1, overs.  Henry Reeve (New York: Bantam Books,
 2000), kap. 16.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720958" href="#id2720958" class="para">41</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025878" href="#id3025878" class="para">41</a>] </sup>
 
 
 Bruce Ackerman og James Fishkin, <span class="quote">«<span class="quote">Deliberation Day</span>»</span>,
 <em class="citetitle">Journal of Political Philosophy</em> 10 (2) (2002): 129.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2721007" href="#id2721007" class="para">42</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025927" href="#id3025927" class="para">42</a>] </sup>
 
 
 Cass Sunstein, <em class="citetitle">Republic.com</em> (Princeton: Princeton
 University Press, 2001), 65&#8211;80, 175, 182, 183, 192.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2721181" href="#id2721181" class="para">43</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3026101" href="#id3026101" class="para">43</a>] </sup>
 
 
 Noah Shachtman, <span class="quote">«<span class="quote">With Incessant Postings, a Pundit Stirs the
 Pot</span>»</span>, New York Times, 16. januar 2003, G5.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2720907" href="#id2720907" class="para">44</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3025827" href="#id3025827" class="para">44</a>] </sup>
 
 
 Telefonintervju med David Winer, 16. april 2003.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2721334" href="#id2721334" class="para">45</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3026254" href="#id3026254" class="para">45</a>] </sup>
 
 
 John Schwartz, <span class="quote">«<span class="quote">Loss of the Shuttle: The Internet; A Wealth of
@@ -1998,9 +1998,9 @@ Information Online</span>
 Strong Overall</span>»</span>, Online Journalism Review, 2. februar 2003,
 tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #10</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2721370" href="#id2721370" class="para">46</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3026290" href="#id3026290" class="para">46</a>] </sup>
 
-<a class="indexterm" name="id2721401"></a> <a class="indexterm" name="id2721409"></a> <a class="indexterm" name="id2721415"></a> <a class="indexterm" name="id2721422"></a>  Se Michael Falcone, <span class="quote">«<span class="quote">Does an Editor's
+<a class="indexterm" name="id3026321"></a> <a class="indexterm" name="id3026329"></a> <a class="indexterm" name="id3026335"></a> <a class="indexterm" name="id3026342"></a>  Se Michael Falcone, <span class="quote">«<span class="quote">Does an Editor's
 Pencil Ruin a Web Log?</span>»</span> <em class="citetitle">New York Times</em>,
 29. september 2003, C4. (<span class="quote">«<span class="quote">Ikke alle nyhetsorganisasjoner har hatt like
 stor aksept for ansatte som blogger. Kevin Sites, en CNN-korrespondent i
@@ -2009,14 +2009,14 @@ publisere 12 dager senere p
 Olafson, en <em class="citetitle">Houston Chronicle</em>-reporter, sparken for å
 ha hatt en personlig web-logg, publisert under pseudonym, som handlet om
 noen av temaene og folkene som han dekket.</span>»</span>)
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2721800" href="#id2721800" class="para">47</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3026728" href="#id3026728" class="para">47</a>] </sup>
 
 
 Se for eksempel, Edward Felten og Andrew Appel, <span class="quote">«<span class="quote">Technological Access
 Control Interferes with Noninfringing Scholarship,</span>»</span>
 <em class="citetitle">Communications of the Association for Computer
 Machinery</em> 43 (2000): 9.
-</p></div></div></div><div class="chapter" title="Kapittel tre: Kataloger"><div class="titlepage"><div><div><h2 class="title"><a name="catalogs"></a>Kapittel tre: Kataloger</h2></div></div></div><a class="indexterm" name="id2721909"></a><a class="indexterm" name="idxrensselaer"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel tre: Kataloger"><div class="titlepage"><div><div><h2 class="title"><a name="catalogs"></a>Kapittel tre: Kataloger</h2></div></div></div><a class="indexterm" name="id3026837"></a><a class="indexterm" name="idxrensselaer"></a><p>
 <span class="strong"><strong>Høsten 2001</strong></span>, ble Jesse Jordan fra
 Oceanside, New York, innrullert som førsteårsstudent ved Rensselaer
 Polytechnic Institute, i Troy, New York.  Hans studieprogram ved RPI var
@@ -2112,7 +2112,7 @@ hadde bygd selv, som brukte fildelingssystemet til Windows, som Jesse ikke
 hadde bygd selv, for å gjøre det mulig for medlemmer av RPI-fellesskapet å
 få tilgang til innhold, som Jesse ikke hadde laget eller gjort tilgjengelig,
 og der det store flertall av dette ikke hadde noe å gjøre med musikk.
-</p><a class="indexterm" name="id2722160"></a><p>
+</p><a class="indexterm" name="id3027088"></a><p>
 
 Men RIAA kalte Jesse en pirat.  De hevdet at han opererte et nettverk og
 dermed <span class="quote">«<span class="quote">med vilje</span>»</span> hadde brutt åndsverkslovene.  De krevde at
@@ -2122,7 +2122,7 @@ advokater kaller <span class="quote">
 en opphavsrettighetseier å kreve $150 000 per krenkelse.  Etter som
 RIAA påsto det var mer enn et hundre spesifikke opphavsrettskrenkelser,
 krevde de dermed at Jesse betalte dem minst $15 000 000.
-</p><a class="indexterm" name="id2722187"></a><a class="indexterm" name="id2722199"></a><p>
+</p><a class="indexterm" name="id3027117"></a><a class="indexterm" name="id3027127"></a><p>
 Lignende søksmål ble gjort mot tre andre studenter: en annen student ved
 RPI, en ved Michegan Technical University og en ved Princeton. Deres
 situasjoner var lik den til Jesse.  Selv om hver sak hadde forskjellige
@@ -2131,13 +2131,13 @@ detaljer, var hovedpoenget n
 opp disse kravene, ba disse fire søksmålene domstolene i USA å tildele
 saksøkerne nesten $100 <span class="emphasis"><em>milliarder</em></span>&#8212;seks ganger det
 <span class="emphasis"><em>totale</em></span> overskuddet til filmindustrien i
-2001.<sup>[<a name="id2722232" href="#ftn.id2722232" class="footnote">48</a>]</sup>
-</p><a class="indexterm" name="id2722249"></a><p>
+2001.<sup>[<a name="id3027160" href="#ftn.id3027160" class="footnote">48</a>]</sup>
+</p><a class="indexterm" name="id3027177"></a><p>
 Jesse kontaktet sine foreldre.  De støttet ham, men var litt skremt. En
 onkel var advokat.  Han startet forhandlinger med RIAA.  De krevde å få vite
 hvor mye penger Jesse hadde.  Jesse hadde spart opp $12 000 fra
 sommerjobber og annet arbeid.  De krevde 12 000 for å trekke saken.
-</p><a class="indexterm" name="id2722270"></a><p>
+</p><a class="indexterm" name="id3027198"></a><p>
 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
 det umulig for han å arbeide i mange områder innen teknologi for resten av
@@ -2160,15 +2160,15 @@ konkurs.
 </p><p>
 Så Jesse hadde et mafia-lignende valg: $250 000 og en sjanse til å
 vinne, eller $12 000 og et forlik.
-</p><a class="indexterm" name="id2722311"></a><p>
+</p><a class="indexterm" name="id3027239"></a><p>
 Musikkindustrien insisterer at dette er et spørsmål om lov og moral.  La oss
 legge loven til side for et øyeblikk og tenke på moralen.  Hvor er moralen i
 et søksmål som dette?  Hva er dyden i å skape offerlam.  RIAA er en spesielt
 mektig lobby.  Presidenten i RIAA tjener i følge rapporter mer enn $1
 million i året.  Artister, på den andre siden, får ikke godt betalt.  Den
-gjennomsnittlige innspillingsartist tjener $45 900.<sup>[<a name="id2722316" href="#ftn.id2722316" class="footnote">49</a>]</sup> Det er utallige måter som RIAA kan bruke for å
+gjennomsnittlige innspillingsartist tjener $45 900.<sup>[<a name="id3027244" href="#ftn.id3027244" class="footnote">49</a>]</sup> Det er utallige måter som RIAA kan bruke for å
 påvirke og styre politikken.  Så hva er det moralske i å ta penger fra en
-student for å drive en søkemotor?<sup>[<a name="id2722369" href="#ftn.id2722369" class="footnote">50</a>]</sup>
+student for å drive en søkemotor?<sup>[<a name="id3027298" href="#ftn.id3027298" class="footnote">50</a>]</sup>
 </p><p>
 23. juni overførte Jesse alle sine oppsparte midler til advokaten som jobbet
 for RIAA.  Saken mot ham ble trukket.  Og med dette, ble unggutten som hadde
@@ -2186,26 +2186,26 @@ konservativ, og det samme gj
 treklemmer. &#8230; Jeg synes det er sært at de ville lage bråk med ham.
 Men han ønsker å la folk vite at de sender feil budskap.  Og han ønsker å
 korrigere rullebladet.</span>»</span>
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2722232" href="#id2722232" class="para">48</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3027160" href="#id3027160" class="para">48</a>] </sup>
 
 
 
 Tim Goral, <span class="quote">«<span class="quote">Recording Industry Goes After Campus P-2-P Networks: Suit
 Alleges $97.8 Billion in Damages</span>»</span>, <em class="citetitle">Professional Media
 Group LCC</em> 6 (2003): 5, tilgjengelig fra 2003 WL 55179443.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722316" href="#id2722316" class="para">49</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027244" href="#id3027244" class="para">49</a>] </sup>
 
 
 Occupational Employment Survey, U.S. Dept. of Labor (2001)
 (27&#8211;2042&#8212;Musikere og Sangere). Se også National Endowment for
 the Arts, <em class="citetitle">More Than One in a Blue Moon</em> (2000).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722369" href="#id2722369" class="para">50</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027298" href="#id3027298" class="para">50</a>] </sup>
 
 
 Douglas Lichtman kommer med et relatert poeng i <span class="quote">«<span class="quote">KaZaA and
 Punishment,</span>»</span> <em class="citetitle">Wall Street Journal</em>,
 10. september 2003, A24.
-</p></div></div></div><div class="chapter" title="Kapittel fire: «Pirater»"><div class="titlepage"><div><div><h2 class="title"><a name="pirates"></a>Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></h2></div></div></div><a class="indexterm" name="id2722444"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel fire: «Pirater»"><div class="titlepage"><div><div><h2 class="title"><a name="pirates"></a>Kapittel fire: <span class="quote">«<span class="quote">Pirater</span>»</span></h2></div></div></div><a class="indexterm" name="id3027373"></a><p>
 <span class="strong"><strong>Hvis <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> betyr</strong></span>
 å bruke den kreative eiendommen til andre uten deres tillatelse&#8212;hvis
 <span class="quote">«<span class="quote">hvis verdi, så rettighet</span>»</span> er sant&#8212;da er historien om
@@ -2216,7 +2216,7 @@ konsekvente fortellingen er at forrige generasjon pirater blir del av denne
 generasjonens borgerskap&#8212;inntil nå.
 </p><div class="section" title="4.1. Film"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="film"></a>4.1. Film</h2></div></div></div><p>
 
-Filmindustrien i Hollywood var bygget av flyktende pirater.<sup>[<a name="id2722496" href="#ftn.id2722496" class="footnote">51</a>]</sup> Skapere og regissører migrerte fra østkysten til
+Filmindustrien i Hollywood var bygget av flyktende pirater.<sup>[<a name="id3027425" href="#ftn.id3027425" class="footnote">51</a>]</sup> Skapere og regissører migrerte fra østkysten til
 California tidlig i det tjuende århundret delvis for å slippe unna
 kontrollene som patenter ga oppfinneren av det å lage filmer, Thomas
 Edison.  Disse kontrollene be utøvet gjennom et
@@ -2234,7 +2234,7 @@ forretningsvirksomhet uten 
 var bevegelsen med uavhengige i full sving, med produsenter og kinoeiere som
 brukte ulovlig utstyr og importerte filmlager for å opprette sitt eget
 undergrunnsmarked.
-</p><a class="indexterm" name="id2722564"></a><a class="indexterm" name="id2722570"></a><a class="indexterm" name="id2722576"></a><p>
+</p><a class="indexterm" name="id3027493"></a><a class="indexterm" name="id3027499"></a><a class="indexterm" name="id3027505"></a><p>
 Med et land som så en kolossal økning i antall billige kinoer, såkalte
 nickelodeons, reagerte patentselskapet på bevegelsen av uavhengige med å
 stifte et hardhendt datterselskap ved navn General Film Company for å
@@ -2243,13 +2243,13 @@ har blitt legendariske, konfiskerte General Film ulisensiert utstyr, stoppet
 varelevering til kinoer som viste ulisensiert fil, og effektivt
 monopoliserte distribusjon ved å kjøpe opp alle USAs filmsentraler, med
 unntak av den ene som var eid av den uavhengige William Fox som motsto
-kartellet selv etter at hans lisens var trukket tilbake.<sup>[<a name="id2722607" href="#ftn.id2722607" class="footnote">52</a>]</sup>
+kartellet selv etter at hans lisens var trukket tilbake.<sup>[<a name="id3027536" href="#ftn.id3027536" class="footnote">52</a>]</sup>
 </p></blockquote></div><p>
 Napsterne i de dager, de <span class="quote">«<span class="quote">uavhengige</span>»</span>, var selskaper som Fox.
 Og ikke mindre enn i dag ble disse uavhengige intenst motarbeidet.
 <span class="quote">«<span class="quote">Opptak ble avbrutt av stjålet maskineri, og 'uhell' som førte til
 tapte negativer, utstyr, bygninger og noen ganger liv og lemmer skjedde
-ofte.</span>»</span><sup>[<a name="id2722667" href="#ftn.id2722667" class="footnote">53</a>]</sup> Dette fikk de uavhengige
+ofte.</span>»</span><sup>[<a name="id3027596" href="#ftn.id3027596" class="footnote">53</a>]</sup> Dette fikk de uavhengige
 til å flykte til østkysten.  California var fjernt nok fra Edisons
 innflytelse til at filmskaperne der kunne røve hans nyvinninger uten å
 frykte loven.  Og lederne blant Hollywoods filmskapere, Fox mest
@@ -2262,11 +2262,11 @@ patentinnehaveren et i sannhet <span class="quote">
 år på den tiden), så patentene var utgått før nok føderale lovmenn dukket
 opp. En ny industri var født, delvis fra piratvirksomhet mot Edison's
 kreative rettigheter.
-</p></div><div class="section" title="4.2. Innspilt musikk"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="recordedmusic"></a>4.2. Innspilt musikk</h2></div></div></div><p>
+</p></div><div class="section" title="4.2. Innspilt musikk"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="recordedmusic"></a>4.2. Innspilt musikk</h2></div></div></div><a class="indexterm" name="idxcopyrightlawonmusicrecordings"></a><p>
 Musikkindustrien ble født av en annen type piratvirksomhet, dog for å forstå
 hvordan krever at en setter seg inn i detaljer om hvordan loven regulerer
 musikk.
-</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="id2722745"></a><p>
+</p><a class="indexterm" name="idxfourneauxhenri"></a><a class="indexterm" name="id3027688"></a><p>
 På den tiden da Edison og Henri Fourneaux fant opp maskiner for å
 reprodusere musikk (Edison fonografen, Fourneaux det automatiske pianoet),
 gav loven komponister eksklusive rettigheter til å kontrollere kopier av
@@ -2275,7 +2275,7 @@ deres musikk.  Med andre ord, i 1900, hvis jeg 
 Russels populære låt <span class="quote">«<span class="quote">Happy Mose</span>»</span>, sa loven at jeg måtte betale
 for rettigheten til å få en kopi av notearkene, og jeg måtte også betale for
 å ha rett til å fremføre det offentlig.
-</p><a class="indexterm" name="id2722774"></a><p>
+</p><a class="indexterm" name="id3027716"></a><p>
 Men hva hvis jeg ønsket å spille inn <span class="quote">«<span class="quote">Happy Mose</span>»</span> ved hjelp av
 Edisons fonograf eller Fourneaux automatiske piano?  Her snublet loven.  Det
 var klart nok at jeg måtte kjøpe en kopi av notene som jeg fremførte når jeg
@@ -2291,38 +2291,38 @@ ikke klart at jeg skyldte komponisten noe.  Og enda viktigere, det var ikke
 klart om jeg skyldte komponisten noe hvis jeg så laget kopier av disse
 innspillingene.  På grunn av dette hullet i loven, sa kunne jeg i effekt
 røve noen andres sang uten å betale dets komponist noe.
-</p><a class="indexterm" name="id2722802"></a><p>
+</p><a class="indexterm" name="id3027745"></a><p>
 Komponistene (og utgiverne) var ikke veldig glade for denne kapasiteten til
 å røve.  Som Senator Alfred Kittredge fra Sør-Dakota formulerte
-det,<a class="indexterm" name="id2722837"></a>
+det,<a class="indexterm" name="id3027780"></a>
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Forestill dere denne urettferdigheten.  En komponist skriver en sang eller
 en opera.  En utgiver kjøper til et høy sum rettighetene til denne, og
 registrerer opphavsretten til den.  Så kommer de fonografiske selskapene og
 selskapene som skjærer musikk-ruller og med vitende og vilje stjeler
 arbeidet som kommer fra hjernen til komponisten og utgiveren uten å bry seg
-om [deres] rettigheter.<sup>[<a name="id2722864" href="#ftn.id2722864" class="footnote">54</a>]</sup>
-</p></blockquote></div><a class="indexterm" name="id2722893"></a><p>
+om [deres] rettigheter.<sup>[<a name="id3027807" href="#ftn.id3027807" class="footnote">54</a>]</sup>
+</p></blockquote></div><a class="indexterm" name="id3027836"></a><p>
 Innovatørene som utviklet teknologien for å spille inn andres arbeide
 <span class="quote">«<span class="quote">snyltet på innsatsen, arbeidet, talentet og geniet til amerikanske
-komponister</span>»</span>,<sup>[<a name="id2722910" href="#ftn.id2722910" class="footnote">55</a>]</sup> og
+komponister</span>»</span>,<sup>[<a name="id3027853" href="#ftn.id3027853" class="footnote">55</a>]</sup> og
 <span class="quote">«<span class="quote">musikkpubliseringsindistrien</span>»</span> var dermed <span class="quote">«<span class="quote">fullstendig i
-denne piratens vold</span>»</span>.<sup>[<a name="id2722926" href="#ftn.id2722926" class="footnote">56</a>]</sup> Som John
+denne piratens vold</span>»</span>.<sup>[<a name="id3027869" href="#ftn.id3027869" class="footnote">56</a>]</sup> Som John
 Philip Sousa formulerte det, så direkte som det kan sies, <span class="quote">«<span class="quote">når de
-tjener penger på mine stykker, så vil jeg ha en andel</span>»</span>.<sup>[<a name="id2722943" href="#ftn.id2722943" class="footnote">57</a>]</sup>
-</p><a class="indexterm" name="id2722952"></a><a class="indexterm" name="id2722959"></a><a class="indexterm" name="id2722966"></a><p>
+tjener penger på mine stykker, så vil jeg ha en andel</span>»</span>.<sup>[<a name="id3027885" href="#ftn.id3027885" class="footnote">57</a>]</sup>
+</p><a class="indexterm" name="id3027895"></a><a class="indexterm" name="id3027902"></a><a class="indexterm" name="id3027908"></a><p>
 Disse argumentene høres omtrent ut som argumentene fra våre dager. Det samme
 gjør argumentene fra den andre siden.  Oppfinnerne som utviklet det
 automatiske pianoet argumenterte med at <span class="quote">«<span class="quote">det er fullt mulig å vise at
 introduksjonen av automatiske musikkspillere ikke har fratatt noen komponist
 noe han hadde før det ble introdusert.</span>»</span> I stedet økte maskinene
-salget av noteark.<sup>[<a name="id2722990" href="#ftn.id2722990" class="footnote">58</a>]</sup> Uansett,
+salget av noteark.<sup>[<a name="id3027933" href="#ftn.id3027933" class="footnote">58</a>]</sup> Uansett,
 argumenterte oppfinnerne, jobben til kongressen var <span class="quote">«<span class="quote">å først vurdere
 interessen til [folket], som de representerte, og som de skal
 tjene.</span>»</span>.  <span class="quote">«<span class="quote">Alt snakk om <span class="quote">«<span class="quote">tyveri</span>»</span></span>»</span>, skrev
 sjefsjuristen til American Graphophone Company, <span class="quote">«<span class="quote">er kun nonsens, for
 det finnes ingen eiendom i musikalske idéer, skriftlig eller kunstnerisk,
-unntatt det som er definert i loven.</span>»</span><sup>[<a name="id2723018" href="#ftn.id2723018" class="footnote">59</a>]</sup>
+unntatt det som er definert i loven.</span>»</span><sup>[<a name="id3027961" href="#ftn.id3027961" class="footnote">59</a>]</sup>
 </p><p>
 
 Loven løste snart denne kampen i favør av <span class="emphasis"><em>både</em></span>
@@ -2343,14 +2343,14 @@ lovbestemt lisens er en lisens hvis n
 Etter kongressens endring av åndsverksloven i 1909, sto plateselskapene
 fritt til å distribuere kopier av innspillinger så lenge som de betalte
 komponisten (eller opphavsrettsinnehaveren) gebyret spesifisert i lovverket.
-</p><p>
+</p><a class="indexterm" name="id3028022"></a><p>
 Dette er et unntak i åndsverksloven.  Når John Grisham skriver en roman så
 kan en utgiver kun utgi denne romanen hvis Grisham gir utgiveren tillatelse
 til det.  Grisham står fritt til å kreve hvilken som helst betaling for den
 tillatelsen.  Prisen for å publisere Grisham er dermed bestemt av Grisham og
 åndsverksloven sier at du ikke har tillatelse til å bruke Grishams verker
-med mindre du har tillatelse fra Grisham.  <a class="indexterm" name="id2723093"></a>
-</p><p>
+med mindre du har tillatelse fra Grisham.
+</p><a class="indexterm" name="id3028043"></a><p>
 Men loven som styrer innspillinger gir innspillingsartisten mindre. Og
 dermed er effekten at loven <span class="emphasis"><em>subsidierer</em></span>
 musikkindustrien med et slags piratvirksomhet&#8212;ved å gi
@@ -2361,7 +2361,7 @@ folket.  Musikkindustrien f
 betalt, og folket får tilgang til en større mengde musikalsk kreativitet.
 Kongressen var faktisk svært eksplisitt i sine grunner for å dele ut denne
 rettigheten.  Den fryktet monopolmakten til rettighetsinnehaverne, og at
-denne makten skulle kvele påfølgende kreativitet.<sup>[<a name="id2722536" href="#ftn.id2722536" class="footnote">60</a>]</sup> <a class="indexterm" name="id2723139"></a>
+denne makten skulle kvele påfølgende kreativitet.<sup>[<a name="id3027465" href="#ftn.id3027465" class="footnote">60</a>]</sup> <a class="indexterm" name="id3028091"></a>
 </p><p>
 Mens musikkindustrien har vært ganske stille om dette i det siste, har de
 historisk vært høylytte tilhengere av den lovbestemte lisensen for
@@ -2379,7 +2379,7 @@ pekte p
 mekanisme for å unngå monopol da de tildelte disse rettighetene.  De
 argumenterer med at resultatet har vært at det har strømmet på med innspilt
 musikk, at folket har fått lavere priser, bedre kvalitet og flere
-valg.<sup>[<a name="id2723192" href="#ftn.id2723192" class="footnote">61</a>]</sup>
+valg.<sup>[<a name="id3028144" href="#ftn.id3028144" class="footnote">61</a>]</sup>
 </p></blockquote></div><p>
 Ved å begrense rettighetene musikere hadde, ved å delvis røve deres kreative
 verk, fikk innspillingsprodusentene, og folket, fordeler.
@@ -2387,7 +2387,7 @@ verk, fikk innspillingsprodusentene, og folket, fordeler.
 Radio kom også fra piratvirksomhet.
 </p><p>
 Når en radiostasjon spiller en plate på luften, så utgjør dette en
-<span class="quote">«<span class="quote">offentlig fremføring</span>»</span> av komponistens verk.<sup>[<a name="id2723253" href="#ftn.id2723253" class="footnote">62</a>]</sup> Som jeg beskrev over, gir loven komponisten (eller
+<span class="quote">«<span class="quote">offentlig fremføring</span>»</span> av komponistens verk.<sup>[<a name="id3028205" href="#ftn.id3028205" class="footnote">62</a>]</sup> Som jeg beskrev over, gir loven komponisten (eller
 opphavsrettsinnehaveren) en eksklusiv rett til offentlige fremføringer av
 hans verk.  Radiostasjonen skylder dermed komponisten penger for denne
 fremføringen.
@@ -2402,7 +2402,7 @@ Stones eller Lyle Lovett.  Innspillingsartisten legger til verdi p
 komposisjonen fremført på radiostasjonen.  Og hvis loven var fullstendig
 konsistent, så burde radiostasjonen også vært nødt til å betale
 innspillingsartisten for hans verk, på samme måten som den betaler
-komponisten av musikken for hans verk.  <a class="indexterm" name="id2723345"></a>
+komponisten av musikken for hans verk.  <a class="indexterm" name="id3028297"></a>
 
 
 </p><p>
@@ -2425,13 +2425,13 @@ effektene fra salg av hennes CD-er.  Den offentlige fremf
 innspilling er ikke en <span class="quote">«<span class="quote">beskyttet</span>»</span> rettighet. Radiostasjonen
 får dermed <span class="emphasis"><em>røve</em></span> verdien av Madonnas arbeid uten å
 betale henne noen ting.
-</p><a class="indexterm" name="id2723416"></a><p>
+</p><a class="indexterm" name="id3028368"></a><p>
 Uten tvil kan en argumentere at, totalt sett, tjener innspillingsartistene
 på dette.  I snitt er reklamen de får verdt mer enn fremføringsrettighetene
 de frasier seg.  Kanskje.  Men selv om det er slik, så gir loven vanligvis
 skaperen retten til å gjøre dette valget.  Ved å gjøre valget for ham eller
 henne, gir loven radiostasjonen rett til å ta noe uten å betale.
-</p><a class="indexterm" name="id2723440"></a></div><div class="section" title="4.4. Kabel-TV"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="cabletv"></a>4.4. Kabel-TV</h2></div></div></div><a class="indexterm" name="idxcabletv1"></a><p>
+</p><a class="indexterm" name="id3028392"></a></div><div class="section" title="4.4. Kabel-TV"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="cabletv"></a>4.4. Kabel-TV</h2></div></div></div><a class="indexterm" name="idxcabletv1"></a><p>
 Kabel-TV kom også fra en form for piratvirksomhet.
 </p><p>
 
@@ -2442,30 +2442,30 @@ TV-kringkastinger, nektet de 
 Napsteriserte dermed kringkasternes innhold, men grovere enn det Napster
 noen gang gjorde&#8212;Napster tok aldri betalt for innholdet som det ble
 mulig for andre å gi bort.
-</p><a class="indexterm" name="id2723476"></a><a class="indexterm" name="id2723483"></a><a class="indexterm" name="id2723507"></a><p>
+</p><a class="indexterm" name="id3028428"></a><a class="indexterm" name="id3028435"></a><a class="indexterm" name="id3028459"></a><p>
 Kringkastere og opphavsrettsinnehavere var raske til å angripe dette
 tyveriet.  Rosel Hyde, styreleder i FCC, så praksisen som en slags
 <span class="quote">«<span class="quote">urettferdig og potensielt ødeleggende
-konkurranse</span>»</span>.<sup>[<a name="id2723524" href="#ftn.id2723524" class="footnote">63</a>]</sup> Det kan ha vært en
+konkurranse</span>»</span>.<sup>[<a name="id3028476" href="#ftn.id3028476" class="footnote">63</a>]</sup> Det kan ha vært en
 <span class="quote">«<span class="quote">offentlig interesse</span>»</span> i å øke spredningen til kabel-TV, men som
 Douglas Anello, sjefsjurist hos Nasjonalforeningen for kringkastere spurte
 senator Quentin Burdick under sitt vitnemål, <span class="quote">«<span class="quote">Dikterer offentlig
-interesse at du kan bruke noen andres eiendom?</span>»</span><sup>[<a name="id2723560" href="#ftn.id2723560" class="footnote">64</a>]</sup> Som en annen kringkaster formulerte det,
+interesse at du kan bruke noen andres eiendom?</span>»</span><sup>[<a name="id3028512" href="#ftn.id3028512" class="footnote">64</a>]</sup> Som en annen kringkaster formulerte det,
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Den uvanlige tingen med kabel-TV-selskapene er at det er de eneste
 selskapene jeg vet om hvor produktet som blir solgt ikke er betalt
-for.<sup>[<a name="id2723579" href="#ftn.id2723579" class="footnote">65</a>]</sup>
+for.<sup>[<a name="id3028531" href="#ftn.id3028531" class="footnote">65</a>]</sup>
 </p></blockquote></div><p>
 Igjen, kravene til opphavsrettsinnehaverne virket rimelige nok:
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Alt vi ber om er en veldig enkel ting, at folk som tar vår eiendom gratis
 betaler for den.  Vi forsøker å stoppe piratvirksomhet og jeg kan ikke tenke
 på et svakere ord for å beskrive det.  Jeg tror det er sterkere ord som
-ville passe.<sup>[<a name="id2723608" href="#ftn.id2723608" class="footnote">66</a>]</sup>
-</p></blockquote></div><a class="indexterm" name="id2723620"></a><p>
+ville passe.<sup>[<a name="id3028560" href="#ftn.id3028560" class="footnote">66</a>]</sup>
+</p></blockquote></div><a class="indexterm" name="id3028572"></a><p>
 Disse var <span class="quote">«<span class="quote">gratispassasjerer</span>»</span>, sa presidenten Charlton Heston i
 Screen Actor's Guild, som <span class="quote">«<span class="quote">tok lønna fra
-skuespillerne</span>»</span><sup>[<a name="id2723636" href="#ftn.id2723636" class="footnote">67</a>]</sup>
+skuespillerne</span>»</span><sup>[<a name="id3028588" href="#ftn.id3028588" class="footnote">67</a>]</sup>
 </p><p>
 Men igjen, det er en annen side i debatten.  Som assisterende justisminister
 Edwin Zimmerman sa det,
@@ -2474,7 +2474,7 @@ V
 opphavsrettsbeskyttelse.  Problemet her er hvorvidt opphavsrettsinnehavere
 som allerede blir kompensert, som allerede har et monopol, skal få lov til å
 utvide dette monopolet. &#8230; Spørsmålet er hvor mye kompensasjon de bør
-ha, og hvor langt de kan strekke sin rett på kompensasjon.<sup>[<a name="id2722403" href="#ftn.id2722403" class="footnote">68</a>]</sup> <a class="indexterm" name="id2723692"></a>
+ha, og hvor langt de kan strekke sin rett på kompensasjon.<sup>[<a name="id3027331" href="#ftn.id3027331" class="footnote">68</a>]</sup> <a class="indexterm" name="id3028644"></a>
 </p></blockquote></div><p>
 Opphavsrettinnehaverne tok kabelselskapene til retten. Høyesterett fant to
 ganger at kabelselskaper ikke skyldte opphavsrettinnehaverne noen ting.
@@ -2488,24 +2488,24 @@ ble ikke satt av opphavsrettsinnehaveren.  Prisen ble fastsatt ved lov, slik
 at kringkasterne ikke kunne utøve vetomakt over den nye teknologien
 kabel-TV.  Kabel-TV-selskapene bygde dermed deres imperium delvis ved å
 <span class="quote">«<span class="quote">røve</span>»</span> verdien skapt av kringkasternes innhold.
-</p><a class="indexterm" name="id2723735"></a><p>
+</p><a class="indexterm" name="id3028686"></a><p>
 <span class="strong"><strong>Disse separate historiene</strong></span> synger en
 felles melodi.  Hvis <span class="quote">«<span class="quote">piratvirksomhet</span>»</span> betyr å bruke verdien
 fra noen andres kreative eiendom uten tillatelse fra dets skaper&#8212;slik
-det stadig oftere beskrives i dag<sup>[<a name="id2723667" href="#ftn.id2723667" class="footnote">69</a>]</sup>
+det stadig oftere beskrives i dag<sup>[<a name="id3028619" href="#ftn.id3028619" class="footnote">69</a>]</sup>
 &#8212;da er <span class="emphasis"><em>enhver</em></span> industri påvirket av opphavsrett i
 dag produktet og de som har nytt godt av ulike former for piratvirksomhet.
 Film, plater, radio, kabel-TV. &#8230; Listen er lang og kunne vært
 lengre.  Hver generasjon ønsker piratene fra den forrige velkommen.  Hver
 generasjon&#8212;inntil nå.
-</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2722496" href="#id2722496" class="para">51</a>] </sup>
+</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3027425" href="#id3027425" class="para">51</a>] </sup>
 
-<a class="indexterm" name="id2722499"></a> Jeg er takknemlig til Peter DiMauro
+<a class="indexterm" name="id3027428"></a> Jeg er takknemlig til Peter DiMauro
 for å ha pekt meg i retning av denne ekstraordinære historien.  Se også Siva
 Vaidhyanathan, <em class="citetitle">Copyrights and Copywrongs</em>,
 87&#8211;93, som forteller detaljer om Edisons <span class="quote">«<span class="quote">eventyr</span>»</span> med
 opphavsrett og patent.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722607" href="#id2722607" class="para">52</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027536" href="#id3027536" class="para">52</a>] </sup>
 
 J. A. Aberdeen, <em class="citetitle">Hollywood Renegades: The Society of Independent
 Motion Picture Producers</em> (Cobblestone Entertainment, 2000) og
@@ -2517,49 +2517,49 @@ begresningene p
 <span class="quote">«<span class="quote">From Edison to the Broadcast Flag: Mechanisms of Consent and Refusal
 and the Propertization of Copyright</span>»</span> (september 2002), University of
 Chicago Law School, James M. Olin Program in Law and Economics, Working
-Paper No.  159.  <a class="indexterm" name="id2722640"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722667" href="#id2722667" class="para">53</a>] </sup>
+Paper No.  159.  <a class="indexterm" name="id3027569"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027596" href="#id3027596" class="para">53</a>] </sup>
 
 
 Marc Wanamaker, <span class="quote">«<span class="quote">The First Studios</span>»</span>, <em class="citetitle">The Silents
 Majority</em>, arkivert på <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #12</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722864" href="#id2722864" class="para">54</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027807" href="#id3027807" class="para">54</a>] </sup>
 
 Endre og slå sammen lovforslag om å respektere opphavsretten: Høring om
 S. 6330 og H.R. 19853 foran (felles)-komiteene om patenter, 59. kongr. 59,
 1. sess. (1906) (uttalelse til senator Alfred B. Kittredge fra Sør-Dakota,
 formann), gjengitt i <em class="citetitle">Legislative History of the 1909 Copyright
 Act</em>, E.  Fulton Brylawski og Abe Goldman, red. (South
-Hackensack, N.J.: Rothman Reprints, 1976).  <a class="indexterm" name="id2722881"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722910" href="#id2722910" class="para">55</a>] </sup>
+Hackensack, N.J.: Rothman Reprints, 1976).  <a class="indexterm" name="id3027824"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027853" href="#id3027853" class="para">55</a>] </sup>
 
 
 To Amend and Consolidate the Acts Respecting Copyright, 223 (uttalelse fra
 Nathan Burkan, advokat for the Music Publishers Association).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722926" href="#id2722926" class="para">56</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027869" href="#id3027869" class="para">56</a>] </sup>
 
 
 To Amend and Consolidate the Acts Respecting Copyright, 226 (uttalelse fra
 Nathan Burkan, advokat for the Music Publishers Association).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722943" href="#id2722943" class="para">57</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027885" href="#id3027885" class="para">57</a>] </sup>
 
 
 To Amend and Consolidate the Acts Respecting Copyright, 23 (uttalelse fra
 John Philip Sousa, komponist).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722990" href="#id2722990" class="para">58</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027933" href="#id3027933" class="para">58</a>] </sup>
 
 
 
 To Amend and Consolidate the Acts Respecting Copyright, 283&#8211;84
 (uttalelse fra Albert Walker, representant for the Auto-Music Perforating
 Company of New York).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723018" href="#id2723018" class="para">59</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027961" href="#id3027961" class="para">59</a>] </sup>
 
 
 To Amend and Consolidate the Acts Respecting Copyright, 376 (forberedt
 innlegg fra Philip Mauro, sjefspatentrådgiver for the American Graphophone
 Company Association).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722536" href="#id2722536" class="para">60</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027465" href="#id3027465" class="para">60</a>] </sup>
 
 
 
@@ -2569,13 +2569,13 @@ foran (felles)-komiteen om patenter, 60. kongr., 1. sess., 217 (1908)
 <em class="citetitle">Legislative History of the 1909 Copyright Act</em>, E.
 Fulton Brylawski og Abe Goldman, red. (South Hackensack, N.J.: Rothman
 Reprints, 1976).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723192" href="#id2723192" class="para">61</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028144" href="#id3028144" class="para">61</a>] </sup>
 
 
 Endring av åndsverksloven: Rapport som følger H.R. 2512, House Committee on
 the Judiciary, 90. Kongr., 1. sess., House Document no. 83, (8. mars 1967).
 Jeg er takknemlig til Glenn Brown for å ha gjort meg oppmerksom på denne
-rapporten.</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723253" href="#id2723253" class="para">62</a>] </sup>
+rapporten.</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028205" href="#id3028205" class="para">62</a>] </sup>
 
 Se 17 <em class="citetitle">United States Code</em>, seksjon 106 og 110. I
 begynnelsen skrev noen plateselskaper <span class="quote">«<span class="quote">Ikke lisensiert for
@@ -2587,39 +2587,39 @@ Co</em>. mot <em class="citetitle">Whiteman</em>, 114 F. 2d 86 (2nd
 Cir. 1940).  Se også Randal C.  Picker, <span class="quote">«<span class="quote">From Edison to the Broadcast
 Flag: Mechanisms of Consent and Refusal and the Propertization of
 Copyright</span>»</span>, <em class="citetitle">University of Chicago Law Review</em>
-70 (2003): 281.  <a class="indexterm" name="id2723290"></a> <a class="indexterm" name="id2723299"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723524" href="#id2723524" class="para">63</a>] </sup>
+70 (2003): 281.  <a class="indexterm" name="id3028242"></a> <a class="indexterm" name="id3028250"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028476" href="#id3028476" class="para">63</a>] </sup>
 
 Endring i åndsverksloven&#8212;Kabel-TV: Høring om S. 1006 foran
 underkomiteen om patenter, varemerker og opphavsrett av Senate Committee on
 the Judiciary, 89. Kongr., 2. sess., 78 (1966) (uttalelse fra Rosel H. Hyde,
-styreleder i den føderale kommunikasjonskommisjonen.<a class="indexterm" name="id2723487"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723560" href="#id2723560" class="para">64</a>] </sup>
+styreleder i den føderale kommunikasjonskommisjonen.<a class="indexterm" name="id3028439"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028512" href="#id3028512" class="para">64</a>] </sup>
 
 
 Endring i åndsverksloven&#8212;Kabel-TV, 116 (uttalelse fra Douglas
 A. Anello, sjefsjuristen i Nasjonalforeningen for kringkastere).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723579" href="#id2723579" class="para">65</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028531" href="#id3028531" class="para">65</a>] </sup>
 
 
 Endring i åndsverksloven&#8212;Kabel-TV, 126 (uttalelse fra Ernest
 W. Jennes, sjefsjurist ved Association of Maximum Service Telecasters,
 Inc.). 
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723608" href="#id2723608" class="para">66</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028560" href="#id3028560" class="para">66</a>] </sup>
 
 
 Endring i åndsverksloven&#8212;Kabel-TV, 169 (felles uttalelse fra Arthur
 B.  Krim, president i United Artists Corp. og John Sinn, president i United
 Artists Television Inc.).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723636" href="#id2723636" class="para">67</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028588" href="#id3028588" class="para">67</a>] </sup>
 
 Copyright Law Revision&#8212;CATV, 209 (uttalelse fra Charlton Heston,
-president i Screen Actors Guild).  <a class="indexterm" name="id2723614"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2722403" href="#id2722403" class="para">68</a>] </sup>
+president i Screen Actors Guild).  <a class="indexterm" name="id3028566"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3027331" href="#id3027331" class="para">68</a>] </sup>
 
 Copyright Law Revision&#8212;CATV, 216 (uttalelse fra Edwin M. Zimmerman,
-fungerende assisterende justisministeren).  <a class="indexterm" name="id2723640"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723667" href="#id2723667" class="para">69</a>] </sup>
+fungerende assisterende justisministeren).  <a class="indexterm" name="id3028591"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028619" href="#id3028619" class="para">69</a>] </sup>
 
 
 Se for eksempel National Music Publisher's Association, <em class="citetitle">The
@@ -2645,12 +2645,12 @@ skaden som denne formen for 
 kopiering, og loven bør ta hensyn til denne tvetydigheten, slik den har
 gjort ofte tidligere. 
 
-</p><div class="section" title="5.1. Piratvirksomhet I"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-i"></a>5.1. Piratvirksomhet I</h2></div></div></div><a class="indexterm" name="id2723859"></a><a class="indexterm" name="idxcdsforeign"></a><p>
+</p><div class="section" title="5.1. Piratvirksomhet I"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="piracy-i"></a>5.1. Piratvirksomhet I</h2></div></div></div><a class="indexterm" name="id3028811"></a><a class="indexterm" name="idxcdsforeign"></a><p>
 Over hele verden, men spesielt i Asia og Øst-Europa, er det selskaper som
 ikke gjør annet enn å ta andre folks opphavsrettsbeskyttede innhold,
 kopierer det og selger det&#8212;alt dette uten tillatelse fra
 opphavsrettseieren.  Musikkindustrien estimerer at de taper rundt $4,6
-milliarder hvert år på fysisk piratvirksomhet <sup>[<a name="id2723670" href="#ftn.id2723670" class="footnote">70</a>]</sup> (det blir ca. en av tre CD-er solgt på verdensbasis).  MPAA
+milliarder hvert år på fysisk piratvirksomhet <sup>[<a name="id3028622" href="#ftn.id3028622" class="footnote">70</a>]</sup> (det blir ca. en av tre CD-er solgt på verdensbasis).  MPAA
 estimerer at de taper $3 milliarder på verdensbasis på piratvirksomhet.
 </p><p>
 Dette er enkelt og greit piratvirksomhet.  Ingenting i argumentet i denne
@@ -2685,16 +2685,16 @@ ingen annen nasjon 
 Men likevel, hvis et land skal behandles som selvstendig da er landets lover
 landets lover, uavhengig av deres kilde.  De internasjonale lovene som disse
 landene lever under gir dem noen muligheter til å slippe unna byrden til
-immaterielle rettighetslover.<sup>[<a name="id2723988" href="#ftn.id2723988" class="footnote">71</a>]</sup> Etter
+immaterielle rettighetslover.<sup>[<a name="id3028940" href="#ftn.id3028940" class="footnote">71</a>]</sup> Etter
 mitt syn burde flere utviklingsland utnytte den muligheten, men når de ikke
 gjør det bør deres lover likevel respekteres.  Og i følge lovene i disse
 landene, er piratvirksomhet galt.
-</p><a class="indexterm" name="id2724036"></a><p>
+</p><a class="indexterm" name="id3028988"></a><p>
 Alternativt, så kan vi forsøke å unnskylde denne piratvirksomheten ved å
 legge merke til at det uansett ikke skader industrien. Kineserne som får
 tilgang til amerikanske CDer for 50 cent pr. utgave er ikke folk som ville
 kjøpt disse CDene for #15 per utgave.  Så ingen har egentlig noe mindre
-penger enn de ellers ville hatt.<sup>[<a name="id2724056" href="#ftn.id2724056" class="footnote">72</a>]</sup>
+penger enn de ellers ville hatt.<sup>[<a name="id3029008" href="#ftn.id3029008" class="footnote">72</a>]</sup>
 </p><p>
 Dette er ofte riktig (selv om jeg har venner som har kjøpt flere tusen
 piratkopierte DVDer og som helt klart har nok penger til å betale for
@@ -2707,7 +2707,7 @@ nettet?</span>
 fra når du tar en MP3 fra et datanettverk, der det ikke blir en mindre CD
 som kan selges.  Fysikken til røving av det uhåndgripelige er forskjellig
 fra fysikken til røving av det håndgripelige.
-</p><a class="indexterm" name="id2724124"></a><p>
+</p><a class="indexterm" name="id3029076"></a><p>
 
 Dette er likevel et veldig dårlig argument.  For selv om opphavsretten er en
 eiendomsrett av en veldig spesiell type, så <span class="emphasis"><em>er</em></span> det en
@@ -2723,7 +2723,7 @@ ikke gj
 det systemet er skikkelig balansert opp mot teknologien i tiden, så er det
 galt å ta eiendom uten tillatelse fra eiendomseieren.  Det er nøyaktig hva
 <span class="quote">«<span class="quote">eiendom</span>»</span> betyr.
-</p><a class="indexterm" name="id2724175"></a><a class="indexterm" name="id2724181"></a><a class="indexterm" name="id2724190"></a><a class="indexterm" name="id2724198"></a><a class="indexterm" name="id2724204"></a><a class="indexterm" name="id2724210"></a><a class="indexterm" name="id2724219"></a><a class="indexterm" name="id2724226"></a><a class="indexterm" name="id2724235"></a><p>
+</p><a class="indexterm" name="id3029127"></a><a class="indexterm" name="id3029133"></a><a class="indexterm" name="id3029142"></a><a class="indexterm" name="id3029150"></a><a class="indexterm" name="id3029156"></a><a class="indexterm" name="id3029162"></a><a class="indexterm" name="id3029171"></a><a class="indexterm" name="id3029178"></a><a class="indexterm" name="id3029187"></a><p>
 Til slutt kan vi forsøke å unnskylde denne piratvirksomheten med argumentet
 om at piratvirksomheten faktisk hjelper opphavsrettseieren. Når kineserne
 <span class="quote">«<span class="quote">stjeler</span>»</span> Windows, så gjør det kineserne avhengig av
@@ -2736,7 +2736,7 @@ piratvirksomheten. Hvis kineserne i stedet for 
 brukte det fritt tilgjengelige operativsystemet GNU/Linux, så ville disse
 kinesiske brukerne ikke til slutt kjøpe Microsoft.  Uten piratvirksomheten
 ville dermed Microsoft tape.
-</p><a class="indexterm" name="id2724279"></a><p>
+</p><a class="indexterm" name="id3029230"></a><p>
 Det er også noe sant i dette argumentet.  Å gjøre folk avhengig er en god
 strategi.  Mange selskaper praktiserer det.  Noen gjør det godt på grunn av
 det.  Juss-studenter, for eksempel, får gratis tilgang til de to største
@@ -2744,7 +2744,7 @@ juridiske databasene.  Begge selskapenes markedsf
 studentene vil bli så vant til deres tjenester at de vil ønske å bruke deres
 tjeneste og ikke konkurrentens når de blir advokater (og må betale høy
 abonnementsavgift).
-</p><a class="indexterm" name="id2724301"></a><a class="indexterm" name="id2724308"></a><a class="indexterm" name="id2724314"></a><a class="indexterm" name="id2724320"></a><p>
+</p><a class="indexterm" name="id3029253"></a><a class="indexterm" name="id3029260"></a><a class="indexterm" name="id3029266"></a><a class="indexterm" name="id3029272"></a><p>
 Likevel er ikke dette argumentet spesielt overbevistende.  Vi gir ikke
 alkoholikeren et forsvar når han stjeler sin første øl, kun på grunn av at
 det vil gjøre det mer sannsynlig at han vil betale for de tre neste.  I
@@ -2796,21 +2796,21 @@ kunstnerne mens vi gj
 
 Nøkkelen til <span class="quote">«<span class="quote">piratvirksomheten</span>»</span> som loven tar sikte på å
 skvise er den bruken som <span class="quote">«<span class="quote">frata forfatteren
-overskuddet</span>»</span>.<sup>[<a name="id2724463" href="#ftn.id2724463" class="footnote">73</a>]</sup> Dette betyr vi må
+overskuddet</span>»</span>.<sup>[<a name="id3029415" href="#ftn.id3029415" class="footnote">73</a>]</sup> Dette betyr vi må
 avgjøre hvorvidt og hvor mye p2p-deling skader før vi vet hvor sterkt loven
 bør søke å enten hindre det eller finne et alternativ for å sikre
 forfatteren hans overskudd.
-</p><a class="indexterm" name="id2724484"></a><a class="indexterm" name="id2724490"></a><p>
+</p><a class="indexterm" name="id3029436"></a><a class="indexterm" name="id3029442"></a><p>
 Peer-to-peer-deling ble gjort berømt av Napster.  Men oppfinnerne av
 Napster-teknologien hadde ikke gjort noen store teknologiske nyskapninger.
 Som ethvert stort steg i nyskapningen på internettet (og, kan det
-argumenteres for, utenfor internettet<sup>[<a name="id2724507" href="#ftn.id2724507" class="footnote">74</a>]</sup>)
+argumenteres for, utenfor internettet<sup>[<a name="id3029459" href="#ftn.id3029459" class="footnote">74</a>]</sup>)
 hadde Shawn Fanning og hans bemanning ganske enkelt satt sammen deler som
 hadde blitt utviklet uavhengig av hverandre.
 </p><p>
 Resultatet var en eksplosjon.  Etter lansering i juli 1999, samlet Napster
 over 10 millioner brukere i løpet av ni måneder.  Etter atten måneder var
-det nesten 80 millioner registrerte brukere av systemet.<sup>[<a name="id2724560" href="#ftn.id2724560" class="footnote">75</a>]</sup> Rettsaker skjøt Napster raskt ned, men andre
+det nesten 80 millioner registrerte brukere av systemet.<sup>[<a name="id3029512" href="#ftn.id3029512" class="footnote">75</a>]</sup> Rettsaker skjøt Napster raskt ned, men andre
 tjenester dukket opp for å overta plassen.  (Kazaa er for tiden den mest
 populære p2p-tjenesten.  Den skryter av over 100 millioner medlemmer.)
 Disse tjenestene har en anderledes arkitektur selv om de ikke er veldig
@@ -2822,10 +2822,10 @@ eller dine 20
 I følge en rekke estimater har en stor andel av amerikanere testet
 fildelings-teknologi.  En studie av Ipsos-Insight i september 2002 estimerte
 at 60 millioner amerikanere har lastet ned musikk&#8212;28 prosent av
-amerikanerne over 12.<sup>[<a name="id2724613" href="#ftn.id2724613" class="footnote">76</a>]</sup> En
+amerikanerne over 12.<sup>[<a name="id3029565" href="#ftn.id3029565" class="footnote">76</a>]</sup> En
 spørreundersøkelse fra NPD-gruppen sitert i <em class="citetitle">The New York
 Times</em> estimerte at 43 millioner innbyggere brukte
-fildelingsnettverk for å utveksle innhold i mai 2003.<sup>[<a name="id2724644" href="#ftn.id2724644" class="footnote">77</a>]</sup> De aller fleste av dem er ikke unger.  Uansett hva
+fildelingsnettverk for å utveksle innhold i mai 2003.<sup>[<a name="id3029596" href="#ftn.id3029596" class="footnote">77</a>]</sup> De aller fleste av dem er ikke unger.  Uansett hva
 de egentlige tallene er, en massiv mengde innhold blir <span class="quote">«<span class="quote">tatt</span>»</span>
 på disse nettverkene.  Enkelheten og den lave kostnaden til
 fildelingsnettverkene har inspirert millioner til å nyte musikk på måter de
@@ -2842,7 +2842,7 @@ fildeling muliggj
 
 Fildelerne deler ulike typer innhold.  Vi kan dele disse ulike typene inn i
 fire typer.
-</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="id2724705"></a><p>
+</p><div class="orderedlist"><ol class="orderedlist" type="A"><li class="listitem"><a class="indexterm" name="id3029657"></a><p>
 
 
 Det er noen som bruker delingsnettverk som erstatninger for å kjøpe
@@ -2892,7 +2892,7 @@ Hvordan balanserer disse ulike delingstypene?
 </p><p>
 La oss starte med noen enkle men viktige poeng.  Fra lovens perspektiv er
 det kun type-D-deling som helt klart er lovlig.  Fra et økonomisk perspektiv
-er det kun type-A-deling som helt klart forårsaker skade.<sup>[<a name="id2724813" href="#ftn.id2724813" class="footnote">78</a>]</sup> Type-B-deling er ulovlig men gir klare fordeler.
+er det kun type-A-deling som helt klart forårsaker skade.<sup>[<a name="id3029765" href="#ftn.id3029765" class="footnote">78</a>]</sup> Type-B-deling er ulovlig men gir klare fordeler.
 Type-C-deling er ulovlig, men bra for samfunnet (siden mer eksponering til
 musikk er bra) og skadelig for artistene (siden verket ellers ikke er
 tilgjengelig.  Så det er vanskelig å avgjøre hvordan deling kommer ut totalt
@@ -2910,19 +2910,19 @@ Mens disse tallene jo foresl
 platebransjen å skylde på teknologi for all nedgang i salg.  Historien til
 kassettopptak er et godt eksempel.  Som et studie av Cap Gemini Ernst &amp;
 Young formulerer det: <span class="quote">«<span class="quote">I stedet for å utforske denne nye populære
-teknologien, sloss selskapene imot den.</span>»</span><sup>[<a name="id2724887" href="#ftn.id2724887" class="footnote">79</a>]</sup> Selskapene påsto at hvert album som ble tatt opp på kassett var et
+teknologien, sloss selskapene imot den.</span>»</span><sup>[<a name="id3029839" href="#ftn.id3029839" class="footnote">79</a>]</sup> Selskapene påsto at hvert album som ble tatt opp på kassett var et
 album som ikke ble solgt, og da platesalget falt med 11,4 prosent i 1981,
 påsto industrien at dets poeng var bevist.  Teknologien var problemet, og
 forbud eller regulering av teknologien var svaret.
-</p><a class="indexterm" name="id2724943"></a><p>
+</p><a class="indexterm" name="id3029895"></a><p>
 Ikke lenge etterpå, og før kongressen fikk muligheten til å innføre
 reguleringer, ble MTV lansert, og industrien fikk et
 rekordoppsving. <span class="quote">«<span class="quote">Til slutt</span>»</span>, konkluderte Cap Gemini, <span class="quote">«<span class="quote">var
 ikke <span class="quote">«<span class="quote">krisen</span>»</span> &#8230; forårsaket av de som tok opp på
 kassett&#8212;som ikke [sluttet etter at MTV dukket opp]&#8212;men hadde i
 stor grad vært resultatet av en stagnasjon i musikknyskapningen hos de store
-selskapene.</span>»</span><sup>[<a name="id2724069" href="#ftn.id2724069" class="footnote">80</a>]</sup>
-</p><a class="indexterm" name="id2724986"></a><p>
+selskapene.</span>»</span><sup>[<a name="id3029021" href="#ftn.id3029021" class="footnote">80</a>]</sup>
+</p><a class="indexterm" name="id3029938"></a><p>
 Men det at industrien har tatt feil før betyr ikke at de tar feil i dag.
 For å evaluere den virkelige trusselen som p2p-deling representerer for
 industrien spesielt, og samfunnet generelt&#8212;eller i hvert fall det
@@ -2947,18 +2947,18 @@ CD-er at det ikke er langt unna sannheten.
 </p><p>
 I 2002 rapporterte RIAA at CD-salg hadde falt med 8,9 prosent, fra 882
 millioner til 803 millioner enheter, og inntektene hadde falt 6,7
-prosent.<sup>[<a name="id2725069" href="#ftn.id2725069" class="footnote">81</a>]</sup> Dette bekrefter en trend fra
+prosent.<sup>[<a name="id3030021" href="#ftn.id3030021" class="footnote">81</a>]</sup> Dette bekrefter en trend fra
 de siste årene.  RIAA skylder på piratvirksomhet på internett for denne
 trenden, selv om det er mange andre årsaker som kan forklare denne
 reduksjonen.  SoundScan rapporterte for eksempel om en reduksjon på over 20
 prosent siden 1999 når det gjelder antall CD-er er gitt ut Dette er uten
 tvil årsaken til noe av nedgangen i salget.  Stigende priser kan også ha
 bidratt til noe av tapet. <span class="quote">«<span class="quote">Fra 1999 til 201 steg den gjennomsnittlige
-prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.</span>»</span><sup>[<a name="id2725128" href="#ftn.id2725128" class="footnote">82</a>]</sup> Konkurranse fra andre typer media kan også forklare
+prisen for en CD med 7,2 prosent, fra $13,04 til $14,19.</span>»</span><sup>[<a name="id3030080" href="#ftn.id3030080" class="footnote">82</a>]</sup> Konkurranse fra andre typer media kan også forklare
 noe av nedgangen.  Som Jane Black i <em class="citetitle">BusinessWeek</em>
 kommenterer, <span class="quote">«<span class="quote">Lydsporet for filmen <em class="citetitle">High
 Fidelity</em> har en listepris på $19,98.  Du kan få hele filmen [på
-DVD] for $19,99.</span>»</span><sup>[<a name="id2725168" href="#ftn.id2725168" class="footnote">83</a>]</sup>
+DVD] for $19,99.</span>»</span><sup>[<a name="id3030120" href="#ftn.id3030120" class="footnote">83</a>]</sup>
 </p><p>
 
 
@@ -2982,7 +2982,7 @@ prosent reduksjon i salg i fjor, ikke e 7 prosents nedgang.  Hvis 2,6 ganger
 antallet solgte CDer ble lastet ned gratis, og salgsinntektene kun ble
 redusert med 6,7 prosent, så er det en stor forskjell mellom å <span class="quote">«<span class="quote">laste
 ned en sang og å stjele en CD</span>»</span>.
-</p><a class="indexterm" name="id2725231"></a><p>
+</p><a class="indexterm" name="id3030183"></a><p>
 Dette er skadene&#8212;påståtte og muligens overdrevende men, la oss anta at
 de er reelle.  Hva er fordelene?  Fildeling påfører muligens kostnader for
 plateindustrien.  Hva slags verdi gir det i tillegg til disse kostnadene?
@@ -2990,15 +2990,15 @@ plateindustrien.  Hva slags verdi gir det i tillegg til disse kostnadene?
 En fordel er type-C-deling&#8212;å gjøre innhold tilgjengelig som teknisk
 sett fortsatt er opphavsrettsbeskyttet men som ikke lenger er kommersielt
 tilgjengelig.  Dette er ikke en liten kategori med innhold Det er millioner
-av spor som ikke lenger er kommersielt tilgjengelig.<sup>[<a name="id2725241" href="#ftn.id2725241" class="footnote">84</a>]</sup> Og mens det kan tenkes at noe av dette innholdet
+av spor som ikke lenger er kommersielt tilgjengelig.<sup>[<a name="id3030193" href="#ftn.id3030193" class="footnote">84</a>]</sup> Og mens det kan tenkes at noe av dette innholdet
 ikke er tilgjengelig fordi artisten som laget innholdet ikke ønsker at det
 blir gjort tilgjengelig, så er det meste av dette utilgjengelig kun fordi
 forlaget eller distributøren har bestemt at det ikke lenger gir økonomisk
 mening <span class="emphasis"><em>for selskapet</em></span> å gjøre det tilgjengelig.
-</p><a class="indexterm" name="id2725296"></a><p>
+</p><a class="indexterm" name="id3030248"></a><p>
 I den virkelige verden&#8212;lenge før internettet&#8212;hadde markedet et
 enkelt svar på dette problemet: bruktbok- og bruktplate-butikker.  Det er
-tusenvis av butikker for brukte bøker og plater i Amerika i dag.<sup>[<a name="id2725307" href="#ftn.id2725307" class="footnote">85</a>]</sup> Disse butikkene kjøper innhold fra eierne og selger
+tusenvis av butikker for brukte bøker og plater i Amerika i dag.<sup>[<a name="id3030258" href="#ftn.id3030258" class="footnote">85</a>]</sup> Disse butikkene kjøper innhold fra eierne og selger
 så videre innholdet de kjøpte. Og i følge amerikansk åndsverkslov, når de
 kjøper og selger dette innholdet, <span class="emphasis"><em>selv om innholdet fortsatt er
 vernet av åndsverksloven</em></span>, så får ikke opphavsrettseieren et
@@ -3006,7 +3006,7 @@ vernet av 
 tjener penger på innholdet de selger, men på samme måte som med
 kabel-TV-selskapene før lovbestemt lisensiering må de ikke betale
 opphavsrettseierene for innholdet de selger.
-</p><a class="indexterm" name="id2725381"></a><a class="indexterm" name="id2725387"></a><p>
+</p><a class="indexterm" name="id3030333"></a><a class="indexterm" name="id3030339"></a><p>
 Type-C-deling har dermed veldig mye til felles med bruktbok- og
 bruktplatebutikker.  Det er naturligvis også veldig forskjellig, fordi
 personen som gjør innhold tilgjengelig tjener ikke penger på å gjøre
@@ -3039,7 +3039,7 @@ eller ikke. Hvis de likte den, s
 den. Doctorows innhold er type-D-innhold.  Hvis delingsnettverkene gjør det
 mulig å spre hans verk, så kommer både han og samfunnet bedre ut. (Faktisk
 så kommer de mye bedre ut: det er en god bok!)
-</p><a class="indexterm" name="id2725494"></a><p>
+</p><a class="indexterm" name="id3030446"></a><p>
 Det samme gjelder for allemannseide verk: Denne delingen gagner samfunnet
 uten noen juridisk skade mot forfattere i det hele tatt. Hvis innsats for å
 løse problemet med type-A-deling ødelegger muligheten for type-D-deling, så
@@ -3072,7 +3072,7 @@ Napster-saken selv.  Da Napster fortalte *district*-retten at den hadde
 utviklet teknologi som ville blokkere for 99,4 prosent av identifisert
 opphavsrettsbrytende materiale, fortalte *district*-retten advokatene til
 Napster at 99,4 prosent var ikke godt nok.  Napster måtte få
-opphavsrettsbruddene <span class="quote">«<span class="quote">ned til null</span>»</span>.<sup>[<a name="id2725590" href="#ftn.id2725590" class="footnote">86</a>]</sup>
+opphavsrettsbruddene <span class="quote">«<span class="quote">ned til null</span>»</span>.<sup>[<a name="id3030542" href="#ftn.id3030542" class="footnote">86</a>]</sup>
 </p><p>
 Hvis 99,4 prosent ikke er godt nok, så er dette en krig mot
 fildelingsteknologier, og ikke en krig mot opphavsrettsbrudd.  Det er ikke
@@ -3091,7 +3091,7 @@ m
 møte den nye teknologien.  I denne justeringen har loven forsøkt å sikre
 legitime rettigheter til skaperne mens den beskytter nyskapning.  Noen gang
 har det gitt mer rettigheter til skaperne, og noen ganger mindre.
-</p><a class="indexterm" name="id2725645"></a><p>
+</p><a class="indexterm" name="id3030597"></a><a class="indexterm" name="id3030605"></a><a class="indexterm" name="idxcongressusoncopyrightlaws2"></a><a class="indexterm" name="idxcongressusonrecordingindustry2"></a><a class="indexterm" name="idxcopyrightlawonmusicrecordings2"></a><a class="indexterm" name="idxcopyrightlawstatutorylicensesin2"></a><a class="indexterm" name="id3030668"></a><a class="indexterm" name="id3030677"></a><a class="indexterm" name="id3030685"></a><a class="indexterm" name="id3030694"></a><a class="indexterm" name="id3030702"></a><a class="indexterm" name="id3030708"></a><p>
 Dermed, slik vi har sett, når <span class="quote">«<span class="quote">mekanisk reprodusjon</span>»</span> truet
 interessene til komponister, balanserte kongressen rettighetene til
 komponistene mot interessene til plateindustrien.  Den ga rettigheter til
@@ -3107,7 +3107,7 @@ kabel-TV-kringkasterne m
 svarte kongressen med å gi kringkasterne rett til betaling, men på et nivå
 fastsatt av loven.  De ga på samme måte kabel-TV-selskapene rett til
 innholdet, så lenge de betalte den lovbestemte prisen.
-</p><p>
+</p><a class="indexterm" name="id3030769"></a><p>
 
 
 
@@ -3125,7 +3125,7 @@ innhold uten 
 kabel-TV.  Dermed valgte kongressen en sti som ville sikre
 <span class="emphasis"><em>kompensasjon</em></span> uten å gi fortiden (kringkasterne)
 kontroll over fremtiden (kabel-TV).
-</p><a class="indexterm" name="id2725733"></a><a class="indexterm" name="id2725742"></a><a class="indexterm" name="idxcassettevcrs1"></a><p>
+</p><a class="indexterm" name="id3030805"></a><a class="indexterm" name="id3030814"></a><a class="indexterm" name="id3030824"></a><a class="indexterm" name="id3030832"></a><a class="indexterm" name="idxcassettevcrs1"></a><p>
 Samme år som kongressen valgte denne balansen, gikk to store produsenter og
 distributører av filminnhold til sak mot en annen teknologi,
 videospiller/opptakeren som Sony hadde produsert, Betamax. Disneys og
@@ -3136,7 +3136,7 @@ opphavsrettsbrudd.  P
 opphavsrettsbeskyttede filmer og programmer.  Sony hadde derfor fordel av
 opphavsrettsbruddene til sine kunder og skulle derfor, påsto Disney og
 Universal, være delvis ansvarlig or disse bruddene.
-</p><p>
+</p><a class="indexterm" name="id3030876"></a><p>
 
 Det er noe i påstandene til Disney og Universal.  Sony valgte å utforme sin
 maskin slik at det var veldig enkelt å ta opp TV-programmer.  De kunne ha
@@ -3157,22 +3157,22 @@ forkjemper. Valenti kalte videospillerne for <span class="quote">
 millioner av disse videospillerne i landet, vil vi bli invadert av millioner
 av <span class="quote">«<span class="quote">bendelormer</span>»</span> som spiser i vei i hjertet og essensen til den
 mest verdifulle eiendelen som opphavsrettseieren har, hans
-opphavsrett</span>»</span>.<sup>[<a name="id2725835" href="#ftn.id2725835" class="footnote">87</a>]</sup> <span class="quote">«<span class="quote">En må ikke
+opphavsrett</span>»</span>.<sup>[<a name="id3030935" href="#ftn.id3030935" class="footnote">87</a>]</sup> <span class="quote">«<span class="quote">En må ikke
 være opplært i sofistikert markedsføring eller kreativ vurdering</span>»</span>,
 fortalte han kongressen, <span class="quote">«<span class="quote">for å forstå ødeleggelsen av
 etter-kino-markedet forårsaket av de hundrevis av millioner opptak som vil
 seriøst påvirke fremtiden til det kreative miljøet i dette landet.  Det er
 ganske enkelt et spørsmål om grunnleggende økonomi og enkel sunn
-fornuft.</span>»</span><sup>[<a name="id2725867" href="#ftn.id2725867" class="footnote">88</a>]</sup> Og ganske riktig, slik
+fornuft.</span>»</span><sup>[<a name="id3030967" href="#ftn.id3030967" class="footnote">88</a>]</sup> Og ganske riktig, slik
 spørreundersøkelser senere ville vise, 45 prosent av videospillereierne
-hadde filmbiblioteker som inneholdt ti filmer eller mer.<sup>[<a name="id2725879" href="#ftn.id2725879" class="footnote">89</a>]</sup> &#8212; en bruk som retten senere ville avgjøre
+hadde filmbiblioteker som inneholdt ti filmer eller mer.<sup>[<a name="id3030979" href="#ftn.id3030979" class="footnote">89</a>]</sup> &#8212; en bruk som retten senere ville avgjøre
 ikke var <span class="quote">«<span class="quote">rettferdig</span>»</span>.  Ved å <span class="quote">«<span class="quote">tillate videospillereierne
 å kopiere fritt ved hjelp av et unntak fra brudd på opphavsrettsloven uten å
 lage en mekanisme for å kompensere opphavsrettseierne</span>»</span>, forklarte
 Valenti, så ville kongressen <span class="quote">«<span class="quote">ta fra eierne selve essensen i deres
 eiendom: den eksklusive retten til a kontrollere hvem som kan bruke deres
 verker, det vil si, hvem som kan kopiere det og dermed nyte godt at dets
-reproduksjon</span>»</span>.<sup>[<a name="id2725915" href="#ftn.id2725915" class="footnote">90</a>]</sup>
+reproduksjon</span>»</span>.<sup>[<a name="id3031015" href="#ftn.id3031015" class="footnote">90</a>]</sup>
 </p><p>
 Det tok åtte år før denne saken ble avgjort av høyesterett.  I mellomtiden
 hadde den niende appellsirkel, som har Hollywood i sin
@@ -3183,7 +3183,7 @@ muliggjort med deres maskiner.  I f
 kjente teknologien&#8212;som Jack Valenti hadde omtalt som
 <span class="quote">«<span class="quote">Boston-kveleren for amerikansk filmindustri</span>»</span> (verre enn dette,
 det var en <span class="emphasis"><em>japansk</em></span> Boston-kveler for amerikansk
-filmindustri)&#8212; var en ulovlig teknologi.<sup>[<a name="id2725940" href="#ftn.id2725940" class="footnote">91</a>]</sup> <a class="indexterm" name="id2725962"></a>
+filmindustri)&#8212; var en ulovlig teknologi.<sup>[<a name="id3031040" href="#ftn.id3031040" class="footnote">91</a>]</sup> <a class="indexterm" name="id3031061"></a>
 </p><p>
 
 Men høyesterett omstøtte avgjørelsen til niende appellsirkel.  Og i sin
@@ -3195,16 +3195,16 @@ kongressen n
 opphavsrettsbeskyttet materiale.  Kongressen har den konstituelle
 autoriteten og institusjonsevnen til å ta fullt hensyn til de forskjellige
 sammensetningene av konkurrerende interesser som uunngåelig blir involvert
-av slik ny teknologi.<sup>[<a name="id2725996" href="#ftn.id2725996" class="footnote">92</a>]</sup>
+av slik ny teknologi.<sup>[<a name="id3031095" href="#ftn.id3031095" class="footnote">92</a>]</sup>
 </p></blockquote></div><p>
 Kongressen ble bedt om å svare på avgjørelsen fra Høyesterett.  Men på samme
 måte som med appellen fra plateartistene om radiokringkastinger, ignorerte
 kongressen denne forespørselen.  Kongressen var overbevist om at Amerikansk
 film fikk nok, på tross av at det her ble <span class="quote">«<span class="quote">tatt</span>»</span>.  Hvis vi
 samler disse saken, trer et mønster frem:
-</p><div class="informaltable"><a name="t1"></a><table border="1"><colgroup><col><col><col><col></colgroup><thead><tr><th align="left">Tilfelle</th><th align="left">Hvems verdi ble <span class="quote">«<span class="quote">røvet</span>»</span></th><th align="left">Responsen til domstolene</th><th align="left">Responsen til Kongressen</th></tr></thead><tbody><tr><td align="left">Innspillinger</td><td align="left">Komponister</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Radio</td><td align="left">Plateartister</td><td align="left">N/A</td><td align="left">Ingenting</td></tr><tr><td align="left">Kabel-TV</td><td align="left">Kringkastere</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Videospiller / opptaker</td><td align="left">Filmskapere</td><td align="left">Ingen beskyttelse</td><td align="left">Ingenting</td></tr></tbody></table></div><a class="indexterm" name="id2726130"></a><p>
+</p><div class="informaltable"><a name="t1"></a><table border="1"><colgroup><col><col><col><col></colgroup><thead><tr><th align="left">Tilfelle</th><th align="left">Hvems verdi ble <span class="quote">«<span class="quote">røvet</span>»</span></th><th align="left">Responsen til domstolene</th><th align="left">Responsen til Kongressen</th></tr></thead><tbody><tr><td align="left">Innspillinger</td><td align="left">Komponister</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Radio</td><td align="left">Plateartister</td><td align="left">N/A</td><td align="left">Ingenting</td></tr><tr><td align="left">Kabel-TV</td><td align="left">Kringkastere</td><td align="left">Ingen beskyttelse</td><td align="left">Lovbestemt lisens</td></tr><tr><td align="left">Videospiller / opptaker</td><td align="left">Filmskapere</td><td align="left">Ingen beskyttelse</td><td align="left">Ingenting</td></tr></tbody></table></div><a class="indexterm" name="id3031229"></a><p>
 I hvert tilfelle gjennom vår historie har ny teknologi endret hvordan
-innhold ble distribuert.<sup>[<a name="id2726143" href="#ftn.id2726143" class="footnote">93</a>]</sup> I hvert
+innhold ble distribuert.<sup>[<a name="id3031243" href="#ftn.id3031243" class="footnote">93</a>]</sup> I hvert
 tilfelle, gjennom hele vår historie, har den endringen ført til at noen ble
 <span class="quote">«<span class="quote">gratispassasjer</span>»</span> på noen andres verk.
 </p><p>
@@ -3220,7 +3220,7 @@ hensyn til noe av legitimiteten til oppf
 teknologi a ha fordel av innhold laget tidligere.  Den balanserte
 interessene på spill.
 
-</p><a class="indexterm" name="id2726238"></a><p>
+</p><a class="indexterm" name="id3031338"></a><p>
 Når du tenker over disse eksemplene, og de andre eksemplene som utgjør de
 første fire kapittelene i denne avdelingen, så gir denne balansen mening.
 Var Walt Disney en pirat?  Ville doujinshi være bedre hvis skaperne måtte be
@@ -3234,7 +3234,7 @@ en advokat for 
 Vi kunne svart ja på hvert av disse spørsmålene, men vår tradisjon har svart
 nei.  I vår tradisjon, som høyesterett uttalte har opphavsretten
 <span class="quote">«<span class="quote">aldri gitt opphavsrettseieren fullstendig kontroll over all mulig
-bruk av hans verk</span>»</span>.<sup>[<a name="id2726282" href="#ftn.id2726282" class="footnote">94</a>]</sup> I stedet har
+bruk av hans verk</span>»</span>.<sup>[<a name="id3031382" href="#ftn.id3031382" class="footnote">94</a>]</sup> I stedet har
 de spesifikke bruksområder som loven regulerer vært definert ved å balansere
 de goder som kommer fra å dele ut en eksklusiv rettighet mot ulempene en
 slik eksklusiv rettighet skaper. Og denne balanseringen har historisk vært
@@ -3262,7 +3262,7 @@ ideelt effektivt for 
 nettverk.  Utviklet videre så kan de gjøre nettverkene mye mer effektivt.
 Likevel kan disse <span class="quote">«<span class="quote">potensielle fordelene for folket</span>»</span>, som John
 Schwartz skriver i <em class="citetitle">The New York Times</em>, <span class="quote">«<span class="quote">bli
-forsinket av p2p-kampen</span>»</span>.<sup>[<a name="id2726361" href="#ftn.id2726361" class="footnote">95</a>]</sup>
+forsinket av p2p-kampen</span>»</span>.<sup>[<a name="id3031461" href="#ftn.id3031461" class="footnote">95</a>]</sup>
 </p><p>
 <span class="strong"><strong>Men når noen</strong></span> begynner å snakke om
 <span class="quote">«<span class="quote">balanse</span>»</span>, kommer opphavsrettskrigerne med et annet argument.
@@ -3278,7 +3278,7 @@ arresterer han?</span>
 <span class="quote">«<span class="quote">Det er <span class="emphasis"><em>vår eiendom</em></span>,</span>»</span> insisterer
 krigerne. <span class="quote">«<span class="quote">og den bør være beskyttet på samme måte som all annen
 eiendom er beskyttet.</span>»</span>
-</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2723670" href="#id2723670" class="para">70</a>] </sup>
+</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3028622" href="#id3028622" class="para">70</a>] </sup>
 
 
 Se IFPI (International Federation of the Phonographic Industry),
@@ -3286,7 +3286,7 @@ Se IFPI (International Federation of the Phonographic Industry),
 juli 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #14</a>. Se også Ben Hunt, <span class="quote">«<span class="quote">Companies Warned on Music Piracy
 Risk</span>»</span>, <em class="citetitle">Financial Times</em>, 14. februar 2003, 11.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2723988" href="#id2723988" class="para">71</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3028940" href="#id3028940" class="para">71</a>] </sup>
 
 Se Peter Drahos og John Braithwaite, Information Feudalism: <em class="citetitle">Who
 Owns the Knowledge Economy?</em> (New York: The New Press, 2003),
@@ -3302,8 +3302,8 @@ ikke-kommersielle form
 tillatelse fra patentinnehaveren.  Utviklingsland kan være i stand til å
 bruke dette til å få fordelene fra utenlandske patenter til lavere priser.
 Dette er en lovende strategi for utviklingsland innenfor
-TRIPS-rammeverket. <a class="indexterm" name="id2722997"></a> <a class="indexterm" name="id2724021"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724056" href="#id2724056" class="para">72</a>] </sup>
+TRIPS-rammeverket. <a class="indexterm" name="id3027939"></a> <a class="indexterm" name="id3028973"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029008" href="#id3029008" class="para">72</a>] </sup>
 
 For en analyse av den økonomiske effekten av kopieringsteknologi, se Stan
 Liebowitz, <em class="citetitle">Rethinking the Network Economy</em> (New York:
@@ -3312,15 +3312,15 @@ av piratvirksomhet p
 verdien av verket vil være neglisjerbart. Et åpenbart tilfelle er der
 individet som tar nyter godt av piratvirksomheten ikke ville ha kjøpt
 originalen selv om piratvirksomhet ikke var en mulighet.</span>»</span> Ibid.,
-149.  <a class="indexterm" name="id2724081"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724463" href="#id2724463" class="para">73</a>] </sup>
+149.  <a class="indexterm" name="id3029033"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029415" href="#id3029415" class="para">73</a>] </sup>
 
 
 <em class="citetitle">Bach</em> v. <em class="citetitle">Longman</em>, 98
 Eng. Rep. 1274 (1777).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724507" href="#id2724507" class="para">74</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029459" href="#id3029459" class="para">74</a>] </sup>
 
-<a class="indexterm" name="id2724511"></a> Se Clayton M. Christensen,
+<a class="indexterm" name="id3029462"></a> Se Clayton M. Christensen,
 <em class="citetitle">The Innovator's Dilemma: The Revolutionary National Bestseller
 That Changed the Way We Do Business</em> (New York: HarperBusiness,
 2000).  Professor Christensen undersøker hvorfor selskaper som gir opphav
@@ -3329,8 +3329,8 @@ de mest kreative, paradigmeskiftende m
 på.  Denne jobben ender som oftest opp hos oppfinnere utenfra, som setter
 sammen eksisterende teknologi på nyskapende måter.  For en diskusjon om
 Christensens idéer, se Lawrence Lessig, <em class="citetitle">Future</em>,
-89&#8211;92, 139. <a class="indexterm" name="id2724066"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724560" href="#id2724560" class="para">75</a>] </sup>
+89&#8211;92, 139. <a class="indexterm" name="id3029018"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029512" href="#id3029512" class="para">75</a>] </sup>
 
 
 Se Carolyn Lochhead, <span class="quote">«<span class="quote">Silicon Valley Dream, Hollywood
@@ -3342,7 +3342,7 @@ Chronicle</em>, 23. mai 2003, C1; <span class="quote">
 Call,</span>»</span> <em class="citetitle">Economist</em>, 24. juni 2000, 23; John
 Naughton, <span class="quote">«<span class="quote">Hollywood at War with the Internet</span>»</span> (London)
 <em class="citetitle">Times</em>, 26. juli 2002, 18.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724613" href="#id2724613" class="para">76</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029565" href="#id3029565" class="para">76</a>] </sup>
 
 
 
@@ -3350,18 +3350,18 @@ Se Ipsos-Insight, <em class="citetitle">TEMPO: Keeping Pace with Online Music
 Distribution</em> (september 2002), som rapporterer at 28 prosent av
 amerikanere eldre enn tolv år hadde lastet musikk ned fra internettet og 30
 prosent hadde lyttet til digitale musikkfiler lagred på sine datamaskiner.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724644" href="#id2724644" class="para">77</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029596" href="#id3029596" class="para">77</a>] </sup>
 
 
 Amy Harmon, <span class="quote">«<span class="quote">Industry Offers a Carrot in Online Music Fight,</span>»</span>
 <em class="citetitle">New York Times</em>, 6. juni 2003, A1.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724813" href="#id2724813" class="para">78</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029765" href="#id3029765" class="para">78</a>] </sup>
 
 Se Liebowitz, <em class="citetitle">Rethinking the Network Economy</em>,
-148&#8211;49.  <a class="indexterm" name="id2724540"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724887" href="#id2724887" class="para">79</a>] </sup>
+148&#8211;49.  <a class="indexterm" name="id3029492"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029839" href="#id3029839" class="para">79</a>] </sup>
 
-<a class="indexterm" name="id2724890"></a> Se Cap Gemini Ernst &amp; Young,
+<a class="indexterm" name="id3029842"></a> Se Cap Gemini Ernst &amp; Young,
 <em class="citetitle">Technology Evolution and the Music Industry's Business Model
 Crisis</em> (2003), 3.  Denne rapporten beskriver musikkindustriens
 innsats for å stigmatisere den voksende praksis med å ta opp på kassett på
@@ -3373,11 +3373,11 @@ prosent av forbrukerne eldre enn ti tatt opp musikk p
 U.S.  Congress, Office of Technology Assessment, <em class="citetitle">Copyright and
 Home Copying: Technology Challenges the Law</em>, OTA-CIT-422
 (Washington, D.C.: U.S.  Government Printing Office, oktober 1989),
-145&#8211;56.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2724069" href="#id2724069" class="para">80</a>] </sup>
+145&#8211;56.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3029021" href="#id3029021" class="para">80</a>] </sup>
 
 
 U.S. Congress, <em class="citetitle">Copyright and Home Copying</em>, 4.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725069" href="#id2725069" class="para">81</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030021" href="#id3030021" class="para">81</a>] </sup>
 
 
 Se Recording Industry Association of America, <em class="citetitle">2002 Yearend
@@ -3393,14 +3393,14 @@ siste 
 verdensbasis har gått ned fra å være en $39 milliarders industri i 2000 til
 å bli en $32 milliarders industri i 2002 (basert på US dollarverdi for
 utsendinger.</span>»</span>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725128" href="#id2725128" class="para">82</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030080" href="#id3030080" class="para">82</a>] </sup>
 Jane Black, <span class="quote">«<span class="quote">Big Music's Broken Record</span>»</span>, BusinessWeek online,
-13. februar 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #17</a>.  <a class="indexterm" name="id2725145"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725168" href="#id2725168" class="para">83</a>] </sup>
+13. februar 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #17</a>.  <a class="indexterm" name="id3030097"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030120" href="#id3030120" class="para">83</a>] </sup>
 
 
 ibid.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725241" href="#id2725241" class="para">84</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030193" href="#id3030193" class="para">84</a>] </sup>
 
 
 Et estimat forteller at 75 prosent av musikken gitt ut av de store
@@ -3409,9 +3409,9 @@ Copyright Law&#8212;Coming Soon to a Digital Device Near You: H
 the Senate Committee on the Judiciary, 107. kongr., 1. sesj. (3. april 2001)
 (forberedt innlegg av the Future of Music Coalition), tilgjengelig fra
 <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #18</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725307" href="#id2725307" class="para">85</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030258" href="#id3030258" class="para">85</a>] </sup>
 
-<a class="indexterm" name="id2725321"></a> Mens det ikke finnes noen gode
+<a class="indexterm" name="id3030273"></a> Mens det ikke finnes noen gode
 estimater over antallet bruktplatebutikker, så var det i 2002 7 7198
 bruktbokhandler i USA, en økning på 20 prosent siden 1993. Se Book Hunter
 Press, <em class="citetitle">The Quiet Revolution: The Expansion of the Used Book
@@ -3419,7 +3419,7 @@ Market</em> (2002), tilgjengelig fra <a class="ulink" href="http://free-culture.
 utgjorde $260 millioner i salg i 2002.  Se National Association of Recording
 Merchandisers, <span class="quote">«<span class="quote">2002 Annual Survey Results</span>»</span>, tilgjengelig fra
 <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #20</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725590" href="#id2725590" class="para">86</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030542" href="#id3030542" class="para">86</a>] </sup>
 
 
 Se referat fra forhandlingene, In Re: Napster Copyright Litigation ved 34-35
@@ -3428,38 +3428,38 @@ tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_
 #21</a>. For en oppsummering av søksmålet og dets effekt på Napster, se
 Joseph Menn, <em class="citetitle">All the Rave: The Rise and Fall of Shawn Fanning's
 Napster</em> (New York: Crown Business, 2003), 269&#8211;82.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725835" href="#id2725835" class="para">87</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030935" href="#id3030935" class="para">87</a>] </sup>
 
 
 Copyright Infringements (Audio and Video Recorders): høring om S. 1758 foran
 the Senate Committee on the Judiciary, 97. kongr., 1. and 2. sess., 459
 (1982) (vitnesbyrd fra Jack Valenti, president, Motion Picture Association
 of America, Inc.).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725867" href="#id2725867" class="para">88</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030967" href="#id3030967" class="para">88</a>] </sup>
 
 
 Copyright Infringements (Audio and Video Recorders), 475.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725879" href="#id2725879" class="para">89</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3030979" href="#id3030979" class="para">89</a>] </sup>
 
 
 <em class="citetitle">Universal City Studios, Inc</em>. mot <em class="citetitle">Sony
 Corp. of America</em>, 480 F. Supp. 429, (C.D. Cal., 1979).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725915" href="#id2725915" class="para">90</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031015" href="#id3031015" class="para">90</a>] </sup>
 
 
 Copyright Infringements (Audio and Video Recorders), 485 (vitnesbyrd fra
 Jack Valenti).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725940" href="#id2725940" class="para">91</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031040" href="#id3031040" class="para">91</a>] </sup>
 
 
 <em class="citetitle">Universal City Studios, Inc</em>. mot <em class="citetitle">Sony
 Corp. of America</em>, 659 F. 2d 963 (9th Cir.  1981).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2725996" href="#id2725996" class="para">92</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031095" href="#id3031095" class="para">92</a>] </sup>
 
 
 <em class="citetitle">Sony Corp. of America</em> mot <em class="citetitle">Universal City
 Studios, Inc</em>., 464 U.S. 417, 431 (1984).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2726143" href="#id2726143" class="para">93</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031243" href="#id3031243" class="para">93</a>] </sup>
 
 Dette er de viktigste forekomstene i vår historie, men det er også andre
 tilfeller.  For eksempel var teknologien til digitale lydkasetter (DAT)
@@ -3472,13 +3472,13 @@ U.S.C. 
 for gratispassasjerer slik jeg har beskrevet.  Se Lessig
 <em class="citetitle">Future</em>, 71. Se også Picker, <span class="quote">«<span class="quote">From Edison to the
 Broadcast Flag,</span>»</span> <em class="citetitle">University of Chicago Law
-Review</em> 70 (2003): 293&#8211;96.  <a class="indexterm" name="id2725613"></a> <a class="indexterm" name="id2726188"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2726282" href="#id2726282" class="para">94</a>] </sup>
+Review</em> 70 (2003): 293&#8211;96.  <a class="indexterm" name="id3030565"></a> <a class="indexterm" name="id3031287"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031382" href="#id3031382" class="para">94</a>] </sup>
 
 
 <em class="citetitle">Sony Corp. of America</em> mot <em class="citetitle">Universal City
 Studios, Inc</em>., 464 U.S. 417, (1984).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2726361" href="#id2726361" class="para">95</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031461" href="#id3031461" class="para">95</a>] </sup>
 
 
 John Schwartz, <span class="quote">«<span class="quote">New Economy: The Attack on Peer-to-Peer Software
@@ -3513,7 +3513,7 @@ ut hvis jeg gjorde det hver dag, og spesielt s
 Istedet, som Thomas Jefferson sa (og det er spesielt sant når jeg kopierer
 hvordan noen andre kler seg), <span class="quote">«<span class="quote">Den som mottar en idé fra meg, får selv
 informasjon uten å ta noe fra meg, på samme måte som den som tenner sitt lys
-fra min veike får lys uten å forlate meg i mørket</span>»</span>.<sup>[<a name="id2726512" href="#ftn.id2726512" class="footnote">96</a>]</sup>
+fra min veike får lys uten å forlate meg i mørket</span>»</span>.<sup>[<a name="id3031611" href="#ftn.id3031611" class="footnote">96</a>]</sup>
 </p><p>
 Unntakene til fri bruk er idéer og uttrykk innenfor dekningsområdet til
 loven om patent og opphavsrett, og noen få andre områder som jeg ikke vil
@@ -3523,7 +3523,7 @@ min tillatelse: Loven gj
 Men hvordan, og i hvilken utstrekning, og i hvilken form&#8212;detaljene,
 med andre ord&#8212;betyr noe.  For å få en god forståelse om hvordan denne
 praksis om å gjøre det immaterielle om til eiendom vokste frem, trenger vi å
-plassere denne <span class="quote">«<span class="quote">eiendom</span>»</span> i sin rette sammenheng.<sup>[<a name="id2726574" href="#ftn.id2726574" class="footnote">97</a>]</sup>
+plassere denne <span class="quote">«<span class="quote">eiendom</span>»</span> i sin rette sammenheng.<sup>[<a name="id3031673" href="#ftn.id3031673" class="footnote">97</a>]</sup>
 </p><p>
 Min strategi for å gjøre dette er den samme som min strategi i den
 foregående del.  Jeg tilbyr fire historier som bidrar til å plassere
@@ -3533,13 +3533,13 @@ Etter disse historiene vil betydningen til dette sanne
 utsagnet&#8212;<span class="quote">«<span class="quote">opphavsrettsmateriale er eiendom</span>»</span>&#8212; bli
 litt mer klart, og dets implikasjoner vil bli avslørt som ganske forskjellig
 fra implikasjonene som opphavsrettskrigerne vil at vi skal forstå.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2726512" href="#id2726512" class="para">96</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3031611" href="#id3031611" class="para">96</a>] </sup>
 
 
 Brev fra Thomas Jefferson til Isaac McPherson (13. august 1813) i
 <em class="citetitle">The Writings of Thomas Jefferson</em>, vol. 6 (Andrew
 A. Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333&#8211;34.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2726574" href="#id2726574" class="para">97</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031673" href="#id3031673" class="para">97</a>] </sup>
 
 
 Slik de juridiske realistene lærte bort amerikansk lov, var alle
@@ -3550,7 +3550,7 @@ immateriell, selv om objektet som det er (metafysisk) knyttet til er
 materielt.  Se Adam Mossoff, <span class="quote">«<span class="quote">What Is Property? Putting the Pieces
 Back Together,</span>»</span> <em class="citetitle">Arizona Law Review</em> 45 (2003):
 373, 429 n. 241.
-</p></div></div></div><div class="chapter" title="Kapittel seks: Grunnleggerne"><div class="titlepage"><div><div><h2 class="title"><a name="founders"></a>Kapittel seks: Grunnleggerne</h2></div></div></div><a class="indexterm" name="id2726638"></a><a class="indexterm" name="id2726644"></a><a class="indexterm" name="idxbooksenglishlaw"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel seks: Grunnleggerne"><div class="titlepage"><div><div><h2 class="title"><a name="founders"></a>Kapittel seks: Grunnleggerne</h2></div></div></div><a class="indexterm" name="id3031737"></a><a class="indexterm" name="id3031744"></a><a class="indexterm" name="idxbooksenglishlaw"></a><p>
 <span class="strong"><strong>William Shakespeare</strong></span> skrev
 <em class="citetitle">Romeo og Julie</em> i 1595. Skuespillet ble først utgitt i
 1597. Det var det ellevte store skuespillet Shakespeare hadde skrevet. Han
@@ -3564,9 +3564,9 @@ klisjeer.</span>
 
 I 1774, nesten 180 år etter at <em class="citetitle">Romeo og Julie</em> ble
 skrevet, mente mange at <span class="quote">«<span class="quote">opphavsretten</span>»</span> kun tilhørte én eneste
-utgiver i London, John Tonson. <sup>[<a name="id2726707" href="#ftn.id2726707" class="footnote">98</a>]</sup> Tonson
+utgiver i London, John Tonson. <sup>[<a name="id3031806" href="#ftn.id3031806" class="footnote">98</a>]</sup> Tonson
 var den mest fremstående av en liten gruppe utgivere kalt <span class="quote">«<span class="quote">the
-Conger</span>»</span><sup>[<a name="id2726755" href="#ftn.id2726755" class="footnote">99</a>]</sup>, som kontrollerte
+Conger</span>»</span><sup>[<a name="id3031855" href="#ftn.id3031855" class="footnote">99</a>]</sup>, som kontrollerte
 boksalget i England gjennom hele 1700-tallet. The Conger hevdet at de hadde
 en evigvarende rett over <span class="quote">«<span class="quote">kopier</span>»</span> av bøker de hadde fått av
 forfatterne. Denne evigvarende retten innebar at ingen andre kunne publisere
@@ -3579,11 +3579,11 @@ det britiske parlamentet vedtok den f
 <span class="quote">«<span class="quote">Statute of Anne</span>»</span> og sa at alle publiserte verk skulle være
 beskyttet i fjorten år, en periode som kunne fornyes én gang dersom
 forfatteren ennå levde, og at alle verk publisert i eller før 1710 skulle ha
-en ekstraperiode på 22 tilleggsår.<sup>[<a name="id2726812" href="#ftn.id2726812" class="footnote">100</a>]</sup> På
+en ekstraperiode på 22 tilleggsår.<sup>[<a name="id3031912" href="#ftn.id3031912" class="footnote">100</a>]</sup> På
 grunn av denne loven, så skulle <em class="citetitle">Romeo og Julie</em> ha
 falt i det fri i 1731. Hvordan kunne da Tonson fortsatt ha kontroll over
 verket i 1774?
-</p><a class="indexterm" name="id2726842"></a><p>
+</p><a class="indexterm" name="id3031941"></a><p>
 Årsaken var ganske enkelt at engelskmennene ennå ikke hadde bestemt hva
 opphavsrett innebar -- faktisk hadde ingen i verden det. På den tiden da
 engelskmennene vedtok <span class="quote">«<span class="quote">Statute of Anne</span>»</span>, var det ingen annen
@@ -3651,7 +3651,7 @@ verk kunne <span class="emphasis"><em>brukes</em></span>. Idag inkluderer retten
 samling av restriksjoner på andres frihet: den gir forfatteren eksklusiv
 rett til å kopiere, eksklusiv rett til å distribuere, eksklusiv rett til å
 fremføre, og så videre.
-</p><a class="indexterm" name="id2727046"></a><p>
+</p><a class="indexterm" name="id3032146"></a><p>
 Så selv om f. eks. opphavsretten til Shakespeares verker var evigvarende,
 betydde det under den opprinnelige betydningen av begrepet at ingen kunne
 trykke Shakespeares arbeid uten tillatelse fra Shakespeares arvinger. Den
@@ -3659,7 +3659,7 @@ ville ikke ha kontrollert noe mer, for eksempel om hvordan verket kunne
 fremføres, om verket kunne oversettes eller om Kenneth Branagh ville hatt
 lov til å lage filmer. <span class="quote">«<span class="quote">Kopi-retten</span>»</span> var bare en eksklusiv rett
 til å trykke--ikke noe mindre, selvfølgelig, men heller ikke mer.
-</p><a class="indexterm" name="id2727073"></a><a class="indexterm" name="id2727080"></a><p>
+</p><a class="indexterm" name="id3032172"></a><a class="indexterm" name="id3032179"></a><p>
 Selv denne begrensede retten ble møtt med skepsis av britene. De hadde hatt
 en lang og stygg erfaring med <span class="quote">«<span class="quote">eksklusive rettigheter</span>»</span>,
 spesielt <span class="quote">«<span class="quote">enerett</span>»</span> gitt av kronen. Engelskmennene hadde
@@ -3688,7 +3688,7 @@ undertrykkelse, de solgte Englands frihet mot 
 monopolskinntekt. Men monopolistene ble kvast kritisert: Milton beskrev dem
 som <span class="quote">«<span class="quote">gamle patentholdere og monopolister i bokhandlerkunsten</span>»</span>;
 de var <span class="quote">«<span class="quote">menn som derfor ikke hadde  et ærlig arbeide hvor utdanning er
-nødvendig.</span>»</span><sup>[<a name="id2727188" href="#ftn.id2727188" class="footnote">101</a>]</sup>
+nødvendig.</span>»</span><sup>[<a name="id3032287" href="#ftn.id3032287" class="footnote">101</a>]</sup>
 </p><p>
 Mange trodde at den makten bokhandlerne utøvde over spredning av kunnskap,
 var til skade for selve spredningen, men på dette tidspunktet viste
@@ -3720,7 +3720,7 @@ utvidelser om igjen og om igjen, s
 lovforslaget blir vedtatt, vil effekten være: at et evig monopol blir skapt,
 et stort nederlag for handelen, et angrep mot kunnskapen, ingen fordel for
 forfatterne, men en stor avgift for folket; og alt dette kun for å øke
-bokhandlernes personlige rikdom.<sup>[<a name="id2727272" href="#ftn.id2727272" class="footnote">102</a>]</sup>
+bokhandlernes personlige rikdom.<sup>[<a name="id3032371" href="#ftn.id3032371" class="footnote">102</a>]</sup>
 </p></blockquote></div><p>
 Etter å ha mislyktes i Parlamentet gikk utgiverne til rettssalen i en rekke
 saker. Deres argument var enkelt og direkte: <span class="quote">«<span class="quote">Statute of Anne</span>»</span>
@@ -3734,30 +3734,30 @@ utl
 de rett til å fordømme publiseringen av en bok, selv følgelig om
 <span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa at de var falt i det fri. Dette, mente de,
 var den eneste måten å beskytte forfatterne.
-</p><a class="indexterm" name="id2727337"></a><p>
+</p><a class="indexterm" name="id3032436"></a><p>
 Dette var et godt argument, og hadde støtte fra flere av den tidens ledende
 jurister. Det viste også en ekstraordinær chutzpah. Inntil da, som
 jusprofessor Raymond Pattetson har sagt, <span class="quote">«<span class="quote">var utgiverne &#8230; like
-bekymret for forfatterne som en gjeter for sine lam.</span>»</span><sup>[<a name="id2724965" href="#ftn.id2724965" class="footnote">103</a>]</sup> Bokselgerne brydde seg ikke det spor om
+bekymret for forfatterne som en gjeter for sine lam.</span>»</span><sup>[<a name="id3029917" href="#ftn.id3029917" class="footnote">103</a>]</sup> Bokselgerne brydde seg ikke det spor om
 forfatternes rettigheter. Deres bekymring var den monopolprofitten
 forfatterens verk ga.
 </p><p>
 Men bokhandlernes argument ble ikke godtatt uten kamp. Helten fra denne
-kampen var den skotske bokselgeren Alexander Donaldson.<sup>[<a name="id2727391" href="#ftn.id2727391" class="footnote">104</a>]</sup>
-</p><a class="indexterm" name="id2727404"></a><a class="indexterm" name="id2727410"></a><p>
+kampen var den skotske bokselgeren Alexander Donaldson.<sup>[<a name="id3032490" href="#ftn.id3032490" class="footnote">104</a>]</sup>
+</p><a class="indexterm" name="id3032504"></a><a class="indexterm" name="id3032510"></a><p>
 Donaldson var en fremmed for Londons <span class="quote">«<span class="quote">the Conger</span>»</span>. Han startet
 in karriere i Edinburgh i 1750. Hans forretningsidé var billige kopier av
 standardverk falt i det fri, ihvertfall fri ifølge <span class="quote">«<span class="quote">Statute of
-Anne</span>»</span>.<sup>[<a name="id2727431" href="#ftn.id2727431" class="footnote">105</a>]</sup> Donaldsons forlag vokste
+Anne</span>»</span>.<sup>[<a name="id3032530" href="#ftn.id3032530" class="footnote">105</a>]</sup> Donaldsons forlag vokste
 og ble <span class="quote">«<span class="quote">et sentrum for litterære skotter.</span>»</span> <span class="quote">«<span class="quote">Blant
 dem,</span>»</span> skriver professor Mark Rose, var <span class="quote">«<span class="quote">den unge James Boswell
 som, sammen med sin venn Andrew Erskine, publiserte en hel antologi av
-skotsk samtidspoesi sammen med Donaldson.</span>»</span><sup>[<a name="id2727461" href="#ftn.id2727461" class="footnote">106</a>]</sup>
+skotsk samtidspoesi sammen med Donaldson.</span>»</span><sup>[<a name="id3032560" href="#ftn.id3032560" class="footnote">106</a>]</sup>
 </p><p>
 Da Londons bokselgere prøvde å få stengt Donaldsons butikk i Skottland, så
 flyttet han butikken til London. Her solgte han billige utgaver av <span class="quote">«<span class="quote">de
 mest populære, engelske bøker, i kamp mot sedvanerettens rett til litterær
-eiendom.</span>»</span> <sup>[<a name="id2727484" href="#ftn.id2727484" class="footnote">107</a>]</sup> Bøkene hans var
+eiendom.</span>»</span> <sup>[<a name="id3032583" href="#ftn.id3032583" class="footnote">107</a>]</sup> Bøkene hans var
 mellom 30% og 50% billigere enn <span class="quote">«<span class="quote">the Conger</span>»</span>s, og han baserte
 sin rett til denne konkurransen på at bøkene, takket være <span class="quote">«<span class="quote">Statute of
 Anne</span>»</span>, var falt i det fri.
@@ -3766,13 +3766,13 @@ Londons bokselgere begynte straks 
 Donaldson. Flere tiltak var vellykkede, den viktigste var den tidlig seieren
 i kampen mellom <em class="citetitle">Millar</em> og
 <em class="citetitle">Taylor</em>.
-</p><a class="indexterm" name="id2727529"></a><a class="indexterm" name="id2727536"></a><p>
+</p><a class="indexterm" name="id3032629"></a><a class="indexterm" name="id3032635"></a><p>
 Millar var en bokhandler som i 1729 hadde kjøpt opp rettighetene til James
 Thomsons dikt <span class="quote">«<span class="quote">The Seasons</span>»</span>. Millar hadde da full beskyttelse
 gjennom <span class="quote">«<span class="quote">Statute of Anne</span>»</span>, men etter at denne beskyttelsen var
 utløpt, begynte Robert Taylor å trykke et konkurrerende bind. Millar gikk
 til sak, og hevdet han hadde en evig rett gjennom sedvaneretten, uansett hva
-<span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa.<sup>[<a name="id2727564" href="#ftn.id2727564" class="footnote">108</a>]</sup>
+<span class="quote">«<span class="quote">Statute of Anne</span>»</span> sa.<sup>[<a name="id3032664" href="#ftn.id3032664" class="footnote">108</a>]</sup>
 </p><a class="indexterm" name="idxmansfieldwilliammurraylord2"></a><p>
 Til moderne juristers forbløffelse, var en av, ikke bare datidens, men en av
 de største dommere i engelsk historie, Lord Mansfield, enig med
@@ -3793,13 +3793,13 @@ gjennom 
 perioden måtte være så kort at kulturen ble utsatt for konkurranse innen
 rimelig tid. Storbritannia skulle vokse fra den kontrollerte kulturen under
 kronen, inn i en fri og åpen kultur.
-</p><a class="indexterm" name="id2727646"></a><p>
+</p><a class="indexterm" name="id3032746"></a><p>
 Kampen for å forsvare <span class="quote">«<span class="quote">Statute of Anne</span>»</span>s begrensninger sluttet
 uansett ikke der, for nå kommer Donaldson.
-</p><a class="indexterm" name="id2727666"></a><p>
+</p><a class="indexterm" name="id3032766"></a><p>
 Millar døde kort tid etter sin seier. Boet hans solgte rettighetene over
 Thomsons dikt til et syndikat av utgivere, deriblant Thomas
-Beckett.<sup>[<a name="id2727680" href="#ftn.id2727680" class="footnote">109</a>]</sup> Da ga Donaldson ut en
+Beckett.<sup>[<a name="id3032779" href="#ftn.id3032779" class="footnote">109</a>]</sup> Da ga Donaldson ut en
 uautorisert utgave av Thomsons verk. Etter avgjørelsen i
 <em class="citetitle">Millar</em>-saken, gikk Beckett til sak mot
 Donaldson. Donaldson tok saken inn for Overhuset, som da fungerte som en
@@ -3836,7 +3836,7 @@ en allmenn oppfatning om at kopiretten var evigvarende. Men etter 1774 ble
 Public Domain født. For første gang i angloamerikansk historie var den
 lovlige beskyttelsen av et verk utgått, og de største verk i engelsk
 historie - inkludert Shakespeare, Bacon, Milton, Johnson og Bunyan - var
-frie.  <a class="indexterm" name="id2727793"></a> <a class="indexterm" name="id2727799"></a> <a class="indexterm" name="id2727805"></a> <a class="indexterm" name="id2727812"></a> <a class="indexterm" name="id2727818"></a>
+frie.  <a class="indexterm" name="id3032892"></a> <a class="indexterm" name="id3032898"></a> <a class="indexterm" name="id3032905"></a> <a class="indexterm" name="id3032911"></a> <a class="indexterm" name="id3032917"></a>
 </p><p>
 Vi kan knapt forestille oss det, men denne avgjørelsen fra Overhuset fyrte
 opp under en svært populær og politisk reaksjon. I Skottland, hvor de fleste
@@ -3845,7 +3845,7 @@ piratutgiverne hadde holdt til, ble avgj
 noen gang fått slik oppmerksomhet fra folket, og ingen sak som har blitt
 prøvet i Overhuset har interessert så mange enkeltmennesker.</span>»</span>
 <span class="quote">«<span class="quote">Stor glede i Edinburgh etter seieren over litterær eiendom: bål og
-*illuminations*.</span>»</span><sup>[<a name="id2727852" href="#ftn.id2727852" class="footnote">110</a>]</sup>
+*illuminations*.</span>»</span><sup>[<a name="id3032951" href="#ftn.id3032951" class="footnote">110</a>]</sup>
 </p><p>
 I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i
 motsatt retning. <em class="citetitle">Morning Chronicle</em> skrev:
@@ -3855,7 +3855,7 @@ er blitt 
 redusert til ingenting. Bokselgerne i London og Westminster, mange av dem
 har solgt hus og eiendom for å kjøpe kopirettigheter, er med ett ruinerte,
 og mange som gjennom mange år har opparbeidet kompetanse for å brødfø
-familien, sitter nå uten en shilling til sine.<sup>[<a name="id2727354" href="#ftn.id2727354" class="footnote">111</a>]</sup>
+familien, sitter nå uten en shilling til sine.<sup>[<a name="id3032453" href="#ftn.id3032453" class="footnote">111</a>]</sup>
 </p></blockquote></div><p>
 
 
@@ -3876,13 +3876,13 @@ beundret. Valg i en <span class="emphasis"><em>konkurrerende sammenheng</em></sp
 hvor valgene var om hvilken kultur som skulle være tilgjengelig for folket
 og hvor deres tilgang til den ble styrt av noen få, på tros av flertallets
 ønsker.
-</p><a class="indexterm" name="id2727948"></a><p>
+</p><a class="indexterm" name="id3033047"></a><p>
 Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og
 holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett å
 påvirke, vil den frie kultur være mindre beskyttet.
-</p><a class="indexterm" name="id2727966"></a><a class="indexterm" name="id2727974"></a><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2726707" href="#id2726707" class="para">98</a>] </sup>
+</p><a class="indexterm" name="id3033066"></a><a class="indexterm" name="id3033074"></a><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3031806" href="#id3031806" class="para">98</a>] </sup>
 
-<a class="indexterm" name="id2726710"></a> <a class="indexterm" name="id2726718"></a> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets
+<a class="indexterm" name="id3031809"></a> <a class="indexterm" name="id3031818"></a> Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets
 litterære storheter, spesielt John Dryden, og for hans kjekke<span class="quote">«<span class="quote">ferdige
 versjoner</span>»</span> av klassiske verk. I tillegg til <em class="citetitle">Romeo og
 Julie</em>, utga han en utrolig rekke liste av verk som ennå er
@@ -3890,25 +3890,25 @@ hjertet av den engelske kanon, inkludert de samlede verk av Shakespeare, Ben
 Jonson, John Milton, og John Dryden. Se Keith Walker: <span class="quote">«<span class="quote">Jacob Tonson,
 Bookseller</span>»</span>, <em class="citetitle">American Scholar</em> 61:3 (1992):
 424-­31.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2726755" href="#id2726755" class="para">99</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031855" href="#id3031855" class="para">99</a>] </sup>
 
 
 Lyman Ray Patterson, <em class="citetitle">Copyright in Historical
 Perspective</em> (Nashville: Vanderbilt University Press, 1968),
 151&#8211;52.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2726812" href="#id2726812" class="para">100</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3031912" href="#id3031912" class="para">100</a>] </sup>
 
-<a class="indexterm" name="id2726816"></a> Som Siva Vaidhyanathan så pent
+<a class="indexterm" name="id3031915"></a> Som Siva Vaidhyanathan så pent
 argumenterer, er det feilaktige å kalle dette en
 <span class="quote">«<span class="quote">åndsverkslov</span>»</span>. Se Vaidhyanathan, <em class="citetitle">Copyrights and
 Copywrongs</em>, 40.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727188" href="#id2727188" class="para">101</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032287" href="#id3032287" class="para">101</a>] </sup>
 
 
 
 Philip Wittenberg, <em class="citetitle">The Protection and Marketing of Literary
 Property</em> (New York: J. Messner, Inc., 1937), 31.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727272" href="#id2727272" class="para">102</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032371" href="#id3032371" class="para">102</a>] </sup>
 
 
 A Letter to a Member of Parliament concerning the Bill now depending in the
@@ -3918,44 +3918,44 @@ Vesting the Copies of Printed Books in the Authors or Purchasers of such
 Copies, during the Times therein mentioned (London, 1735), in Brief Amici
 Curiae of Tyler T. Ochoa et al., 8, <em class="citetitle">Eldred</em>
 v. <em class="citetitle">Ashcroft</em>, 537 U.S. 186 (2003) (No. 01-618).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2724965" href="#id2724965" class="para">103</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3029917" href="#id3029917" class="para">103</a>] </sup>
 
-<a class="indexterm" name="id2727358"></a> <a class="indexterm" name="id2727367"></a> Lyman Ray Patterson, <span class="quote">«<span class="quote">Free Speech, Copyright, and Fair
+<a class="indexterm" name="id3032458"></a> <a class="indexterm" name="id3032466"></a> Lyman Ray Patterson, <span class="quote">«<span class="quote">Free Speech, Copyright, and Fair
 Use</span>»</span>, <em class="citetitle">Vanderbilt Law Review</em> 40 (1987): 28. For
 en fantastisk overbevisende fortelling, se Vaidhyanathan, 37&#8211;48.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727391" href="#id2727391" class="para">104</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032490" href="#id3032490" class="para">104</a>] </sup>
 
 
 For en fascinerende fremstilling, se David Saunders, <em class="citetitle">Authorship
 and Copyright</em> (London: Routledge, 1992), 62&#8211;69.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727431" href="#id2727431" class="para">105</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032530" href="#id3032530" class="para">105</a>] </sup>
 
 Mark Rose, <em class="citetitle">Authors and Owners</em> (Cambridge: Harvard
-University Press, 1993), 92.  <a class="indexterm" name="id2727438"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727461" href="#id2727461" class="para">106</a>] </sup>
+University Press, 1993), 92.  <a class="indexterm" name="id3032538"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032560" href="#id3032560" class="para">106</a>] </sup>
 
 
 Ibid., 93.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727484" href="#id2727484" class="para">107</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032583" href="#id3032583" class="para">107</a>] </sup>
 
-<a class="indexterm" name="id2727487"></a> Lyman Ray Patterson,
+<a class="indexterm" name="id3032586"></a> Lyman Ray Patterson,
 <em class="citetitle">Copyright in Historical Perspective</em>, 167 (der Borwell
 blir sitert).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727564" href="#id2727564" class="para">108</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032664" href="#id3032664" class="para">108</a>] </sup>
 
 
 Howard B. Abrams, <span class="quote">«<span class="quote">The Historic Foundation of American Copyright Law:
 Exploding the Myth of Common Law Copyright</span>»</span>, <em class="citetitle">Wayne Law
 Review</em> 29 (1983): 1152.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727680" href="#id2727680" class="para">109</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032779" href="#id3032779" class="para">109</a>] </sup>
 
 
 Ibid., 1156.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727852" href="#id2727852" class="para">110</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032951" href="#id3032951" class="para">110</a>] </sup>
 
 
 Rose, 97.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2727354" href="#id2727354" class="para">111</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3032453" href="#id3032453" class="para">111</a>] </sup>
 
 
 ibid.
@@ -3973,7 +3973,7 @@ I 1990 arbeidet Else med en dokumentar om Wagners Ring Cycle. Fokuset var p
 *stagehands* på San Francisco Opera. Stagehands er spesielt morsomt og
 fargerikt innslag i en opera. I løpet av forestillingen oppholder de seg
 blant publikum og på lysloftet. De er en perfekt kontrast til kunsten på
-scenen.<a class="indexterm" name="id2728035"></a>
+scenen.<a class="indexterm" name="id3033134"></a>
 </p><p>
 
 Under en forestilling, filmet Else noen stagehands som spilte *checkers*. I
@@ -3988,14 +3988,14 @@ med <em class="citetitle">The Simpson</em>. For disse f
 beskyttet av opphavsretten, og for å bruke beskyttet materiale må man ha
 tillatelse fra eieren, dersom det ikke er <span class="quote">«<span class="quote">rimelig bruk</span>»</span> eller
 det foreligger spesielle avtaler.
-</p><a class="indexterm" name="id2728082"></a><p>
+</p><a class="indexterm" name="id3033182"></a><p>
 Else kontaktet <em class="citetitle">Simpson</em>-skaper Matt Groenings kontor
 for å få tillatelse. Og Groening gav ham det. Det var tross alt kun snakk om
 fire og et halvt sekund på et lite fjernsyn, bakerst i et hjørne av
 rommet. Hvordan kunne det skade? Groening var glad for å få ha det med i
 filmen, men han ba Else om å kontakte Gracie Films, firmaet som produserer
 programmet.
-</p><a class="indexterm" name="id2728106"></a><p>
+</p><a class="indexterm" name="id3033206"></a><p>
 Gracie Films sa også at det var greit, men de, slik som Groening, ønsket å
 være forsiktige, og ba Else om å kontakte Fox, konsernet som eide Gracie. Og
 Else kontaktet Fox og forklarte situasjonen; at det var snakk om et klipp i
@@ -4008,7 +4008,7 @@ Fox] trodde at han ikke eide sitt eget verk.</span>
 Fox <span class="quote">«<span class="quote">ti tusen dollar i lisensavgift for disse fire og et halvt
 sekundene med &#8230; fullstendig tilfeldig <em class="citetitle">Simpson</em>
 som var i et hjørne i ett opptak.</span>»</span>
-</p><a class="indexterm" name="id2728147"></a><p>
+</p><a class="indexterm" name="id3033246"></a><p>
 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
 <span class="quote">«<span class="quote">det må være en feil her &#8230; Vi ber deg om en utdanningssats på
@@ -4024,7 +4024,7 @@ om Wagners Ring Cycle. Som om det ikke var nok, forbl
 å si <span class="quote">«<span class="quote">Og om du siterer meg, vil du høre fra våre advokater.</span>»</span> En
 av Herreras assistenter fortalte Else at <span class="quote">«<span class="quote">De bryr seg ikke i det hele
 tatt. Alt de vil ha er pengene.</span>»</span>
-</p><a class="indexterm" name="id2728208"></a><a class="indexterm" name="id2728214"></a><p>
+</p><a class="indexterm" name="id3033307"></a><a class="indexterm" name="id3033313"></a><p>
 Men Else hadde ikke penger til å kjøpe lisens for klippet. Så å gjenskape
 denne delen av virkeligheten, lå langt utenfor hans budsjett. Like før
 dokumentaren skulle slippes, redigerte Else inn et annet klipp på
@@ -4050,7 +4050,7 @@ det) kreve hvor mye han vil; $10 eller $1
 rett ifølge loven.
 </p><p>
 Men når jurister hører denne historien om Jon Else og Fox, så er deres
-første tanke <span class="quote">«<span class="quote">rimelig bruk</span>»</span>.<sup>[<a name="id2728296" href="#ftn.id2728296" class="footnote">112</a>]</sup> Elses bruk av 4,5 sekunder med et indirekte klipp av en
+første tanke <span class="quote">«<span class="quote">rimelig bruk</span>»</span>.<sup>[<a name="id3033395" href="#ftn.id3033395" class="footnote">112</a>]</sup> Elses bruk av 4,5 sekunder med et indirekte klipp av en
 <em class="citetitle">Simpsons</em>-episode er et klart eksempel på
 <span class="quote">«<span class="quote">rimelig bruk</span>»</span> av <em class="citetitle">The Simpsons</em>&#8212; og
 <span class="quote">«<span class="quote">rimelig bruk</span>»</span> krever ingen tillatelse fra noen.
@@ -4074,7 +4074,7 @@ F
 <span class="quote">«<span class="quote">visual cue sheet</span>»</span> med alle kilder og lisens-status på alle
 scener i filmen. De har et smalt syn på <span class="quote">«<span class="quote">fair use</span>»</span>, og å påstå
 at noe er nettopp det kan forsinke, og i verste fall stoppe, prosessen.
-</p></li><li class="listitem"><a class="indexterm" name="id2728405"></a><a class="indexterm" name="id2728412"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="id3033504"></a><a class="indexterm" name="id3033512"></a><p>
 
 
 Jeg skulle nok aldri ha bedt om Matt Groenings tillatelse. Men jeg visste
@@ -4114,7 +4114,7 @@ Dette eksempelet viser hvor langt denne loven har kommet fra sine
 syttenhundretalls røtter. Loven som skulle beskytte utgiverne mot
 urettferdig piratkonkurranse, hadde utviklet seg til et sverd som slo ned på
 _all_ bruk, transformativ* eller ikke.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2728296" href="#id2728296" class="para">112</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3033395" href="#id3033395" class="para">112</a>] </sup>
 
 
 Ønsker du å lese en flott redegjørelse om hvordan dette er <span class="quote">«<span class="quote">fair
@@ -4122,7 +4122,7 @@ use</span>
 A. Posner og William F. Patry, <span class="quote">«<span class="quote">Fair Use and Statutory Reform in the
 Wake of <em class="citetitle">Eldred</em> </span>»</span> (utkast arkivert hos
 forfatteren), University of Chicago Law School, 5. august 2003.
-</p></div></div></div><div class="chapter" title="Kapittel åtte: Omformerne"><div class="titlepage"><div><div><h2 class="title"><a name="transformers"></a>Kapittel åtte: Omformerne</h2></div></div></div><a class="indexterm" name="id2728538"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="id2728555"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel åtte: Omformerne"><div class="titlepage"><div><div><h2 class="title"><a name="transformers"></a>Kapittel åtte: Omformerne</h2></div></div></div><a class="indexterm" name="id3033638"></a><a class="indexterm" name="idxalbenalex1"></a><a class="indexterm" name="id3033654"></a><p>
 <span class="strong"><strong>I 1993</strong></span> var Alex Alben en jurist som
 arbeidet hos Starwave Inc. Starwave var et innovativt firma grunnlagt av
 Paul Allen, som også hadde vært med på å grunnlegge Microsoft.Starwaves mål
@@ -4164,7 +4164,7 @@ Alben tok ideen videre til Michael Slade, leder for Starwave. Slade spurte
 Alben svarte, <span class="quote">«<span class="quote">Tja, vi må innhente tillatelse fra alle som opptrer i
 disse filmene, for musikken og for alt annet som er i disse
 filmklippene.</span>»</span> Slade svarte <span class="quote">«<span class="quote">Flott! Gjør
-det.</span>»</span><sup>[<a name="id2728695" href="#ftn.id2728695" class="footnote">113</a>]</sup>
+det.</span>»</span><sup>[<a name="id3033794" href="#ftn.id3033794" class="footnote">113</a>]</sup>
 </p><p>
 Problemet var at verken Alben eller Slade forstod hva det innebar å innhente
 disse tillatelsene. Alle skuespillerne i hver av filmene kunne ha krav på
@@ -4189,7 +4189,7 @@ tiden p
 identifisere, siden det ofte er vanskelig å vite hvem som er skuespilleren
 og hvem som er stuntmannen i Eastwoods filmer. Og deretter samlet vi oss en
 gjeng og begynte å ringe rundt.
-</p></blockquote></div><a class="indexterm" name="id2728790"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3033890"></a><p>
 Noen skuespillere var glade for å kunne hjelpe &#8212; Donald Sutherland
 fulgte for eksempel opp saken personlig for å sørge for at alt var
 greit. Andre brydde seg mest om pengene. Alben kunne spørre <span class="quote">«<span class="quote">Hei, kan
@@ -4218,12 +4218,12 @@ gikk vi systematisk igjennom det og fikk tak i rettighetene.
 
 Og produktet ble uten tvil særdeles godt. Eastwood elsket det og det solgte
 veldig godt.
-</p><a class="indexterm" name="id2728879"></a><p>
+</p><a class="indexterm" name="id3033978"></a><p>
 Men jeg spurte Alben om hvor merkelig det syntes at det skulle ta et helt år
 bare å få orden på rettigheter. Alben hadde gjort det hele svært effektivt,
 men som Peter Drucker så berømmelig har sagt <span class="quote">«<span class="quote">Det er ikke noe som er
 så ubrukelig å gjøre effektivt enn det som egentlig ikke gjøres i det hele
-tatt.</span>»</span><sup>[<a name="id2728900" href="#ftn.id2728900" class="footnote">114</a>]</sup> Var det noe fornuft i at
+tatt.</span>»</span><sup>[<a name="id3034000" href="#ftn.id3034000" class="footnote">114</a>]</sup> Var det noe fornuft i at
 det var slik et nye verk skulle skapes, spurte jeg Alben.
 </p><p>
 For, som han innrømmet, <span class="quote">«<span class="quote">veldig få ... har tid og ressurser, og ikke
@@ -4267,7 +4267,7 @@ rikeste investorene i verden. Derfor hadde han myndighet og ressurser som en
 gjennomsnittlig webdesigner ikke kunne drømme om. Så hvis det tok ham et år,
 hvor lang tid ville det ta noen andre? Og hvor mye kreativitet får aldri
 form på grunn av kostnadene rundt å kartlegge og skaffe rettigheter? 
-</p><a class="indexterm" name="id2729024"></a><a class="indexterm" name="id2729032"></a><p>
+</p><a class="indexterm" name="id3034123"></a><a class="indexterm" name="id3034131"></a><p>
 Disse kostnadene er byrdene av en form for regulering. Vi kan prøve å ta på
 oss en republikanerhatt og bli sinte for et øyeblikk. Staten styrer disse
 rettighetenes dekningsområde, og dekningsområdet bestemmer hvor mye det vil
@@ -4278,7 +4278,7 @@ Fracisco.) Disse rettighetene gav sikkert mening en gang, men n
 forholdene har endret seg, er meningen borte. Ihvertfall så burde en
 veltrenet, reguleringsfiendtlig republikaner se på rettighetene og spørre
 <span class="quote">«<span class="quote">Gir dette mening nå?</span>»</span>
-</p><a class="indexterm" name="id2729058"></a><p>
+</p><a class="indexterm" name="id3034158"></a><p>
 
 Jeg har sett glimt av gjenkjennelse på dette punktet, men bare noen få
 ganger. Første gang var på en konferanse for føderale dommere i
@@ -4291,14 +4291,14 @@ Videoen var en glimrende sammenstilling av filmer fra hver periode i det
 tjuende århundret, rammet inn rundt idéen om en episode i TV-serien
 <em class="citetitle">60 Minutes</em>. Utførelsen var perfekt, ned til seksti
 minutter stoppeklokken. Dommerne elsket enhver minutt av den.
-</p><a class="indexterm" name="id2729098"></a><p>
+</p><a class="indexterm" name="id3034198"></a><p>
 Da lysene kom på, kikket jeg over til min medpaneldeltager, David Nimmer,
 kanskje den ledende opphavsrettakademiker og utøver i nasjonen. Han hadde en
 forbauset uttrykk i ansiktet sitt, mens han tittet ut over rommet med over
 250 godt underholdte dommere. Med en en illevarslende tone, begynte han sin
 tale med et spørsmål: <span class="quote">«<span class="quote">Vet dere hvor mange føderale lover som nettopp
 brutt i dette rommet?</span>»</span>
-</p><a class="indexterm" name="id2729124"></a><a class="indexterm" name="id2729130"></a><p>
+</p><a class="indexterm" name="id3034223"></a><a class="indexterm" name="id3034230"></a><p>
 Og selvsagt hadde ikke disse to briljante talentene gjort hva Alben hadde
 gjort. De hadde ikke ordnet alle rettighetene til klippene de brukte. Rent
 teknisk hadde de brutt loven. Men ingen kom til å straffeforfølge disse to
@@ -4315,7 +4315,7 @@ dagens teknologi. Alle som lager presentasjoner vet hvilken eksepsjonell
 frihet internettets <span class="quote">«<span class="quote">klippe og lime</span>»</span>-arkitektur gir&#8212;på et
 sekund kan du finne akkurat det bildet du vil ha, og du kan få den inn i
 presentasjonen din.
-</p><a class="indexterm" name="id2729172"></a><p>
+</p><a class="indexterm" name="id3034272"></a><p>
 
 Men presentasjoner er bare en liten begynnelse. Ved hjelp av internett og
 dets arkiver, er musikere i stand til å sy sammen nye lydmikser som ingen
@@ -4387,20 +4387,20 @@ bruk</span>
 ordne med rettighetene du trenger, slik at du slipper å stole på rimelig
 bruk. I begge tilfeller er den kreative prosessen blitt en prosess med å
 betale jurister&#8212;igjen, et privilegium forbeholdt de få.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2728695" href="#id2728695" class="para">113</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3033794" href="#id3033794" class="para">113</a>] </sup>
 
 Teknisk sett var rettighetene som Alben måtte klarere i hovedsak de om
 publisitet&#8212;rettigheten en artist har til å kontrollere den
 kommersielle utnyttelsen av sitt bilde.  Men disse rettighetene belaster
 også <span class="quote">«<span class="quote">rip, miks, brenn</span>»</span>-kreativiteten slik dette kapittelet
-demonstrerer.  <a class="indexterm" name="id2728713"></a> <a class="indexterm" name="id2728723"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2728900" href="#id2728900" class="para">114</a>] </sup>
+demonstrerer.  <a class="indexterm" name="id3033812"></a> <a class="indexterm" name="id3033822"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3034000" href="#id3034000" class="para">114</a>] </sup>
 
 
 U.S. Department of Commerce Office of Acquisition Management,
 <em class="citetitle">Seven Steps to Performance-Based Services
 Acquisition</em>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #22</a>.
-</p></div></div></div><div class="chapter" title="Kapittel ni: Samlere"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Kapittel ni: Samlere</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="id2729400"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel ni: Samlere"><div class="titlepage"><div><div><h2 class="title"><a name="collectors"></a>Kapittel ni: Samlere</h2></div></div></div><a class="indexterm" name="idxarchivesdigital1"></a><a class="indexterm" name="id3034500"></a><p>
 <span class="strong"><strong>In April 1996</strong></span>, millions of
 <span class="quote">«<span class="quote">bots</span>»</span>&#8212;computer codes designed to <span class="quote">«<span class="quote">spider,</span>»</span>
 or automatically search the Internet and copy content&#8212;began running
@@ -4409,7 +4409,7 @@ 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.
-</p><a class="indexterm" name="id2729415"></a><p>
+</p><a class="indexterm" name="id3034516"></a><p>
 By October 2001, the bots had collected more than five years of copies. And
 at a small announcement in Berkeley, California, the archive that these
 copies created, the Internet Archive, was opened to the world. Using a
@@ -4433,13 +4433,13 @@ way for you to know whether the content you are reading is the same as the
 content you read before. The page may seem the same, but the content could
 easily be different. The Internet is Orwell's library&#8212;constantly
 updated, without any reliable memory.
-</p><a class="indexterm" name="id2729480"></a><a class="indexterm" name="id2729496"></a><p>
+</p><a class="indexterm" name="id3034579"></a><a class="indexterm" name="id3034596"></a><p>
 Until the Way Back Machine, at least. With the Way Back Machine, and the
 Internet Archive underlying it, you can see what the Internet was. You have
 the power to see what you remember. More importantly, perhaps, you also have
 the power to find what you don't remember and what others might prefer you
-forget.<sup>[<a name="id2729510" href="#ftn.id2729510" class="footnote">115</a>]</sup>
-</p><a class="indexterm" name="id2729542"></a><p>
+forget.<sup>[<a name="id3034609" href="#ftn.id3034609" class="footnote">115</a>]</sup>
+</p><a class="indexterm" name="id3034642"></a><p>
 <span class="strong"><strong>We take it</strong></span> for granted that we can go
 back to see what we remember reading. Think about newspapers. If you wanted
 to study the reaction of your hometown newspaper to the race riots in Watts
@@ -4474,7 +4474,7 @@ a series of projects designed to archive human knowledge. The Internet
 Archive was just the first of the projects of this Andrew Carnegie of the
 Internet. By December of 2002, the archive had over 10 billion pages, and it
 was growing at about a billion pages a month.
-</p><a class="indexterm" name="id2729588"></a><a class="indexterm" name="id2729622"></a><a class="indexterm" name="id2729629"></a><a class="indexterm" name="id2729635"></a><a class="indexterm" name="id2729641"></a><p>
+</p><a class="indexterm" name="id3034687"></a><a class="indexterm" name="id3034713"></a><a class="indexterm" name="id3034719"></a><a class="indexterm" name="id3034725"></a><a class="indexterm" name="id3034732"></a><a class="indexterm" name="idxnewscoverage2"></a><p>
 The Way Back Machine is the largest archive of human knowledge in human
 history. At the end of 2002, it held <span class="quote">«<span class="quote">two hundred and thirty terabytes
 of material</span>»</span>&#8212;and was <span class="quote">«<span class="quote">ten times larger than the Library
@@ -4490,7 +4490,7 @@ very low fee. <span class="quote">
 unavailable,</span>»</span> Kahle told me. <span class="quote">«<span class="quote">If you were Barbara Walters you
 could get access to [the archives], but if you are just a graduate
 student?</span>»</span> As Kahle put it,
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="id2729685"></a><a class="indexterm" name="id2729691"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="id3034786"></a><a class="indexterm" name="id3034792"></a><p>
 
 Do you remember when Dan Quayle was interacting with Murphy Brown? Remember
 that back and forth surreal experience of a politician interacting with a
@@ -4499,7 +4499,7 @@ study that, and you wanted to get those original back and forth exchanges
 between the two, the <em class="citetitle">60 Minutes</em> episode that came out
 after it &#8230; it would be almost impossible. &#8230; Those materials
 are almost unfindable. &#8230;
-</p></blockquote></div><a class="indexterm" name="id2729715"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3034816"></a><p>
 Why is that? Why is it that the part of our culture that is recorded in
 newspapers remains perpetually accessible, while the part that is recorded
 on videotape is not? How is it that we've created a world where researchers
@@ -4512,7 +4512,7 @@ copyright owners were required to deposit copies of their work in
 libraries.  These copies were intended both to facilitate the spread of
 knowledge and to assure that a copy of the work would be around once the
 copyright expired, so that others might access and copy the work.
-</p><a class="indexterm" name="id2729743"></a><a class="indexterm" name="id2729749"></a><p>
+</p><a class="indexterm" name="id3034844"></a><a class="indexterm" name="id3034850"></a><p>
 These rules applied to film as well. But in 1915, the Library of Congress
 made an exception for film. Film could be copyrighted so long as such
 deposits were made. But the filmmaker was then allowed to borrow back the
@@ -4520,7 +4520,7 @@ deposits&#8212;for an unlimited time at no cost. In 1915 alone, there were
 more than 5,475 films deposited and <span class="quote">«<span class="quote">borrowed back.</span>»</span> Thus, when
 the copyrights to films expire, there is no copy held by any library. The
 copy exists&#8212;if it exists at all&#8212;in the library archive of the
-film company.<sup>[<a name="id2729762" href="#ftn.id2729762" class="footnote">116</a>]</sup>
+film company.<sup>[<a name="id3034863" href="#ftn.id3034863" class="footnote">116</a>]</sup>
 </p><p>
 The same is generally true about television. Television broadcasts were
 originally not copyrighted&#8212;there was no way to capture the broadcasts,
@@ -4531,7 +4531,7 @@ they make a copy of each broadcast for the work to be
 broadcasters. No library had any right to them; the government didn't demand
 them.  The content of this part of American culture is practically invisible
 to anyone who would look.
-</p><a class="indexterm" name="id2729814"></a><p>
+</p><a class="indexterm" name="id3034914"></a><p>
 
 Kahle was eager to correct this. Before September 11, 2001, he and his
 allies had started capturing television. They selected twenty stations from
@@ -4540,7 +4540,7 @@ working with dozens of others, selected twenty stations from around the
 world and, beginning October 11, 2001, made their coverage during the week
 of September 11 available free on-line.  Anyone could see how news reports
 from around the world covered the events of that day.
-</p><a class="indexterm" name="id2729835"></a><a class="indexterm" name="id2729841"></a><a class="indexterm" name="id2729849"></a><a class="indexterm" name="id2729858"></a><a class="indexterm" name="id2729864"></a><a class="indexterm" name="id2729870"></a><a class="indexterm" name="id2729876"></a><p>
+</p><a class="indexterm" name="id3034935"></a><a class="indexterm" name="id3034942"></a><a class="indexterm" name="id3034950"></a><a class="indexterm" name="id3034958"></a><a class="indexterm" name="id3034966"></a><a class="indexterm" name="id3034973"></a><a class="indexterm" name="id3034979"></a><a class="indexterm" name="id3034985"></a><p>
 Kahle had the same idea with film. Working with Rick Prelinger, whose
 archive of film includes close to 45,000 <span class="quote">«<span class="quote">ephemeral films</span>»</span>
 (meaning films other than Hollywood movies, films that were never
@@ -4584,9 +4584,9 @@ day to the doorsteps of America. The very next day, it is used to wrap fish
 or to fill boxes with fragile gifts or to build an archive of knowledge
 about our history. In this second life, the content can continue to inform
 even if that information is no longer sold.
-</p><a class="indexterm" name="id2729958"></a><p>
+</p><a class="indexterm" name="id3035066"></a><p>
 The same has always been true about books. A book goes out of print very
-quickly (the average today is after about a year<sup>[<a name="id2729970" href="#ftn.id2729970" class="footnote">117</a>]</sup>). After it is out of print, it can be sold in used book stores
+quickly (the average today is after about a year<sup>[<a name="id3035079" href="#ftn.id3035079" class="footnote">117</a>]</sup>). After it is out of print, it can be sold in used book stores
 without the copyright owner getting anything and stored in libraries, where
 many get to read the book, also for free. Used book stores and libraries are
 thus the second life of a book. That second life is extremely important to
@@ -4622,7 +4622,7 @@ 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
 for the first time at a point where that dream is possible. As Kahle
 describes,
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="id2730064"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="id3035173"></a><p>
 It looks like there's about two to three million recordings of music.
 Ever. There are about a hundred thousand theatrical releases of movies,
 &#8230; and about one to two million movies [distributed] during the
@@ -4634,7 +4634,7 @@ different life, based on this, is &#8230; thrilling. It could be one of the
 things humankind would be most proud of. Up there with the Library of
 Alexandria, putting a man on the moon, and the invention of the printing
 press.
-</p></blockquote></div><a class="indexterm" name="id2730076"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3035185"></a><p>
 
 Kahle is not the only librarian. The Internet Archive is not the only
 archive. But Kahle and the Internet Archive suggest what the future of
@@ -4655,14 +4655,14 @@ these <span class="quote">
 collected in these digital spaces is also someone's <span class="quote">«<span class="quote">property.</span>»</span>
 And the law of property restricts the freedoms that Kahle and others would
 exercise.
-</p><a class="indexterm" name="id2730143"></a><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2729510" href="#id2729510" class="para">115</a>] </sup>
+</p><a class="indexterm" name="id3035252"></a><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3034609" href="#id3034609" class="para">115</a>] </sup>
 
-<a class="indexterm" name="id2729513"></a> <a class="indexterm" name="id2729521"></a> The temptations remain, however. Brewster Kahle reports that the
+<a class="indexterm" name="id3034613"></a> <a class="indexterm" name="id3034621"></a> The temptations remain, however. Brewster Kahle reports that the
 White House changes its own press releases without notice. A May 13, 2003,
 press release stated, <span class="quote">«<span class="quote">Combat Operations in Iraq Have Ended.</span>»</span>
 That was later changed, without notice, to <span class="quote">«<span class="quote">Major Combat Operations in
 Iraq Have Ended.</span>»</span> E-mail from Brewster Kahle, 1 December 2003.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2729762" href="#id2729762" class="para">116</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3034863" href="#id3034863" class="para">116</a>] </sup>
 
 
 Doug Herrick, <span class="quote">«<span class="quote">Toward a National Film Collection: Motion Pictures at
@@ -4670,16 +4670,16 @@ the Library of Congress,</span>
 Quarterly</em> 13 nos. 2&#8211;3 (1980): 5; Anthony Slide,
 <em class="citetitle">Nitrate Won't Wait: A History of Film Preservation in the United
 States</em> ( Jefferson, N.C.: McFarland &amp; Co., 1992), 36.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2729970" href="#id2729970" class="para">117</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3035079" href="#id3035079" class="para">117</a>] </sup>
 
-<a class="indexterm" name="id2729974"></a> Dave Barns, <span class="quote">«<span class="quote">Fledgling Career
+<a class="indexterm" name="id3035082"></a> Dave Barns, <span class="quote">«<span class="quote">Fledgling Career
 in Antique Books: Woodstock Landlord, Bar Owner Starts a New Chapter by
 Adopting Business,</span>»</span> <em class="citetitle">Chicago Tribune</em>, 5
 September 1997, at Metro Lake 1L. Of books published between 1927 and 1946,
 only 2.2 percent were in print in 2002. R. Anthony Reese, <span class="quote">«<span class="quote">The First
 Sale Doctrine in the Era of Digital Networks,</span>»</span> <em class="citetitle">Boston
 College Law Review</em> 44 (2003): 593 n. 51.
-</p></div></div></div><div class="chapter" title="Kapittel ti: «Eiendom»"><div class="titlepage"><div><div><h2 class="title"><a name="property-i"></a>Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></h2></div></div></div><a class="indexterm" name="id2730166"></a><a class="indexterm" name="id2730172"></a><p>
+</p></div></div></div><div class="chapter" title="Kapittel ti: «Eiendom»"><div class="titlepage"><div><div><h2 class="title"><a name="property-i"></a>Kapittel ti: <span class="quote">«<span class="quote">Eiendom</span>»</span></h2></div></div></div><a class="indexterm" name="id3035274"></a><a class="indexterm" name="id3035281"></a><p>
 <span class="strong"><strong>Jack Valenti</strong></span> has been the president of
 the Motion Picture Association of America since 1966. He first came to
 Washington, D.C., with Lyndon Johnson's administration&#8212;literally. The
@@ -4687,7 +4687,7 @@ famous picture of Johnson's swearing-in on Air Force One after the
 assassination of President Kennedy has Valenti in the background. In his
 almost forty years of running the MPAA, Valenti has established himself as
 perhaps the most prominent and effective lobbyist in Washington.
-</p><a class="indexterm" name="id2730185"></a><a class="indexterm" name="id2730201"></a><a class="indexterm" name="id2730207"></a><a class="indexterm" name="id2730214"></a><a class="indexterm" name="id2730220"></a><a class="indexterm" name="id2730226"></a><a class="indexterm" name="id2730232"></a><p>
+</p><a class="indexterm" name="id3035294"></a><a class="indexterm" name="id3035310"></a><a class="indexterm" name="id3035316"></a><a class="indexterm" name="id3035322"></a><a class="indexterm" name="id3035329"></a><a class="indexterm" name="id3035335"></a><a class="indexterm" name="id3035341"></a><p>
 The MPAA is the American branch of the international Motion Picture
 Association. It was formed in 1922 as a trade association whose goal was to
 defend American movies against increasing domestic criticism.  The
@@ -4727,7 +4727,7 @@ animates this entire debate: <span class="emphasis"><em>Creative property owners
 accorded the same rights and protection resident in all other property
 owners in the nation</em></span>. That is the issue.  That is the
 question. And that is the rostrum on which this entire hearing and the
-debates to follow must rest.<sup>[<a name="id2730304" href="#ftn.id2730304" class="footnote">118</a>]</sup>
+debates to follow must rest.<sup>[<a name="id3035413" href="#ftn.id3035413" class="footnote">118</a>]</sup>
 </p></blockquote></div><p>
 
 The strategy of this rhetoric, like the strategy of most of Valenti's
@@ -4751,7 +4751,7 @@ tradition, at least in Washington.
 </p><p>
 While <span class="quote">«<span class="quote">creative property</span>»</span> is certainly <span class="quote">«<span class="quote">property</span>»</span>
 in a nerdy and precise sense that lawyers are trained to
-understand,<sup>[<a name="id2730373" href="#ftn.id2730373" class="footnote">119</a>]</sup> it has never been the case,
+understand,<sup>[<a name="id3035482" href="#ftn.id3035482" class="footnote">119</a>]</sup> it has never been the case,
 nor should it be, that <span class="quote">«<span class="quote">creative property owners</span>»</span> have been
 <span class="quote">«<span class="quote">accorded the same rights and protection resident in all other
 property owners.</span>»</span> Indeed, if creative property owners were given the
@@ -4868,8 +4868,8 @@ fact if the rules set in advance are violated. So if, for example, you
 willfully infringe Madonna's copyright by copying a song from her latest CD
 and posting it on the Web, you can be punished with a $150,000 fine. The
 fine is an ex post punishment for violating an ex ante rule. It is imposed
-by the state.  <a class="indexterm" name="id2730261"></a>
-</p><a class="indexterm" name="id2730651"></a><p>
+by the state.  <a class="indexterm" name="id3035370"></a>
+</p><a class="indexterm" name="id3035770"></a><p>
 Norms are a different kind of constraint. They, too, punish an individual
 for violating a rule. But the punishment of a norm is imposed by a
 community, not (or not only) by the state. There may be no law against
@@ -4878,7 +4878,7 @@ ground while standing in line at a movie. The punishment might not be harsh,
 though depending upon the community, it could easily be more harsh than many
 of the punishments imposed by the state. The mark of the difference is not
 the severity of the rule, but the source of the enforcement.
-</p><a class="indexterm" name="id2730672"></a><p>
+</p><a class="indexterm" name="id3035791"></a><p>
 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
 constraints are obviously not independent of law or norms&#8212;it is
@@ -4886,7 +4886,7 @@ property law that defines what must be bought if it is to be taken legally;
 it is norms that say what is appropriately sold. But given a set of norms,
 and a background of property and contract law, the market imposes a
 simultaneous constraint upon how an individual or group might behave.
-</p><a class="indexterm" name="id2730680"></a><p>
+</p><a class="indexterm" name="id3035799"></a><p>
 Finally, and for the moment, perhaps, most mysteriously,
 <span class="quote">«<span class="quote">architecture</span>»</span>&#8212;the physical world as one finds
 it&#8212;is a constraint on behavior.  A fallen bridge might constrain your
@@ -4915,7 +4915,7 @@ are other constraints (there may well be; my claim is not about
 comprehensiveness), these four are among the most significant, and any
 regulator (whether controlling or freeing)  must consider how these four in
 particular interact.
-</p><a class="indexterm" name="idxdrivespeed"></a><a class="indexterm" name="id2730753"></a><a class="indexterm" name="id2730759"></a><a class="indexterm" name="id2730766"></a><p>
+</p><a class="indexterm" name="idxdrivespeed"></a><a class="indexterm" name="id3035872"></a><a class="indexterm" name="id3035879"></a><a class="indexterm" name="id3035885"></a><p>
 So, for example, consider the <span class="quote">«<span class="quote">freedom</span>»</span> to drive a car at a
 high speed. That freedom is in part restricted by laws: speed limits that
 say how fast you can drive in particular places at particular times. It is
@@ -4931,7 +4931,7 @@ norm wouldn't be as effective in a different town, or at night.
 
 The final point about this simple model should also be fairly clear: While
 these four modalities are analytically independent, law has a special role
-in affecting the three.<sup>[<a name="id2730800" href="#ftn.id2730800" class="footnote">120</a>]</sup> The law, in
+in affecting the three.<sup>[<a name="id3035919" href="#ftn.id3035919" class="footnote">120</a>]</sup> The law, in
 other words, sometimes operates to increase or decrease the constraint of a
 particular modality.  Thus, the law might be used to increase taxes on
 gasoline, so as to increase the incentives to drive more slowly. The law
@@ -4941,12 +4941,12 @@ reckless driving. Or the law might be used to require that other laws be
 more strict&#8212;a federal requirement that states decrease the speed
 limit, for example&#8212;so as to decrease the attractiveness of fast
 driving.
-</p><a class="indexterm" name="id2730823"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figur 10.2. Law has a special role in affecting the three.</b></p><div class="figure-contents"><div><img src="images/1361.png" alt="Law has a special role in affecting the three."></div></div></div><br class="figure-break"><a class="indexterm" name="id2730859"></a><p>
+</p><a class="indexterm" name="id3035942"></a><div class="figure"><a name="fig-1361"></a><p class="title"><b>Figur 10.2. Law has a special role in affecting the three.</b></p><div class="figure-contents"><div><img src="images/1361.png" alt="Law has a special role in affecting the three."></div></div></div><br class="figure-break"><a class="indexterm" name="id3035978"></a><p>
 These constraints can thus change, and they can be changed. To understand
 the effective protection of liberty or protection of property at any
 particular moment, we must track these changes over time. A restriction
 imposed by one modality might be erased by another. A freedom enabled by one
-modality might be displaced by another.<sup>[<a name="id2730874" href="#ftn.id2730874" class="footnote">121</a>]</sup>
+modality might be displaced by another.<sup>[<a name="id3035993" href="#ftn.id3035993" class="footnote">121</a>]</sup>
 </p><div class="section" title="10.1. Hvorfor Hollywood har rett"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="hollywood"></a>10.1. Hvorfor Hollywood har rett</h2></div></div></div><p>
 The most obvious point that this model reveals is just why, or just how,
 Hollywood is right. The copyright warriors have rallied Congress and the
@@ -4954,7 +4954,7 @@ courts to defend copyright. This model helps us see why that rallying makes
 sense.
 </p><p>
 Let's say this is the picture of copyright's regulation before the Internet:
-</p><div class="figure"><a name="fig-1371"></a><p class="title"><b>Figur 10.3. Copyright's regulation before the Internet.</b></p><div class="figure-contents"><div><img src="images/1331.png" alt="Copyright's regulation before the Internet."></div></div></div><br class="figure-break"><a class="indexterm" name="id2730992"></a><a class="indexterm" name="id2730998"></a><p>
+</p><div class="figure"><a name="fig-1371"></a><p class="title"><b>Figur 10.3. Copyright's regulation before the Internet.</b></p><div class="figure-contents"><div><img src="images/1331.png" alt="Copyright's regulation before the Internet."></div></div></div><br class="figure-break"><a class="indexterm" name="id3036112"></a><a class="indexterm" name="id3036118"></a><p>
 
 
 There is balance between law, norms, market, and architecture. The law
@@ -4991,7 +4991,7 @@ effected, the White Paper argued (1) Congress should strengthen intellectual
 property law, (2) businesses should adopt innovative marketing techniques,
 (3) technologists should push to develop code to protect copyrighted
 material, and (4) educators should educate kids to better protect copyright.
-</p><a class="indexterm" name="id2731076"></a><p>
+</p><a class="indexterm" name="id3036195"></a><p>
 
 This mixed strategy is just what copyright needed&#8212;if it was to
 preserve the particular balance that existed before the change induced by
@@ -5012,14 +5012,14 @@ innovation. And I would be the last person to argue that the changing
 technology of the Internet has not had a profound effect on the content
 industry's way of doing business, or as John Seely Brown describes it, its
 <span class="quote">«<span class="quote">architecture of revenue.</span>»</span>
-</p><a class="indexterm" name="id2731121"></a><a class="indexterm" name="id2731126"></a><a class="indexterm" name="id2731132"></a><p>
+</p><a class="indexterm" name="id3036234"></a><a class="indexterm" name="id3036239"></a><a class="indexterm" name="id3036245"></a><p>
 But just because a particular interest asks for government support, it
 doesn't follow that support should be granted. And just because technology
 has weakened a particular way of doing business, it doesn't follow that the
 government should intervene to support that old way of doing
 business. Kodak, for example, has lost perhaps as much as 20 percent of
 their traditional film market to the emerging technologies of digital
-cameras.<sup>[<a name="id2731148" href="#ftn.id2731148" class="footnote">122</a>]</sup> Does anyone believe the
+cameras.<sup>[<a name="id3036261" href="#ftn.id3036261" class="footnote">122</a>]</sup> Does anyone believe the
 government should ban digital cameras just to support Kodak? Highways have
 weakened the freight business for railroads. Does anyone think we should ban
 trucks from roads <span class="emphasis"><em>for the purpose of</em></span> protecting the
@@ -5030,7 +5030,7 @@ 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?)
-</p><a class="indexterm" name="id2731196"></a><a class="indexterm" name="id2731203"></a><p>
+</p><a class="indexterm" name="id3036310"></a><a class="indexterm" name="id3036316"></a><p>
 The obvious answer to these obviously rhetorical questions is no.  In a free
 society, with a free market, supported by free enterprise and free trade,
 the government's role is not to support one way of doing business against
@@ -5038,7 +5038,7 @@ 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, <span class="quote">«<span class="quote">established companies have an interest in excluding future
-competitors.</span>»</span><sup>[<a name="id2731222" href="#ftn.id2731222" class="footnote">123</a>]</sup> And relative to a
+competitors.</span>»</span><sup>[<a name="id3036336" href="#ftn.id3036336" class="footnote">123</a>]</sup> 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
@@ -5074,7 +5074,7 @@ deal upon your values, we should first ask whether we understand the effect
 of the changes the content industry wants.
 </p><p>
 Her kommer metaforen som vil forklare argumentet.
-</p><a class="indexterm" name="idxddt"></a><a class="indexterm" name="id2731307"></a><p>
+</p><a class="indexterm" name="idxddt"></a><a class="indexterm" name="id3036420"></a><p>
 In 1873, the chemical DDT was first synthesized. In 1948, Swiss chemist Paul
 Hermann Müller won the Nobel Prize for his work demonstrating the
 insecticidal properties of DDT. By the 1950s, the insecticide was widely
@@ -5084,7 +5084,7 @@ increase farm production.
 No one doubts that killing disease-carrying pests or increasing crop
 production is a good thing. No one doubts that the work of Müller was
 important and valuable and probably saved lives, possibly millions.
-</p><a class="indexterm" name="id2731338"></a><a class="indexterm" name="id2731344"></a><p>
+</p><a class="indexterm" name="id3036451"></a><a class="indexterm" name="id3036457"></a><p>
 But in 1962, Rachel Carson published <em class="citetitle">Silent Spring</em>,
 which argued that DDT, whatever its primary benefits, was also having
 unintended environmental consequences. Birds were losing the ability to
@@ -5097,11 +5097,11 @@ were originally attacked. Or more accurately, the problems DDT caused were
 worse than the problems it solved, at least when considering the other, more
 environmentally friendly ways to solve the problems that DDT was meant to
 solve.
-</p><a class="indexterm" name="id2731376"></a><p>
+</p><a class="indexterm" name="id3036489"></a><p>
 
 It is to this image precisely that Duke University law professor James Boyle
 appeals when he argues that we need an <span class="quote">«<span class="quote">environmentalism</span>»</span> for
-culture.<sup>[<a name="id2731392" href="#ftn.id2731392" class="footnote">124</a>]</sup> His point, and the point I
+culture.<sup>[<a name="id3036505" href="#ftn.id3036505" class="footnote">124</a>]</sup> 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 <span class="quote">«<span class="quote">for free.</span>»</span> The point is that
@@ -5125,7 +5125,7 @@ for creativity.
 </p><p>
 In a line: To kill a gnat, we are spraying DDT with consequences for free
 culture that will be far more devastating than that this gnat will be lost.
-</p><a class="indexterm" name="id2731442"></a></div><div class="section" title="10.2. Opphav"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="beginnings"></a>10.2. Opphav</h2></div></div></div><p>
+</p><a class="indexterm" name="id3036555"></a></div><div class="section" title="10.2. Opphav"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="beginnings"></a>10.2. Opphav</h2></div></div></div><p>
 America copied English copyright law. Actually, we copied and improved
 English copyright law. Our Constitution makes the purpose of <span class="quote">«<span class="quote">creative
 property</span>»</span> rights clear; its express limitations reinforce the English
@@ -5189,7 +5189,7 @@ When the first Congress enacted laws to protect creative property, it faced
 the same uncertainty about the status of creative property that the English
 had confronted in 1774. Many states had passed laws protecting creative
 property, and some believed that these laws simply supplemented common law
-rights that already protected creative authorship.<sup>[<a name="id2731623" href="#ftn.id2731623" class="footnote">125</a>]</sup> This meant that there was no guaranteed public
+rights that already protected creative authorship.<sup>[<a name="id3036736" href="#ftn.id3036736" class="footnote">125</a>]</sup> This meant that there was no guaranteed public
 domain in the United States in 1790. If copyrights were protected by the
 common law, then there was no simple way to know whether a work published in
 the United States was controlled or free. Just as in England, this lingering
@@ -5214,7 +5214,7 @@ republikken, s
 opphavsrettsregimet.  Av alle verker skapt i USA både før 1790 og fra 1790
 fram til 1800, så ble 95 prosent øyeblikkelig allemannseie (public
 domain). Resten ble allemannseie etter maksimalt 20 år, og som oftest etter
-14 år.<sup>[<a name="id2731691" href="#ftn.id2731691" class="footnote">126</a>]</sup>
+14 år.<sup>[<a name="id3036804" href="#ftn.id3036804" class="footnote">126</a>]</sup>
 </p><p>
 
 Dette fornyelsessystemet var en avgjørende del av det amerikanske systemet
@@ -5226,11 +5226,11 @@ ikke verdt det for samfunnet 
 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
 them renewed their copyright after fourteen years; the balance allowed their
-work to pass into the public domain.<sup>[<a name="id2731758" href="#ftn.id2731758" class="footnote">127</a>]</sup>
-</p><a class="indexterm" name="id2731788"></a><a class="indexterm" name="id2731797"></a><p>
+work to pass into the public domain.<sup>[<a name="id3036872" href="#ftn.id3036872" class="footnote">127</a>]</sup>
+</p><a class="indexterm" name="id3036902"></a><a class="indexterm" name="id3036910"></a><p>
 Even today, this structure would make sense. Most creative work has an
 actual commercial life of just a couple of years. Most books fall out of
-print after one year.<sup>[<a name="id2731810" href="#ftn.id2731810" class="footnote">128</a>]</sup> When that
+print after one year.<sup>[<a name="id3036923" href="#ftn.id3036923" class="footnote">128</a>]</sup> When that
 happens, the used books are traded free of copyright regulation. Thus the
 books are no longer <span class="emphasis"><em>effectively</em></span> controlled by
 copyright. The only practical commercial use of the books at that time is to
@@ -5290,7 +5290,7 @@ dramatic. In 1973, more than 85 percent of copyright owners failed to renew
 their copyright. That meant that the average term of copyright in 1973 was
 just 32.2 years. Because of the elimination of the renewal requirement, the
 average term of copyright is now the maximum term.  In thirty years, then,
-the average term has tripled, from 32.2 years to 95 years.<sup>[<a name="id2731912" href="#ftn.id2731912" class="footnote">129</a>]</sup>
+the average term has tripled, from 32.2 years to 95 years.<sup>[<a name="id3037025" href="#ftn.id3037025" class="footnote">129</a>]</sup>
 </p></div><div class="section" title="10.4. Loven: Virkeområde"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="lawscope"></a>10.4. Loven: Virkeområde</h2></div></div></div><p>
 The <span class="quote">«<span class="quote">scope</span>»</span> of a copyright is the range of rights granted by
 the law.  The scope of American copyright has changed dramatically. Those
@@ -5360,7 +5360,7 @@ copyrighted that book, then the copyright law protected you against another
 publisher's taking your book and republishing it without your
 permission. The aim of the act was to regulate publishers so as to prevent
 that kind of unfair competition. In 1790, there were 174 publishers in the
-United States.<sup>[<a name="id2732064" href="#ftn.id2732064" class="footnote">130</a>]</sup> The Copyright Act was
+United States.<sup>[<a name="id3037178" href="#ftn.id3037178" class="footnote">130</a>]</sup> The Copyright Act was
 thus a tiny regulation of a tiny proportion of a tiny part of the creative
 market in the United States&#8212;publishers.
 </p><p>
@@ -5411,16 +5411,16 @@ computer. I understand the wrong in duplicating and selling someone else's
 work. But whatever <span class="emphasis"><em>that</em></span> wrong is, transforming someone
 else's work is a different wrong. Some view transformation as no wrong at
 all&#8212;they believe that our law, as the framers penned it, should not
-protect derivative rights at all.<sup>[<a name="id2732152" href="#ftn.id2732152" class="footnote">131</a>]</sup>
+protect derivative rights at all.<sup>[<a name="id3037274" href="#ftn.id3037274" class="footnote">131</a>]</sup>
 Whether or not you go that far, it seems plain that whatever wrong is
 involved is fundamentally different from the wrong of direct piracy.
 </p><p>
 Yet copyright law treats these two different wrongs in the same way. I can
 go to court and get an injunction against your pirating my book. I can go to
 court and get an injunction against your transformative use of my
-book.<sup>[<a name="id2732200" href="#ftn.id2732200" class="footnote">132</a>]</sup> These two different uses of my
+book.<sup>[<a name="id3037321" href="#ftn.id3037321" class="footnote">132</a>]</sup> These two different uses of my
 creative work are treated the same.
-</p><a class="indexterm" name="id2732231"></a><a class="indexterm" name="id2732237"></a><p>
+</p><a class="indexterm" name="id3037352"></a><a class="indexterm" name="id3037358"></a><p>
 This again may seem right to you. If I wrote a book, then why should you be
 able to write a movie that takes my story and makes money from it without
 paying me or crediting me? Or if Disney creates a creature called
@@ -5435,7 +5435,7 @@ originally granted.
 Whereas originally the law regulated only publishers, the change in
 copyright's scope means that the law today regulates publishers, users, and
 authors. It regulates them because all three are capable of making copies,
-and the core of the regulation of copyright law is copies.<sup>[<a name="id2732279" href="#ftn.id2732279" class="footnote">133</a>]</sup>
+and the core of the regulation of copyright law is copies.<sup>[<a name="id3037400" href="#ftn.id3037400" class="footnote">133</a>]</sup>
 </p><p>
 
 
@@ -5453,14 +5453,14 @@ be the trigger for copyright law. More precisely, they should not
 This is perhaps the central claim of this book, so let me take this very
 slowly so that the point is not easily missed. My claim is that the Internet
 should at least force us to rethink the conditions under which the law of
-copyright automatically applies,<sup>[<a name="id2732357" href="#ftn.id2732357" class="footnote">134</a>]</sup>
+copyright automatically applies,<sup>[<a name="id3037478" href="#ftn.id3037478" class="footnote">134</a>]</sup>
 because it is clear that the current reach of copyright was never
 contemplated, much less chosen, by the legislators who enacted copyright
 law.
 </p><p>
 We can see this point abstractly by beginning with this largely empty
 circle.
-</p><div class="figure"><a name="fig-1521"></a><p class="title"><b>Figur 10.7. Alle potensielle bruk av en bok.</b></p><div class="figure-contents"><div><img src="images/1521.png" alt="Alle potensielle bruk av en bok."></div></div></div><br class="figure-break"><a class="indexterm" name="idxbooksusetypes"></a><p>
+</p><div class="figure"><a name="fig-1521"></a><p class="title"><b>Figur 10.7. Alle potensielle bruk av en bok.</b></p><div class="figure-contents"><div><img src="images/1521.png" alt="Alle potensielle bruk av en bok."></div></div></div><br class="figure-break"><a class="indexterm" name="idxbooksthreetypesofusesof"></a><a class="indexterm" name="idxcopyrightlawcopiesascoreissueof2"></a><a class="indexterm" name="idxinternetcopyrightapplicabilityalteredbytechnologyof"></a><a class="indexterm" name="idxtechnologycopyrightintentalteredby"></a><a class="indexterm" name="idxderivativeworkspiracyvs4"></a><a class="indexterm" name="idxpiracyderivativeworkvs4"></a><p>
 
 
 Think about a book in real space, and imagine this circle to represent all
@@ -5480,7 +5480,7 @@ therefore regulated by copyright law. Indeed, this particular use stands at
 the core of this circle of possible uses of a copyrighted work. It is the
 paradigmatic use properly regulated by copyright regulation (see first
 diagram on next page).
-</p><p>
+</p><a class="indexterm" name="id3037639"></a><a class="indexterm" name="id3037647"></a><p>
 Til slutt er det en tynn skive av ellers regulert kopierings-bruk som
 forblir uregluert på grunn av at loven anser dette som <span class="quote">«<span class="quote">rimelig
 bruk</span>»</span>.
@@ -5502,9 +5502,9 @@ In real space, then, the possible uses of a book are divided into three
 sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that
 are nonetheless deemed <span class="quote">«<span class="quote">fair</span>»</span> regardless of the copyright
 owner's views.
-</p><a class="indexterm" name="id2732540"></a><a class="indexterm" name="id2732548"></a><p>
+</p><a class="indexterm" name="id3037746"></a><a class="indexterm" name="id3037754"></a><p>
 Enter the Internet&#8212;a distributed, digital network where every use of a
-copyrighted work produces a copy.<sup>[<a name="id2732288" href="#ftn.id2732288" class="footnote">135</a>]</sup> And
+copyrighted work produces a copy.<sup>[<a name="id3037409" href="#ftn.id3037409" class="footnote">135</a>]</sup> And
 because of this single, arbitrary feature of the design of a digital
 network, the scope of category 1 changes dramatically. Uses that before were
 presumptively unregulated are now presumptively regulated. No longer is
@@ -5524,7 +5524,7 @@ nothing to say about whether you read the book once, ten times, or every
 night before you went to bed. None of those instances of
 use&#8212;reading&#8212; could be regulated by copyright law because none of
 those uses produced a copy.
-</p><a class="indexterm" name="id2732598"></a><p>
+</p><a class="indexterm" name="id3037804"></a><a class="indexterm" name="idxderivativeworkstechnologicaldevelopmentsand"></a><p>
 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
 only once a month, then <span class="emphasis"><em>copyright law</em></span> would aid the
@@ -5546,7 +5546,7 @@ unregulated uses of copyrighted works. There is no evidence at all that
 policy makers had this idea in mind when they allowed our policy here to
 shift. Unregulated uses were an important part of free culture before the
 Internet.
-</p><p>
+</p><a class="indexterm" name="idxcopyrightlawonrepublishingvstransformationoforiginalwork3"></a><p>
 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
@@ -5567,7 +5567,7 @@ 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.
-</p><p>
+</p><a class="indexterm" name="id3037930"></a><a class="indexterm" name="id3037940"></a><a class="indexterm" name="id3037951"></a><a class="indexterm" name="id3037961"></a><a class="indexterm" name="id3037971"></a><p>
 This point about fair use is totally ignored, even by advocates for free
 culture. We have been cornered into arguing that our rights depend upon fair
 use&#8212;never even addressing the earlier question about the expansion in
@@ -5581,7 +5581,7 @@ business of making <span class="quote">
 available to video stores. The video stores displayed the trailers as a way
 to sell videos. Video Pipeline got the trailers from the film distributors,
 put the trailers on tape, and sold the tapes to the retail stores.
-</p><a class="indexterm" name="id2732725"></a><p>
+</p><a class="indexterm" name="id3038019"></a><p>
 The company did this for about fifteen years. Then, in 1997, it began to
 think about the Internet as another way to distribute these previews.  The
 idea was to expand their <span class="quote">«<span class="quote">selling by sampling</span>»</span> technique by
@@ -5619,7 +5619,7 @@ court was that the stores were allowed to sell the films and they were
 permitted to list the titles of the films they were selling, but they were
 not allowed to show clips of the films as a way of selling them without
 Disney's permission.
-</p><a class="indexterm" name="id2732796"></a><p>
+</p><a class="indexterm" name="id3038091"></a><p>
 Now, you might think this is a close case, and I think the courts would
 consider it a close case. My point here is to map the change that gives
 Disney this power. Before the Internet, Disney couldn't really control how
@@ -5631,7 +5631,7 @@ 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.
-</p><a class="indexterm" name="id2732824"></a><a class="indexterm" name="id2732830"></a><p>
+</p><a class="indexterm" name="id3038118"></a><a class="indexterm" name="id3038125"></a><p>
 
 
 No doubt, a potential is not yet an abuse, and so the potential for control
@@ -5664,16 +5664,16 @@ controlled whether and how someone was regulated by copyright law.  The law,
 meaning a court, meaning a judge: In the end, it was a human, trained in the
 tradition of the law and cognizant of the balances that tradition embraced,
 who said whether and how the law would restrict your freedom.
-</p><a class="indexterm" name="id2732929"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
+</p><a class="indexterm" name="id3038217"></a><a class="indexterm" name="idxmarxbrothers"></a><a class="indexterm" name="idxwarnerbrothers"></a><p>
 Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx
 Brothers) og Warner Brothers.  Marx-brødrene planla å lage en parodi av
 <em class="citetitle">Casablanca</em>. Warner Brothers protesterte.  De skrev et
 ufint brev til Marx-brødrene og advarte dem om at det ville få seriøse
-juridiske konsekvenser hvis de gikk videre med sin plan.<sup>[<a name="id2732972" href="#ftn.id2732972" class="footnote">136</a>]</sup>
+juridiske konsekvenser hvis de gikk videre med sin plan.<sup>[<a name="id3038260" href="#ftn.id3038260" class="footnote">136</a>]</sup>
 </p><p>
 Dette fikk Marx-brødrene til å svare tilbake med samme mynt.  De advarte
 Warner Brothers om at Marx-brødrene <span class="quote">«<span class="quote">var brødre lenge før dere var
-det</span>»</span>.<sup>[<a name="id2732999" href="#ftn.id2732999" class="footnote">137</a>]</sup> Marx-brødrene eide derfor
+det</span>»</span>.<sup>[<a name="id3038287" href="#ftn.id3038287" class="footnote">137</a>]</sup> Marx-brødrene eide derfor
 ordet <em class="citetitle">Brothers</em>, og hvis Warner Brothers insisterte på
 å forsøke å kontrollere <em class="citetitle">Casablanca</em>, så ville
 Marx-brødrene insistere på kontroll over <em class="citetitle">Brothers</em>.
@@ -5690,7 +5690,7 @@ owner, get built into the technology that delivers copyrighted content. It
 is code, rather than law, that rules. And the problem with code regulations
 is that, unlike law, code has no shame. Code would not get the humor of the
 Marx Brothers. The consequence of that is not at all funny.
-</p><a class="indexterm" name="id2733070"></a><a class="indexterm" name="id2733078"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
+</p><a class="indexterm" name="id3038357"></a><a class="indexterm" name="id3038365"></a><a class="indexterm" name="idxadobeebookreader"></a><p>
 La oss se på livet til min Adobe eBook Reader.
 </p><p>
 En ebok er en bok levert i elektronisk form.  En Adobe eBook er ikke en bok
@@ -5721,13 +5721,13 @@ text to the clipboard.)  I also have the permission to print ten pages from
 the book every ten days. Lastly, I have the permission to use the Read Aloud
 button to hear <em class="citetitle">Middlemarch</em> read aloud through the
 computer.
-</p><a class="indexterm" name="id2733193"></a><a class="indexterm" name="id2733199"></a><p>
+</p><a class="indexterm" name="id3038481"></a><a class="indexterm" name="id3038487"></a><p>
 Her er e-boken for et annet allemannseid verk (inkludert oversettelsen):
 Aristoteles <em class="citetitle">Politikk</em>.
 </p><div class="figure"><a name="fig-1621"></a><p class="title"><b>Figur 10.14. E-bok av Aristoteles <span class="quote">«<span class="quote">Politikk</span>»</span></b></p><div class="figure-contents"><div><img src="images/1621.png" alt="E-bok av Aristoteles Politikk"></div></div></div><br class="figure-break"><p>
 According to its permissions, no printing or copying is permitted at
 all. But fortunately, you can use the Read Aloud button to hear the book.
-</p><div class="figure"><a name="fig-1622"></a><p class="title"><b>Figur 10.15. Liste med tillatelser for Aristotles "Politikk".</b></p><div class="figure-contents"><div><img src="images/1622.png" alt='Liste med tillatelser for Aristotles "Politikk".'></div></div></div><br class="figure-break"><p>
+</p><div class="figure"><a name="fig-1622"></a><p class="title"><b>Figur 10.15. Liste med tillatelser for Aristotles "Politikk".</b></p><div class="figure-contents"><div><img src="images/1622.png" alt='Liste med tillatelser for Aristotles "Politikk".'></div></div></div><br class="figure-break"><a class="indexterm" name="id3038540"></a><a class="indexterm" name="id3038547"></a><p>
 Finally (and most embarrassingly), here are the permissions for the original
 e-book version of my last book, <em class="citetitle">The Future of Ideas</em>:
 </p><div class="figure"><a name="fig-1631"></a><p class="title"><b>Figur 10.16. Liste med tillatelser for <span class="quote">«<span class="quote">The Future of Ideas</span>»</span>.</b></p><div class="figure-contents"><div><img src="images/1631.png" alt="Liste med tillatelser for The Future of Ideas."></div></div></div><br class="figure-break"><p>
@@ -5739,7 +5739,7 @@ Now, the Adobe eBook Reader calls these controls
 control how you use these works.  For works under copyright, the copyright
 owner certainly does have the power&#8212;up to the limits of the copyright
 law. But for work not under copyright, there is no such copyright
-power.<sup>[<a name="id2733291" href="#ftn.id2733291" class="footnote">138</a>]</sup> When my e-book of
+power.<sup>[<a name="id3038591" href="#ftn.id3038591" class="footnote">138</a>]</sup> When my e-book of
 <em class="citetitle">Middlemarch</em> says I have the permission to copy only
 ten text selections into the memory every ten days, what that really means
 is that the eBook Reader has enabled the publisher to control how I use the
@@ -5759,7 +5759,7 @@ same with the silly restriction that says that you can't use the Read Aloud
 button to read my book aloud&#8212;it's not that the company will sue you if
 you do; instead, if you push the Read Aloud button with my book, the machine
 simply won't read aloud.
-</p><a class="indexterm" name="id2733336"></a><p>
+</p><a class="indexterm" name="id3038637"></a><a class="indexterm" name="id3038643"></a><p>
 
 
 These are <span class="emphasis"><em>controls</em></span>, not permissions. Imagine a world
@@ -5781,9 +5781,9 @@ limited the ability of users to copy the software, but those were trivial
 protections to defeat. Why won't it be trivial to defeat these protections
 as well?
 </p><p>
-We've only scratched the surface of this story. Return to the Adobe eBook
-Reader.
-</p><a class="indexterm" name="id2733403"></a><p>
+Vi har kun såvidt berørt overflaten til denne historien. La oss gå tilbake
+til Adobe eBook reader.
+</p><a class="indexterm" name="idxalicesadventuresinwonderlandcarroll"></a><a class="indexterm" name="idxpublicdomainebookrestrictionson2"></a><p>
 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
 Adobe site was a copy of <em class="citetitle">Alice's Adventures in
@@ -5812,13 +5812,13 @@ disable the technological protection built into an Adobe eBook so that a
 blind person, say, could use a computer to read the book aloud, would Adobe
 agree that such a use of an eBook Reader was fair? Adobe didn't answer
 because the answer, however absurd it might seem, is no.
-</p><p>
+</p><a class="indexterm" name="id3038810"></a><a class="indexterm" name="id3038820"></a><p>
 The point is not to blame Adobe. Indeed, Adobe is among the most innovative
 companies developing strategies to balance open access to content with
 incentives for companies to innovate. But Adobe's technology enables
 control, and Adobe has an incentive to defend this control.  That incentive
 is understandable, yet what it creates is often crazy.
-</p><a class="indexterm" name="id2733489"></a><a class="indexterm" name="id2733497"></a><p>
+</p><a class="indexterm" name="id3038839"></a><a class="indexterm" name="id3038847"></a><p>
 To see the point in a particularly absurd context, consider a favorite story
 of mine that makes the same point.
 </p><a class="indexterm" name="idxaibo1"></a><a class="indexterm" name="idxroboticdog1"></a><a class="indexterm" name="idxsonyaibo1"></a><p>
@@ -5840,7 +5840,7 @@ 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
 <span class="quote">«<span class="quote">dog</span>»</span> to make it do new tricks (thus, aibohack.com).
-</p><a class="indexterm" name="id2733582"></a><p>
+</p><a class="indexterm" name="id3038932"></a><p>
 If you're not a programmer or don't know many programmers, the word
 <em class="citetitle">hack</em> has a particularly unfriendly
 connotation. Nonprogrammers hack bushes or weeds. Nonprogrammers in horror
@@ -5864,7 +5864,7 @@ offered to the world a bit of code that would enable the Aibo to dance
 jazz. The dog wasn't programmed to dance jazz. It was a clever bit of
 tinkering that turned the dog into a more talented creature than Sony had
 built.
-</p><a class="indexterm" name="id2733632"></a><a class="indexterm" name="id2733641"></a><a class="indexterm" name="id2733649"></a><p>
+</p><a class="indexterm" name="id3038982"></a><a class="indexterm" name="id3038990"></a><a class="indexterm" name="id3038998"></a><p>
 
 I've told this story in many contexts, both inside and outside the United
 States. Once I was asked by a puzzled member of the audience, is it
@@ -5876,7 +5876,7 @@ be a crime (though we don't have a lot to go on here) to teach your robot
 dog to dance jazz. Dancing jazz is a completely legal activity. One imagines
 that the owner of aibopet.com thought, <span class="emphasis"><em>What possible problem could
 there be with teaching a robot dog to dance?</em></span>
-</p><a class="indexterm" name="id2733677"></a><p>
+</p><a class="indexterm" name="id3039027"></a><p>
 Let's put the dog to sleep for a minute, and turn to a pony show&#8212; not
 literally a pony show, but rather a paper that a Princeton academic named Ed
 Felten prepared for a conference. This Princeton academic is well known and
@@ -5887,7 +5887,7 @@ coolness. Under heavy badgering by Microsoft lawyers, Ed Felten stood his
 ground. He was not about to be bullied into being silent about something he
 knew very well.
 </p><p>
-But Felten's bravery was really tested in April 2001.<sup>[<a name="id2733702" href="#ftn.id2733702" class="footnote">139</a>]</sup> He and a group of colleagues were working on a
+But Felten's bravery was really tested in April 2001.<sup>[<a name="id3039052" href="#ftn.id3039052" class="footnote">139</a>]</sup> He and a group of colleagues were working on a
 paper to be submitted at conference.  The paper was intended to describe the
 weakness in an encryption system being developed by the Secure Digital Music
 Initiative as a technique to control the distribution of music.
@@ -5932,7 +5932,7 @@ hack. Though a jazz-dancing dog is perfectly legal, Sony wrote:
 Your site contains information providing the means to circumvent AIBO-ware's
 copy protection protocol constituting a violation of the anti-circumvention
 provisions of the Digital Millennium Copyright Act.
-</p></blockquote></div><a class="indexterm" name="id2733879"></a><a class="indexterm" name="id2733887"></a><a class="indexterm" name="id2733895"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3039227"></a><a class="indexterm" name="id3039235"></a><a class="indexterm" name="id3039243"></a><p>
 And though an academic paper describing the weakness in a system of
 encryption should also be perfectly legal, Felten received a letter from an
 RIAA lawyer that read:
@@ -5968,7 +5968,7 @@ the line that copyright law drew. The DMCA regulated devices that were
 designed to circumvent copyright protection measures. It was designed to ban
 those devices, whether or not the use of the copyrighted material made
 possible by that circumvention would have been a copyright violation.
-</p><a class="indexterm" name="id2733976"></a><a class="indexterm" name="id2733982"></a><a class="indexterm" name="id2733988"></a><p>
+</p><a class="indexterm" name="id3039332"></a><a class="indexterm" name="id3039338"></a><a class="indexterm" name="id3039344"></a><p>
 
 Aibopet.com and Felten make the point. The Aibo hack circumvented a
 copyright protection system for the purpose of enabling the dog to dance
@@ -5986,7 +5986,7 @@ system could be circumvented, the RIAA lawyer suggested, Felten himself was
 distributing a circumvention technology.  Thus, even though he was not
 himself infringing anyone's copyright, his academic paper was enabling
 others to infringe others' copyright.
-</p><a class="indexterm" name="id2734023"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
+</p><a class="indexterm" name="id3039378"></a><a class="indexterm" name="idxcassettevcrs2"></a><p>
 The bizarreness of these arguments is captured in a cartoon drawn in 1981 by
 Paul Conrad. At that time, a court in California had held that the VCR could
 be banned because it was a copyright-infringing technology: It enabled
@@ -5994,7 +5994,7 @@ 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
 <span class="quote">«<span class="quote"><em class="citetitle">Mr. Rogers</em>,</span>»</span> for example, had testified
 in that case that he wanted people to feel free to tape Mr. Rogers'
-Neighborhood.  <a class="indexterm" name="id2734057"></a>
+Neighborhood.  <a class="indexterm" name="id3039413"></a>
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Some public stations, as well as commercial stations, program the
 <span class="quote">«<span class="quote">Neighborhood</span>»</span> at hours when some children cannot use it. I
@@ -6009,7 +6009,7 @@ whole approach in broadcasting has always been <span class="quote">
 person just the way you are. You can make healthy decisions.</span>»</span> Maybe
 I'm going on too long, but I just feel that anything that allows a person to
 be more active in the control of his or her life, in a healthy way, is
-important.<sup>[<a name="id2734097" href="#ftn.id2734097" class="footnote">140</a>]</sup>
+important.<sup>[<a name="id3039454" href="#ftn.id3039454" class="footnote">140</a>]</sup>
 </p></blockquote></div><p>
 
 
@@ -6018,7 +6018,7 @@ that were illegal, the court held the companies producing the VCR
 responsible.
 </p><p>
 This led Conrad to draw the cartoon below, which we can adopt to the DMCA.
-<a class="indexterm" name="id2734146"></a>
+<a class="indexterm" name="id3039508"></a>
 </p><p>
 No argument I have can top this picture, but let me try to get close.
 </p><p>
@@ -6034,14 +6034,14 @@ 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
 protect against an intruder. At least some would say that such a use would
 be good. It, too, is a technology that has both good and bad uses.
-</p><div class="figure"><a name="fig-1711-vcr-handgun-cartoonfig"></a><p class="title"><b>Figur 10.18. VCR/handgun cartoon.</b></p><div class="figure-contents"><div><img src="images/1711.png" alt="VCR/handgun cartoon."></div></div></div><br class="figure-break"><a class="indexterm" name="id2734204"></a><p>
+</p><div class="figure"><a name="fig-1711-vcr-handgun-cartoonfig"></a><p class="title"><b>Figur 10.18. VCR/handgun cartoon.</b></p><div class="figure-contents"><div><img src="images/1711.png" alt="VCR/handgun cartoon."></div></div></div><br class="figure-break"><a class="indexterm" name="id3039571"></a><p>
 The obvious point of Conrad's cartoon is the weirdness of a world where guns
 are legal, despite the harm they can do, while VCRs (and circumvention
 technologies) are illegal. Flash: <span class="emphasis"><em>No one ever died from copyright
 circumvention</em></span>. Yet the law bans circumvention technologies
 absolutely, despite the potential that they might do some good, but permits
 guns, despite the obvious and tragic harm they do.
-</p><a class="indexterm" name="id2734224"></a><a class="indexterm" name="id2734232"></a><a class="indexterm" name="id2734240"></a><a class="indexterm" name="id2734247"></a><a class="indexterm" name="id2734253"></a><p>
+</p><a class="indexterm" name="id3039591"></a><a class="indexterm" name="id3039602"></a><a class="indexterm" name="id3039613"></a><a class="indexterm" name="id3039619"></a><a class="indexterm" name="id3039626"></a><p>
 The Aibo and RIAA examples demonstrate how copyright owners are changing the
 balance that copyright law grants. Using code, copyright owners restrict
 fair use; using the DMCA, they punish those who would attempt to evade the
@@ -6075,14 +6075,14 @@ For example, imagine you were part of a <em class="citetitle">Star Trek</em> fan
 club. You gathered every month to share trivia, and maybe to enact a kind of
 fan fiction about the show. One person would play Spock, another, Captain
 Kirk. The characters would begin with a plot from a real story, then simply
-continue it.<sup>[<a name="id2734314" href="#ftn.id2734314" class="footnote">141</a>]</sup>
+continue it.<sup>[<a name="id3039689" href="#ftn.id3039689" class="footnote">141</a>]</sup>
 </p><p>
 Before the Internet, this was, in effect, a totally unregulated activity.
 No matter what happened inside your club room, you would never be interfered
 with by the copyright police. You were free in that space to do as you
 wished with this part of our culture. You were allowed to build on it as you
 wished without fear of legal control.
-</p><a class="indexterm" name="id2734341"></a><p>
+</p><a class="indexterm" name="id3039718"></a><p>
 But if you moved your club onto the Internet, and made it generally
 available for others to join, the story would be very different. Bots
 scouring the Net for trademark and copyright infringement would quickly find
@@ -6130,15 +6130,15 @@ most expect that within a few years, we will live in a world where just
 three companies control more than percent of the media.
 </p><p>
 Det er her to sorter endringer: omfanget av konsentrasjon, og dens natur.
-</p><a class="indexterm" name="id2734433"></a><a class="indexterm" name="id2734438"></a><a class="indexterm" name="id2734445"></a><a class="indexterm" name="id2734451"></a><a class="indexterm" name="id2734457"></a><a class="indexterm" name="id2734464"></a><p>
+</p><a class="indexterm" name="id3039806"></a><a class="indexterm" name="id3039812"></a><a class="indexterm" name="id3039819"></a><a class="indexterm" name="id3039825"></a><a class="indexterm" name="id3039832"></a><a class="indexterm" name="id3039839"></a><p>
 Changes in scope are the easier ones to describe. As Senator John McCain
 summarized the data produced in the FCC's review of media ownership,
 <span class="quote">«<span class="quote">five companies control 85 percent of our media
-sources.</span>»</span><sup>[<a name="id2734478" href="#ftn.id2734478" class="footnote">142</a>]</sup> The five recording
+sources.</span>»</span><sup>[<a name="id3039854" href="#ftn.id3039854" class="footnote">142</a>]</sup> 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.<sup>[<a name="id2734490" href="#ftn.id2734490" class="footnote">143</a>]</sup> The <span class="quote">«<span class="quote">five largest cable companies pipe
+Group, and EMI control 84.8 percent of the U.S. music market.<sup>[<a name="id3039867" href="#ftn.id3039867" class="footnote">143</a>]</sup> The <span class="quote">«<span class="quote">five largest cable companies pipe
 programming to 74 percent of the cable subscribers
-nationwide.</span>»</span><sup>[<a name="id2734508" href="#ftn.id2734508" class="footnote">144</a>]</sup>
+nationwide.</span>»</span><sup>[<a name="id3039886" href="#ftn.id3039886" class="footnote">144</a>]</sup>
 </p><p>
 
 The story with radio is even more dramatic. Before deregulation, the
@@ -6149,7 +6149,7 @@ 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.
-</p><a class="indexterm" name="id2734539"></a><p>
+</p><a class="indexterm" name="id3039921"></a><p>
 Newspaper ownership is becoming more concentrated as well.  Today, there are
 six hundred fewer daily newspapers in the United States than there were
 eighty years ago, and ten companies control half of the nation's
@@ -6162,7 +6162,7 @@ market.
 </p><p>
 Concentration in size alone is one thing. The more invidious change is in
 the nature of that concentration. As author James Fallows put it in a recent
-article about Rupert Murdoch, <a class="indexterm" name="id2734553"></a>
+article about Rupert Murdoch, <a class="indexterm" name="id3039935"></a>
 </p><div class="blockquote"><blockquote class="blockquote"><p>
 Murdoch's companies now constitute a production system unmatched in its
 integration. They supply content&#8212;Fox movies &#8230; Fox TV shows
@@ -6172,7 +6172,7 @@ 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.<sup>[<a name="id2734577" href="#ftn.id2734577" class="footnote">145</a>]</sup>
+system will serve the same function in the United States.<sup>[<a name="id3039960" href="#ftn.id3039960" class="footnote">145</a>]</sup>
 </p></blockquote></div><p>
 The pattern with Murdoch is the pattern of modern media. Not just large
 companies owning many radio stations, but a few companies owning as many
@@ -6192,7 +6192,7 @@ begynt 
 </p><p>
 Her er en representativ historie som kan foreslå hvorfor denne integreringen
 er viktig.
-</p><a class="indexterm" name="id2734661"></a><a class="indexterm" name="id2734668"></a><a class="indexterm" name="id2734674"></a><p>
+</p><a class="indexterm" name="id3040049"></a><a class="indexterm" name="id3040056"></a><a class="indexterm" name="id3040062"></a><p>
 I 1969 laget Norman Lear en polit for <em class="citetitle">All in the
 Family</em>.  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
@@ -6203,7 +6203,7 @@ ikke mer.
 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.<sup>[<a name="id2734706" href="#ftn.id2734706" class="footnote">146</a>]</sup>
+nettverk-kontroll.<sup>[<a name="id3040096" href="#ftn.id3040096" class="footnote">146</a>]</sup>
 </p><p>
 
 
@@ -6223,18 +6223,18 @@ 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.</span>»</span> <span class="quote">«<span class="quote">In 1992, 16 new series were
 produced independently of conglomerate control, last year there was
-one.</span>»</span><sup>[<a name="id2734769" href="#ftn.id2734769" class="footnote">147</a>]</sup> In 2002, 75 percent of
+one.</span>»</span><sup>[<a name="id3040162" href="#ftn.id3040162" class="footnote">147</a>]</sup> In 2002, 75 percent of
 prime time television was owned by the networks that ran it. <span class="quote">«<span class="quote">In the
 ten-year period between 1992 and 2002, the number of prime time television
 hours per week produced by network studios increased over 200%, whereas the
 number of prime time television hours per week produced by independent
-studios decreased 63%.</span>»</span><sup>[<a name="id2734796" href="#ftn.id2734796" class="footnote">148</a>]</sup>
-</p><a class="indexterm" name="id2734804"></a><p>
+studios decreased 63%.</span>»</span><sup>[<a name="id3040190" href="#ftn.id3040190" class="footnote">148</a>]</sup>
+</p><a class="indexterm" name="id3040198"></a><p>
 Today, another Norman Lear with another <em class="citetitle">All in the
 Family</em> would find that he had the choice either to make the show
 less edgy or to be fired: The content of any show developed for a network is
 increasingly owned by the network.
-</p><a class="indexterm" name="id2734820"></a><a class="indexterm" name="id2734826"></a><p>
+</p><a class="indexterm" name="id3040216"></a><a class="indexterm" name="id3040222"></a><p>
 Mens antall kanaler har økt dramatisk, har eierskapet til disse kanalene
 snevret inn fra få til stadig færre.  Som Barry Diller sa til Bill Moyers,
 </p><div class="blockquote"><blockquote class="blockquote"><p>
@@ -6243,7 +6243,7 @@ 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.<sup>[<a name="id2734852" href="#ftn.id2734852" class="footnote">149</a>]</sup>
+you have less than a handful.<sup>[<a name="id3040249" href="#ftn.id3040249" class="footnote">149</a>]</sup>
 </p></blockquote></div><p>
 This narrowing has an effect on what is produced. The product of such large
 and concentrated networks is increasingly homogenous.  Increasingly
@@ -6254,16 +6254,16 @@ feel a bit like the communist party. No one can question without risk of
 consequence&#8212;not necessarily banishment to Siberia, but punishment
 nonetheless. Independent, critical, different views are quashed. This is not
 the environment for a democracy.
-</p><a class="indexterm" name="id2734879"></a><p>
+</p><a class="indexterm" name="id3040278"></a><p>
 Economics itself offers a parallel that explains why this integration
 affects creativity. Clay Christensen has written about the
 <span class="quote">«<span class="quote">Innovator's Dilemma</span>»</span>: the fact that large traditional firms
 find it rational to ignore new, breakthrough technologies that compete with
 their core business.  The same analysis could help explain why large,
 traditional media companies would find it rational to ignore new cultural
-trends.<sup>[<a name="id2734910" href="#ftn.id2734910" class="footnote">150</a>]</sup> Lumbering giants not only
+trends.<sup>[<a name="id3040309" href="#ftn.id3040309" class="footnote">150</a>]</sup> Lumbering giants not only
 don't, but should not, sprint. Yet if the field is only open to the giants,
-there will be far too little sprinting.  <a class="indexterm" name="id2734942"></a>
+there will be far too little sprinting.  <a class="indexterm" name="id3040344"></a>
 </p><p>
 I don't think we know enough about the economics of the media market to say
 with certainty what concentration and integration will do. The efficiencies
@@ -6327,7 +6327,7 @@ 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.<sup>[<a name="id2735070" href="#ftn.id2735070" class="footnote">151</a>]</sup>
+defend the rights of the stations to be this biased.<sup>[<a name="id3040467" href="#ftn.id3040467" class="footnote">151</a>]</sup>
 </p><p>
 I'd be happy to defend the networks' rights, as well&#8212;if we lived in a
 media market that was truly diverse. But concentration in the media throws
@@ -6337,7 +6337,7 @@ 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.
-</p><a class="indexterm" name="id2734976"></a></div><div class="section" title="10.8. Sammen"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="together"></a>10.8. Sammen</h2></div></div></div><p>
+</p><a class="indexterm" name="id3040378"></a></div><div class="section" title="10.8. Sammen"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="together"></a>10.8. Sammen</h2></div></div></div><p>
 There is something innocent and obvious about the claim of the copyright
 warriors that the government should <span class="quote">«<span class="quote">protect my property.</span>»</span> In
 the abstract, it is obviously true and, ordinarily, totally harmless. No
@@ -6400,7 +6400,7 @@ part of the creative energy of a nation at the founding&#8212;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.<sup>[<a name="id2735324" href="#ftn.id2735324" class="footnote">152</a>]</sup>
+known.<sup>[<a name="id3040726" href="#ftn.id3040726" class="footnote">152</a>]</sup>
 </p><p>
 <span class="strong"><strong>This has been</strong></span> a long chapter. Its point
 can now be briefly stated.
@@ -6462,7 +6462,7 @@ The issue is therefore not simply whether copyright is property. Of course
 copyright is a kind of <span class="quote">«<span class="quote">property,</span>»</span> and of course, as with any
 property, the state ought to protect it. But first impressions
 notwithstanding, historically, this property right (as with all property
-rights<sup>[<a name="id2735685" href="#ftn.id2735685" class="footnote">153</a>]</sup>)  has been crafted to balance
+rights<sup>[<a name="id3041107" href="#ftn.id3041107" class="footnote">153</a>]</sup>)  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
@@ -6470,7 +6470,7 @@ tradition, the <span class="quote">
 all</em></span> 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.
-</p><a class="indexterm" name="id2735728"></a><p>
+</p><a class="indexterm" name="id3041150"></a><p>
 
 We achieved that free culture because our law respected important limits on
 the scope of the interests protected by <span class="quote">«<span class="quote">property.</span>»</span> The very
@@ -6497,7 +6497,7 @@ 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.
-</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2730304" href="#id2730304" class="para">118</a>] </sup>
+</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3035413" href="#id3035413" class="para">118</a>] </sup>
 
 
 Home Recording of Copyrighted Works: Hearings on H.R. 4783, H.R.  4794,
@@ -6505,7 +6505,7 @@ H.R. 4808, H.R. 5250, H.R. 5488, and H.R. 5705 Before the Subcommittee on
 Courts, Civil Liberties, and the Administration of Justice of the Committee
 on the Judiciary of the House of Representatives, 97th Cong., 2nd
 sess. (1982): 65 (testimony of Jack Valenti).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2730373" href="#id2730373" class="para">119</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3035482" href="#id3035482" class="para">119</a>] </sup>
 
 
 Lawyers speak of <span class="quote">«<span class="quote">property</span>»</span> not as an absolute thing, but as a
@@ -6516,7 +6516,7 @@ best effort to connect the ordinary meaning of <span class="quote">
 <span class="quote">«<span class="quote">lawyer talk,</span>»</span> see Bruce Ackerman, <em class="citetitle">Private Property
 and the Constitution</em> (New Haven: Yale University Press, 1977),
 26&#8211;27.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2730800" href="#id2730800" class="para">120</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3035919" href="#id3035919" class="para">120</a>] </sup>
 
 
 By describing the way law affects the other three modalities, I don't mean
@@ -6527,7 +6527,7 @@ more timidly expressed.  See Lawrence Lessig, <em class="citetitle">Code: And Ot
 Laws of Cyberspace</em> (New York: Basic Books, 1999): 90&#8211;95;
 Lawrence Lessig, <span class="quote">«<span class="quote">The New Chicago School,</span>»</span> <em class="citetitle">Journal
 of Legal Studies</em>, June 1998.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2730874" href="#id2730874" class="para">121</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3035993" href="#id3035993" class="para">121</a>] </sup>
 
 Some people object to this way of talking about <span class="quote">«<span class="quote">liberty.</span>»</span> They
 object because their focus when considering the constraints that exist at
@@ -6555,9 +6555,9 @@ making access to those places easier; 42 <em class="citetitle">United States
 Code</em>, 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.  <a class="indexterm" name="id2730928"></a> <a class="indexterm" name="id2730937"></a>
-<a class="indexterm" name="id2730943"></a> <a class="indexterm" name="id2730950"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2731148" href="#id2731148" class="para">122</a>] </sup>
+the effective liberty that each of these groups might face.  <a class="indexterm" name="id3036047"></a> <a class="indexterm" name="id3036056"></a>
+<a class="indexterm" name="id3036063"></a> <a class="indexterm" name="id3036070"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3036261" href="#id3036261" class="para">122</a>] </sup>
 
 
 See Geoffrey Smith, <span class="quote">«<span class="quote">Film vs. Digital: Can Kodak Build a
@@ -6566,26 +6566,26 @@ analysis of Kodak's place in the market, see Chana R. Schoenberger,
 <span class="quote">«<span class="quote">Can Kodak Make Up for Lost Moments?</span>»</span> Forbes.com, 6 October
 2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #24</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2731222" href="#id2731222" class="para">123</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3036336" href="#id3036336" class="para">123</a>] </sup>
 
 
 Fred Warshofsky, <em class="citetitle">The Patent Wars</em> (New York: Wiley,
 1994), 170&#8211;71.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2731392" href="#id2731392" class="para">124</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3036505" href="#id3036505" class="para">124</a>] </sup>
 
 
 Se for eksempel James Boyle, <span class="quote">«<span class="quote">A Politics of Intellectual Property:
 Environmentalism for the Net?</span>»</span> <em class="citetitle">Duke Law
 Journal</em> 47 (1997): 87.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2731623" href="#id2731623" class="para">125</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3036736" href="#id3036736" class="para">125</a>] </sup>
 
 William W. Crosskey, <em class="citetitle">Politics and the Constitution in the History
 of the United States</em> (London: Cambridge University Press, 1953),
 vol. 1, 485&#8211;86: <span class="quote">«<span class="quote">extinguish[ing], by plain implication of `the
 supreme Law of the Land,' <span class="emphasis"><em>the perpetual rights which authors had,
 or were supposed by some to have, under the Common Law</em></span></span>»</span>
-(emphasis added).  <a class="indexterm" name="id2731641"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2731691" href="#id2731691" class="para">126</a>] </sup>
+(emphasis added).  <a class="indexterm" name="id3036755"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3036804" href="#id3036804" class="para">126</a>] </sup>
 
 
 Although 13,000 titles were published in the United States from 1790 to
@@ -6601,7 +6601,7 @@ overwhelming majority of works fell immediately into the public domain. Even
 those works that were copyrighted fell into the public domain quickly,
 because the term of copyright was short. The initial term of copyright was
 fourteen years, with the option of renewal for an additional fourteen
-years. Copyright Act of May 31, 1790, §1, 1 stat. 124.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2731758" href="#id2731758" class="para">127</a>] </sup>
+years. Copyright Act of May 31, 1790, §1, 1 stat. 124.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3036872" href="#id3036872" class="para">127</a>] </sup>
 
 
 Few copyright holders ever chose to renew their copyrights. For instance, of
@@ -6612,17 +6612,17 @@ Copyright</em>, vol. 1 (New York: Practicing Law Institute, 1963),
 618. For a more recent and comprehensive analysis, see William M. Landes and
 Richard A.  Posner, <span class="quote">«<span class="quote">Indefinitely Renewable Copyright,</span>»</span>
 <em class="citetitle">University of Chicago Law Review</em> 70 (2003): 471,
-498&#8211;501, and accompanying figures.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2731810" href="#id2731810" class="para">128</a>] </sup>
+498&#8211;501, and accompanying figures.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3036923" href="#id3036923" class="para">128</a>] </sup>
 
 
-Se Ringer, kap. 9, n. 2.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2731912" href="#id2731912" class="para">129</a>] </sup>
+Se Ringer, kap. 9, n. 2.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3037025" href="#id3037025" class="para">129</a>] </sup>
 
 
 These statistics are understated. Between the years 1910 and 1962 (the first
 year the renewal term was extended), the average term was never more than
 thirty-two years, and averaged thirty years. See Landes and Posner,
 <span class="quote">«<span class="quote">Indefinitely Renewable Copyright,</span>»</span> loc. cit.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732064" href="#id2732064" class="para">130</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3037178" href="#id3037178" class="para">130</a>] </sup>
 
 
 See Thomas Bender and David Sampliner, <span class="quote">«<span class="quote">Poets, Pirates, and the
@@ -6631,19 +6631,19 @@ Journal of International Law and Politics</em> 255 (1997), and James
 Gilraeth, ed., Federal Copyright Records, 1790&#8211;1800 (U.S. G.P.O.,
 1987).
 
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732152" href="#id2732152" class="para">131</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3037274" href="#id3037274" class="para">131</a>] </sup>
 
 Jonathan Zittrain, <span class="quote">«<span class="quote">The Copyright Cage</span>»</span>, <em class="citetitle">Legal
-Affairs</em>, julu/august 2003,tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #26</a>.  <a class="indexterm" name="id2732181"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732200" href="#id2732200" class="para">132</a>] </sup>
+Affairs</em>, julu/august 2003,tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #26</a>.  <a class="indexterm" name="id3037302"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3037321" href="#id3037321" class="para">132</a>] </sup>
 
 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 <span class="quote">«<span class="quote">copies</span>»</span> and derivative
 works. See Jed Rubenfeld, <span class="quote">«<span class="quote">The Freedom of Imagination: Copyright's
 Constitutionality,</span>»</span> <em class="citetitle">Yale Law Journal</em> 112
-(2002): 1&#8211;60 (see especially pp. 53&#8211;59).  <a class="indexterm" name="id2732218"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732279" href="#id2732279" class="para">133</a>] </sup>
+(2002): 1&#8211;60 (see especially pp. 53&#8211;59).  <a class="indexterm" name="id3037339"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3037400" href="#id3037400" class="para">133</a>] </sup>
 
 
 This is a simplification of the law, but not much of one. The law certainly
@@ -6655,14 +6655,14 @@ doesn't make a copy; 17 <em class="citetitle">United States Code</em>, section
 presumption under the existing law (which regulates <span class="quote">«<span class="quote">copies;</span>»</span>
 17 <em class="citetitle">United States Code</em>, section 102) is that if there
 is a copy, there is a right.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732357" href="#id2732357" class="para">134</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3037478" href="#id3037478" class="para">134</a>] </sup>
 
 
 Thus, my argument is not that in each place that copyright law extends, we
 should repeal it. It is instead that we should have a good argument for its
 extending where it does, and should not determine its reach on the basis of
 arbitrary and automatic changes caused by technology.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732288" href="#id2732288" class="para">135</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3037409" href="#id3037409" class="para">135</a>] </sup>
 
 
 I don't mean <span class="quote">«<span class="quote">nature</span>»</span> in the sense that it couldn't be
@@ -6670,16 +6670,16 @@ different, but rather that its present instantiation entails a copy. Optical
 networks need not make copies of content they transmit, and a digital
 network could be designed to delete anything it copies so that the same
 number of copies remain.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732972" href="#id2732972" class="para">136</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3038260" href="#id3038260" class="para">136</a>] </sup>
 
 
 Se David Lange, <span class="quote">«<span class="quote">Recognizing the Public Domain</span>»</span>, <em class="citetitle">Law
 and Contemporary Problems</em> 44 (1981): 172&#8211;73.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2732999" href="#id2732999" class="para">137</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3038287" href="#id3038287" class="para">137</a>] </sup>
 
-<a class="indexterm" name="id2733002"></a> Ibid. Se også Vaidhyanathan,
+<a class="indexterm" name="id3038290"></a> Ibid. Se også Vaidhyanathan,
 <em class="citetitle">Copyrights and Copywrongs</em>, 1&#8211;3.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2733291" href="#id2733291" class="para">138</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3038591" href="#id3038591" class="para">138</a>] </sup>
 
 
 In principle, a contract might impose a requirement on me. I might, for
@@ -6688,7 +6688,7 @@ it only three times, or that I promise to read it three times. But that
 obligation (and the limits for creating that obligation) would come from the
 contract, not from copyright law, and the obligations of contract would not
 necessarily pass to anyone who subsequently acquired the book.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2733702" href="#id2733702" class="para">139</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3039052" href="#id3039052" class="para">139</a>] </sup>
 
 See Pamela Samuelson, <span class="quote">«<span class="quote">Anticircumvention Rules: Threat to
 Science,</span>»</span> <em class="citetitle">Science</em> 293 (2001): 2028; Brendan
@@ -6701,42 +6701,42 @@ Concerns,</span>
 <span class="quote">«<span class="quote">Is the RIAA Running Scared?</span>»</span> Salon.com, April 2001; Electronic
 Frontier Foundation, <span class="quote">«<span class="quote">Frequently Asked Questions about
 <em class="citetitle">Felten and USENIX</em> v. <em class="citetitle">RIAA</em>
-Legal Case,</span>»</span> available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #27</a>.  <a class="indexterm" name="id2733758"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734097" href="#id2734097" class="para">140</a>] </sup>
+Legal Case,</span>»</span> available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #27</a>.  <a class="indexterm" name="id3039106"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3039454" href="#id3039454" class="para">140</a>] </sup>
 
-<a class="indexterm" name="id2734100"></a> <em class="citetitle">Sony Corporation of
+<a class="indexterm" name="id3039457"></a> <em class="citetitle">Sony Corporation of
 America</em> v. <em class="citetitle">Universal City Studios, Inc</em>.,
 464 U.S. 417, 455 fn. 27 (1984). Rogers never changed his view about the
 VCR. See James Lardner, <em class="citetitle">Fast Forward: Hollywood, the Japanese,
 and the Onslaught of the VCR</em> (New York: W. W. Norton, 1987),
-270&#8211;71.  <a class="indexterm" name="id2733015"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734314" href="#id2734314" class="para">141</a>] </sup>
+270&#8211;71.  <a class="indexterm" name="id3038303"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3039689" href="#id3039689" class="para">141</a>] </sup>
 
 
 For an early and prescient analysis, see Rebecca Tushnet, <span class="quote">«<span class="quote">Legal
 Fictions, Copyright, Fan Fiction, and a New Common Law,</span>»</span>
 <em class="citetitle">Loyola of Los Angeles Entertainment Law Journal</em> 17
 (1997): 651.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734478" href="#id2734478" class="para">142</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3039854" href="#id3039854" class="para">142</a>] </sup>
 
 
 FCC Oversight: Hearing Before the Senate Commerce, Science and
 Transportation Committee, 108th Cong., 1st sess. (22 May 2003)  (statement
-of Senator John McCain).  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2734490" href="#id2734490" class="para">143</a>] </sup>
+of Senator John McCain).  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3039867" href="#id3039867" class="para">143</a>] </sup>
 
 
 Lynette Holloway, <span class="quote">«<span class="quote">Despite a Marketing Blitz, CD Sales Continue to
 Slide,</span>»</span> <em class="citetitle">New York Times</em>, 23 December 2002.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734508" href="#id2734508" class="para">144</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3039886" href="#id3039886" class="para">144</a>] </sup>
 
 
 Molly Ivins, <span class="quote">«<span class="quote">Media Consolidation Must Be Stopped,</span>»</span>
 <em class="citetitle">Charleston Gazette</em>, 31 May 2003.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734577" href="#id2734577" class="para">145</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3039960" href="#id3039960" class="para">145</a>] </sup>
 
 James Fallows, <span class="quote">«<span class="quote">The Age of Murdoch</span>»</span>, <em class="citetitle">Atlantic
-Monthly</em> (September 2003): 89.  <a class="indexterm" name="id2734596"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734706" href="#id2734706" class="para">146</a>] </sup>
+Monthly</em> (September 2003): 89.  <a class="indexterm" name="id3039980"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3040096" href="#id3040096" class="para">146</a>] </sup>
 
 
 Leonard Hill, <span class="quote">«<span class="quote">The Axis of Access,</span>»</span> remarks before Weidenbaum
@@ -6744,7 +6744,7 @@ Center Forum, <span class="quote">
 St. Louis, Missouri, 3 April 2003 (transcript of prepared remarks available
 at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #28</a>; for the Lear
 story, not included in the prepared remarks, see <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #29</a>).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734769" href="#id2734769" class="para">147</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3040162" href="#id3040162" class="para">147</a>] </sup>
 
 
 NewsCorp./DirecTV Merger and Media Consolidation: Hearings on Media
@@ -6753,18 +6753,18 @@ sess. (2003) (testimony of Gene Kimmelman on behalf of Consumers Union and
 the Consumer Federation of America), available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #30</a>. Kimmelman quotes
 Victoria Riskin, president of Writers Guild of America, West, in her Remarks
 at FCC En Banc Hearing, Richmond, Virginia, 27 February 2003.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734796" href="#id2734796" class="para">148</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3040190" href="#id3040190" class="para">148</a>] </sup>
 
 
 ibid.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734852" href="#id2734852" class="para">149</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3040249" href="#id3040249" class="para">149</a>] </sup>
 
 
 <span class="quote">«<span class="quote">Barry Diller Takes on Media Deregulation</span>»</span>, <em class="citetitle">Now with
 Bill Moyers</em>, Bill Moyers, 25 April 2003, redigert avskrift
 tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #31</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2734910" href="#id2734910" class="para">150</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3040309" href="#id3040309" class="para">150</a>] </sup>
 
 
 Clayton M. Christensen, <em class="citetitle">The Innovator's Dilemma: The
@@ -6777,7 +6777,7 @@ Policy</em> 14 (1985): 235&#8211;51. For a more recent study, see
 Richard Foster and Sarah Kaplan, <em class="citetitle">Creative Destruction: Why
 Companies That Are Built to Last Underperform the Market&#8212;and How to
 Successfully Transform Them</em> (New York: Currency/Doubleday,
-2001).  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2735070" href="#id2735070" class="para">151</a>] </sup>
+2001).  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3040467" href="#id3040467" class="para">151</a>] </sup>
 
 The Marijuana Policy Project, in February 2003, sought to place ads that
 directly responded to the Nick and Norm series on stations within the
@@ -6802,26 +6802,26 @@ 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, <span class="quote">«<span class="quote">Antidiesel Group Fuming After Muni Rejects
 Ad,</span>»</span> SFGate.com, 16 June 2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #32</a>. The ground was that
-the criticism was <span class="quote">«<span class="quote">too controversial.</span>»</span> <a class="indexterm" name="id2735134"></a> <a class="indexterm" name="id2735142"></a>
-<a class="indexterm" name="id2735149"></a> <a class="indexterm" name="id2735155"></a> <a class="indexterm" name="id2735161"></a> <a class="indexterm" name="id2735167"></a> <a class="indexterm" name="id2735174"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2735324" href="#id2735324" class="para">152</a>] </sup>
+the criticism was <span class="quote">«<span class="quote">too controversial.</span>»</span> <a class="indexterm" name="id3040533"></a> <a class="indexterm" name="id3040542"></a>
+<a class="indexterm" name="id3040549"></a> <a class="indexterm" name="id3040556"></a> <a class="indexterm" name="id3040563"></a> <a class="indexterm" name="id3040569"></a> <a class="indexterm" name="id3040576"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3040726" href="#id3040726" class="para">152</a>] </sup>
 
-<a class="indexterm" name="id2735333"></a> Siva Vaidhyanathan fanger et lignende
+<a class="indexterm" name="id3040735"></a> Siva Vaidhyanathan fanger et lignende
 poeng i hans <span class="quote">«<span class="quote">fire kapitulasjoner</span>»</span> for åndsverksloven i den
 digitale tidsalder. Se Vaidhyanathan, 159&#8211;60.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2735685" href="#id2735685" class="para">153</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3041107" href="#id3041107" class="para">153</a>] </sup>
 
 It was the single most important contribution of the legal realist movement
 to demonstrate that all property rights are always crafted to balance public
 and private interests. See Thomas C. Grey, <span class="quote">«<span class="quote">The Disintegration of
 Property,</span>»</span> in <em class="citetitle">Nomos XXII: Property</em>, J. Roland
 Pennock and John W.  Chapman, eds. (New York: New York University Press,
-1980).  <a class="indexterm" name="id2735701"></a>
+1980).  <a class="indexterm" name="id3041124"></a>
 </p></div></div></div></div><div class="part" title="Del III. Nøtter"><div class="titlepage"><div><div><h1 class="title"><a name="c-puzzles"></a>Del III. Nøtter</h1></div></div></div><div class="chapter" title="Kapittel elleve: Fantasifoster"><div class="titlepage"><div><div><h2 class="title"><a name="chimera"></a>Kapittel elleve: Fantasifoster</h2></div></div></div><a class="indexterm" name="idxchimera"></a><a class="indexterm" name="idxwells"></a><a class="indexterm" name="idxtcotb"></a><p>
 <span class="strong"><strong>In a well-known</strong></span> short story by
 H. G. Wells, a mountain climber named Nunez trips (literally, down an ice
 slope) into an unknown and isolated valley in the Peruvian
-Andes.<sup>[<a name="id2735875" href="#ftn.id2735875" class="footnote">154</a>]</sup> The valley is extraordinarily
+Andes.<sup>[<a name="id3041287" href="#ftn.id3041287" class="footnote">154</a>]</sup> The valley is extraordinarily
 beautiful, with <span class="quote">«<span class="quote">sweet water, pasture, an even climate, slopes of rich
 brown soil with tangles of a shrub that bore an excellent fruit.</span>»</span> But
 the villagers are all blind. Nunez takes this as an opportunity. <span class="quote">«<span class="quote">In
@@ -6882,7 +6882,7 @@ 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. <span class="quote">«<span class="quote">But the DNA shows with 100 percent certainty that she was
 not the person whose blood was at the scene. &#8230;</span>»</span>
-</p><a class="indexterm" name="id2736049"></a><a class="indexterm" name="id2736059"></a><p>
+</p><a class="indexterm" name="id3041460"></a><a class="indexterm" name="id3041470"></a><p>
 Before I had read about chimeras, I would have said they were impossible.  A
 single person can't have two sets of DNA. The very idea of DNA is that it is
 the code of an individual. Yet in fact, not only can two individuals have
@@ -6917,7 +6917,7 @@ into a Tower Records and taking a CD off the shelf and walking out with
 it,</span>»</span> 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.
-<a class="indexterm" name="id2736147"></a>
+<a class="indexterm" name="id3041558"></a>
 </p><p>
 
 
@@ -6942,9 +6942,9 @@ 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.<sup>[<a name="id2736189" href="#ftn.id2736189" class="footnote">155</a>]</sup>
+been proposed or actually implemented.<sup>[<a name="id3041601" href="#ftn.id3041601" class="footnote">155</a>]</sup>
 
-</p><a class="indexterm" name="id2736299"></a><p>
+</p><a class="indexterm" name="id3041711"></a><p>
 Alternatively, we could respond to file sharing the way many kids act as
 though we've responded. We could totally legalize it. Let there be no
 copyright liability, either civil or criminal, for making copyrighted
@@ -6996,25 +6996,25 @@ 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.<sup>[<a name="id2736398" href="#ftn.id2736398" class="footnote">156</a>]</sup>
+everyone's interests.<sup>[<a name="id3041803" href="#ftn.id3041803" class="footnote">156</a>]</sup>
 </p></blockquote></div><p>
 In April 2001, eMusic.com was purchased by Vivendi Universal, one of
 <span class="quote">«<span class="quote">the major labels.</span>»</span> Its position on these matters has now
-changed.  <a class="indexterm" name="id2736425"></a>
+changed.  <a class="indexterm" name="id3041830"></a>
 </p><p>
 Reversing our tradition of tolerance now will not merely quash piracy. It
 will sacrifice values that are important to this culture, and will kill
 opportunities that could be extraordinarily valuable.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2735875" href="#id2735875" class="para">154</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3041287" href="#id3041287" class="para">154</a>] </sup>
 
 
 H. G. Wells, <span class="quote">«<span class="quote">The Country of the Blind</span>»</span> (1904, 1911). Se
 H. G. Wells, <em class="citetitle">The Country of the Blind and Other
 Stories</em>, Michael Sherborne, ed. (New York: Oxford University
 Press, 1996).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2736189" href="#id2736189" class="para">155</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3041601" href="#id3041601" class="para">155</a>] </sup>
 
-<a class="indexterm" name="id2736192"></a> For an excellent summary, see the
+<a class="indexterm" name="id3041604"></a> For an excellent summary, see the
 report prepared by GartnerG2 and the Berkman Center for Internet and Society
 at Harvard Law School, <span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster
 World,</span>»</span> 27 June 2003, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #33</a>. Reps. John Conyers
@@ -7041,8 +7041,8 @@ and of the subpoenas issued to universities to reveal student file-sharer
 identities, see James Collins, <span class="quote">«<span class="quote">RIAA Steps Up Bid to Force BC, MIT to
 Name Students,</span>»</span> <em class="citetitle">Boston Globe</em>, 8 August 2003,
 D3, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
-#36</a>.  <a class="indexterm" name="id2736283"></a> <a class="indexterm" name="id2736290"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2736398" href="#id2736398" class="para">156</a>] </sup>
+#36</a>.  <a class="indexterm" name="id3041695"></a> <a class="indexterm" name="id3041702"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3041803" href="#id3041803" class="para">156</a>] </sup>
 
 
 WIPO and the DMCA One Year Later: Assessing Consumer Access to Digital
@@ -7067,12 +7067,12 @@ 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 <span class="quote">«<span class="quote">intellectual property</span>»</span> is at its greatest
 in our history.
-</p><a class="indexterm" name="id2736497"></a><a class="indexterm" name="id2736504"></a><p>
+</p><a class="indexterm" name="id3041903"></a><a class="indexterm" name="id3041910"></a><p>
 Yet <span class="quote">«<span class="quote">common sense</span>»</span> does not see it this way. Common sense is
 still on the side of the Causbys and the content industry. The extreme
 claims of control in the name of property still resonate; the uncritical
 rejection of <span class="quote">«<span class="quote">piracy</span>»</span> still has play.
-</p><a class="indexterm" name="id2736525"></a><p>
+</p><a class="indexterm" name="id3041932"></a><p>
 
 
 There will be many consequences of continuing this war. I want to describe
@@ -7120,7 +7120,7 @@ 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.
-</p><a class="indexterm" name="id2736623"></a><p>
+</p><a class="indexterm" name="id3042029"></a><p>
 That presumption will increasingly chill creativity, as the examples of
 extreme penalties for vague infringements continue to proliferate. It is
 impossible to get a clear sense of what's allowed and what's not, and at the
@@ -7130,14 +7130,14 @@ was just one) were threatened with a $98 billion lawsuit for building search
 engines that permitted songs to be copied. Yet World-Com&#8212;which
 defrauded investors of $11 billion, resulting in a loss to investors in
 market capitalization of over $200 billion&#8212;received a fine of a mere
-$750 million.<sup>[<a name="id2736640" href="#ftn.id2736640" class="footnote">157</a>]</sup> And under legislation
+$750 million.<sup>[<a name="id3042046" href="#ftn.id3042046" class="footnote">157</a>]</sup> 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.<sup>[<a name="id2736681" href="#ftn.id2736681" class="footnote">158</a>]</sup> Can
+damages for pain and suffering.<sup>[<a name="id3042087" href="#ftn.id3042087" class="footnote">158</a>]</sup> Can
 common sense recognize the absurdity in a world where the maximum fine for
 downloading two songs off the Internet is more than the fine for a doctor's
 negligently butchering a patient?
-</p><a class="indexterm" name="id2736727"></a><p>
+</p><a class="indexterm" name="id3042133"></a><p>
 The consequence of this legal uncertainty, tied to these extremely high
 penalties, is that an extraordinary amount of creativity will either never
 be exercised, or never be exercised in the open. We drive this creative
@@ -7150,10 +7150,10 @@ the Soviet Union, though for very different reasons, we will begin to see a
 world of underground art&#8212;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 <span class="quote">«<span class="quote">illegal
-art</span>»</span> tour the United States.<sup>[<a name="id2736746" href="#ftn.id2736746" class="footnote">159</a>]</sup> In
+art</span>»</span> tour the United States.<sup>[<a name="id3042152" href="#ftn.id3042152" class="footnote">159</a>]</sup> In
 what does their <span class="quote">«<span class="quote">illegality</span>»</span> consist? In the act of mixing the
 culture around us with an expression that is critical or reflective.
-</p><a class="indexterm" name="id2736795"></a><p>
+</p><a class="indexterm" name="id3042201"></a><p>
 Part of the reason for this fear of illegality has to do with the changing
 law. I described that change in detail in chapter <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>. But an even bigger part has to do with
 the increasing ease with which infractions can be tracked. As users of
@@ -7162,7 +7162,7 @@ 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.
-</p><a class="indexterm" name="id2736825"></a><p>
+</p><a class="indexterm" name="id3042231"></a><p>
 Never in our history has a painter had to worry about whether his painting
 infringed on someone else's work; but the modern-day painter, using the
 tools of Photoshop, sharing content on the Web, must worry all the
@@ -7235,7 +7235,7 @@ pages into a book like this), then you can see this other aspect by
 substituting <span class="quote">«<span class="quote">free market</span>»</span> every place I've spoken of
 <span class="quote">«<span class="quote">free culture.</span>»</span> The point is the same, even if the interests
 affecting culture are more fundamental.
-</p><a class="indexterm" name="id2736981"></a><p>
+</p><a class="indexterm" name="id3042382"></a><p>
 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&#8212;at a minimum, we
@@ -7246,7 +7246,7 @@ 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.
-</p><a class="indexterm" name="id2736990"></a><p>
+</p><a class="indexterm" name="id3042391"></a><p>
 
 This is the single most dramatic effect of the shift in regulatory strategy
 that I described in chapter <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>. The consequence of this massive threat of liability
@@ -7261,14 +7261,14 @@ Valley&#8212;has been learned.
 Consider one example to make the point, a story whose beginning I told in
 <em class="citetitle">The Future of Ideas</em> and which has progressed in a way
 that even I (pessimist extraordinaire) would never have predicted.
-</p><a class="indexterm" name="id2737049"></a><p>
+</p><a class="indexterm" name="id3042450"></a><p>
 In 1997, Michael Roberts launched a company called MP3.com.  MP3.com was
 keen to remake the music business. Their goal was not just to facilitate new
 ways to get access to content. Their goal was also to facilitate new ways to
 create content. Unlike the major labels, MP3.com offered creators a venue to
 distribute their creativity, without demanding an exclusive engagement from
 the creators.
-</p><a class="indexterm" name="id2737065"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
+</p><a class="indexterm" name="id3042473"></a><a class="indexterm" name="idxcdsprefdata"></a><p>
 To make this system work, however, MP3.com needed a reliable way to
 recommend music to its users. The idea behind this alternative was to
 leverage the revealed preferences of music listeners to recommend new
@@ -7291,7 +7291,7 @@ 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.
-</p><a class="indexterm" name="id2737104"></a><p>
+</p><a class="indexterm" name="id3042512"></a><p>
 To make this system function, however, MP3.com needed to copy 50,000 CDs to
 a server. (In principle, it could have been the user who uploaded the music,
 but that would have taken a great deal of time, and would have produced a
@@ -7328,11 +7328,11 @@ som gir r
 som får lide hvis innholdsindustrien retter sine våpen mot dem.  Det får
 også du.  Så de av dere som tror loven burde være mindre restriktiv bør
 innse at et slikt syn på loven vil koste deg og ditt firma dyrt.
-</p><a class="indexterm" name="id2737204"></a><a class="indexterm" name="id2737215"></a><a class="indexterm" name="id2737222"></a><a class="indexterm" name="id2737228"></a><a class="indexterm" name="id2737235"></a><a class="indexterm" name="id2737242"></a><p>
+</p><a class="indexterm" name="id3042613"></a><a class="indexterm" name="id3042624"></a><a class="indexterm" name="id3042630"></a><a class="indexterm" name="id3042637"></a><a class="indexterm" name="id3042644"></a><a class="indexterm" name="id3042650"></a><p>
 This strategy is not just limited to the lawyers. In April 2003, Universal
 and EMI brought a lawsuit against Hummer Winblad, the venture capital firm
 (VC) that had funded Napster at a certain stage of its development, its
-cofounder ( John Hummer), and general partner (Hank Barry).<sup>[<a name="id2737256" href="#ftn.id2737256" class="footnote">160</a>]</sup> The claim here, as well, was that the VC should
+cofounder ( John Hummer), and general partner (Hank Barry).<sup>[<a name="id3042664" href="#ftn.id3042664" class="footnote">160</a>]</sup> 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
@@ -7343,13 +7343,13 @@ 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 <em class="citetitle">Business 2.0</em>,
 Rafe Needleman describes a discussion with BMW:
-</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="id2737323"></a><a class="indexterm" name="id2737330"></a><p>
+</p><div class="blockquote"><blockquote class="blockquote"><a class="indexterm" name="id3042720"></a><a class="indexterm" name="id3042726"></a><p>
 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. &#8230; <sup>[<a name="id2736929" href="#ftn.id2736929" class="footnote">161</a>]</sup>
+sold in the United States with bona fide MP3 players. &#8230; <sup>[<a name="id3042335" href="#ftn.id3042335" class="footnote">161</a>]</sup>
 </p></blockquote></div><p>
 Dette er verden til mafiaen&#8212;fylt med <span class="quote">«<span class="quote">penger eller
 livet</span>»</span>-trusler, som ikke er regulert av domstolene men av trusler som
@@ -7372,7 +7372,7 @@ 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.
-</p><a class="indexterm" name="id2737420"></a><p>
+</p><a class="indexterm" name="id3042828"></a><p>
 The point is directly parallel to the crunchy-lefty point about fair
 use. Whatever the <span class="quote">«<span class="quote">real</span>»</span> law is, realism about the effect of
 law in both contexts is the same. This wildly punitive system of regulation
@@ -7413,17 +7413,17 @@ 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 <span class="quote">«<span class="quote">piracy,</span>»</span> then, this
 response says, we should break the kneecaps of the Internet.
-</p><a class="indexterm" name="id2737516"></a><p>
+</p><a class="indexterm" name="id3042907"></a><p>
 The examples of this form of legislation are many. At the urging of the
 content industry, some in Congress have threatened legislation that would
 require computers to determine whether the content they access is protected
-or not, and to disable the spread of protected content.<sup>[<a name="id2737530" href="#ftn.id2737530" class="footnote">162</a>]</sup> Congress has already launched proceedings to
+or not, and to disable the spread of protected content.<sup>[<a name="id3042921" href="#ftn.id3042921" class="footnote">162</a>]</sup> Congress has already launched proceedings to
 explore a mandatory <span class="quote">«<span class="quote">broadcast flag</span>»</span> that would be required on
 any device capable of transmitting digital video (i.e., a computer), and
 that would disable the copying of any content that is marked with a
 broadcast flag. Other members of Congress have proposed immunizing content
 providers from liability for technology they might deploy that would hunt
-down copyright violators and disable their machines.<sup>[<a name="id2737561" href="#ftn.id2737561" class="footnote">163</a>]</sup>
+down copyright violators and disable their machines.<sup>[<a name="id3042952" href="#ftn.id3042952" class="footnote">163</a>]</sup>
 </p><p>
 
 In one sense, these solutions seem sensible. If the problem is the code, why
@@ -7431,10 +7431,10 @@ 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.
-</p><a class="indexterm" name="id2737582"></a><p>
+</p><a class="indexterm" name="id3042973"></a><p>
 In March 2002, a broad coalition of technology companies, led by Intel,
 tried to get Congress to see the harm that such legislation would
-impose.<sup>[<a name="id2737593" href="#ftn.id2737593" class="footnote">164</a>]</sup> Their argument was obviously
+impose.<sup>[<a name="id3042984" href="#ftn.id3042984" class="footnote">164</a>]</sup> Their argument was obviously
 not that copyright should not be protected. Instead, they argued, any
 protection should not do more harm than good.
 </p><p>
@@ -7446,10 +7446,10 @@ 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.
-</p><a class="indexterm" name="id2737628"></a><a class="indexterm" name="id2737637"></a><p>
+</p><a class="indexterm" name="id3043019"></a><a class="indexterm" name="id3043028"></a><p>
 As I described in chapter <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>, despite this feature of copyright as regulation, and
 subject to important qualifications outlined by Jessica Litman in her book
-<em class="citetitle">Digital Copyright</em>,<sup>[<a name="id2737661" href="#ftn.id2737661" class="footnote">165</a>]</sup> overall this history of copyright is not bad. As chapter 10
+<em class="citetitle">Digital Copyright</em>,<sup>[<a name="id3043052" href="#ftn.id3043052" class="footnote">165</a>]</sup> 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
@@ -7461,12 +7461,12 @@ 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.
 </p><p>
-The response by the courts has been fairly universal.<sup>[<a name="id2737698" href="#ftn.id2737698" class="footnote">166</a>]</sup> It has been mirrored in the responses threatened
+The response by the courts has been fairly universal.<sup>[<a name="id3043089" href="#ftn.id3043089" class="footnote">166</a>]</sup> It has been mirrored in the responses threatened
 and actually implemented by Congress. I won't catalog all of those responses
-here.<sup>[<a name="id2737742" href="#ftn.id2737742" class="footnote">167</a>]</sup> But there is one example that
+here.<sup>[<a name="id3043133" href="#ftn.id3043133" class="footnote">167</a>]</sup> But there is one example that
 captures the flavor of them all. This is the story of the demise of Internet
 radio.
-</p><a class="indexterm" name="id2737806"></a><a class="indexterm" name="id2737816"></a><p>
+</p><a class="indexterm" name="id3043198"></a><a class="indexterm" name="id3043207"></a><p>
 
 
 
@@ -7505,7 +7505,7 @@ 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.
-</p><a class="indexterm" name="id2737898"></a><p>
+</p><a class="indexterm" name="id3043289"></a><p>
 
 
 
@@ -7527,11 +7527,11 @@ 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.<sup>[<a name="id2737346" href="#ftn.id2737346" class="footnote">168</a>]</sup>
+shackles.<sup>[<a name="id3042743" href="#ftn.id3042743" class="footnote">168</a>]</sup>
 </p></blockquote></div><p>
 This potential for FM radio was never realized&#8212;not because Armstrong
 was wrong about the technology, but because he underestimated the power of
-<span class="quote">«<span class="quote">vested interests, habits, customs and legislation</span>»</span><sup>[<a name="id2737954" href="#ftn.id2737954" class="footnote">169</a>]</sup> to retard the growth of this competing technology.
+<span class="quote">«<span class="quote">vested interests, habits, customs and legislation</span>»</span><sup>[<a name="id3043345" href="#ftn.id3043345" class="footnote">169</a>]</sup> to retard the growth of this competing technology.
 </p><p>
 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
@@ -7555,9 +7555,9 @@ 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.<sup>[<a name="id2738019" href="#ftn.id2738019" class="footnote">170</a>]</sup> A regular radio station
+year.<sup>[<a name="id3043410" href="#ftn.id3043410" class="footnote">170</a>]</sup> A regular radio station
 broadcasting the same content would pay no equivalent fee.
-</p><a class="indexterm" name="id2738077"></a><p>
+</p><a class="indexterm" name="id3043468"></a><p>
 The burden is not financial only. Under the original rules that were
 proposed, an Internet radio station (but not a terrestrial radio station)
 would have to collect the following data from <span class="emphasis"><em>every listening
@@ -7625,7 +7625,7 @@ not.
 Why? What justifies this difference? Was there any study of the economic
 consequences from Internet radio that would justify these differences? Was
 the motive to protect artists against piracy?
-</p><a class="indexterm" name="id2738261"></a><a class="indexterm" name="idxalbenalex2"></a><p>
+</p><a class="indexterm" name="id3043652"></a><a class="indexterm" name="idxalbenalex2"></a><p>
 In a rare bit of candor, one RIAA expert admitted what seemed obvious to
 everyone at the time. As Alex Alben, vice president for Public Policy at
 Real Networks, told me,
@@ -7640,12 +7640,12 @@ 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. &#8230;</span>»</span>
-</p><a class="indexterm" name="id2738298"></a><p>
+</p><a class="indexterm" name="id3043690"></a><p>
 And the RIAA experts said, <span class="quote">«<span class="quote">Well, we don't really model this as an
 industry with thousands of webcasters, <span class="emphasis"><em>we think it should be an
 industry with, you know, five or seven big players who can pay a high rate
 and it's a stable, predictable market</em></span>.</span>»</span> (Emphasis added.)
-</p></blockquote></div><a class="indexterm" name="id2738336"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3043727"></a><p>
 Translation: The aim is to use the law to eliminate competition, so that
 this platform of potentially immense competition, which would cause the
 diversity and range of content available to explode, would not cause pain to
@@ -7665,7 +7665,7 @@ citizens and weakens the rule of law.
 The war that is being waged today is a war of prohibition. As with every war
 of prohibition, it is targeted against the behavior of a very large number
 of citizens. According to <em class="citetitle">The New York Times</em>, 43
-million Americans downloaded music in May 2002.<sup>[<a name="id2738394" href="#ftn.id2738394" class="footnote">171</a>]</sup> According to the RIAA, the behavior of those 43 million Americans
+million Americans downloaded music in May 2002.<sup>[<a name="id3043785" href="#ftn.id3043785" class="footnote">171</a>]</sup> 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
@@ -7684,14 +7684,14 @@ 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&#8212;including a twelve-year-old girl
 living in public housing and a seventy-year-old man who had no idea what
-file sharing was.<sup>[<a name="id2738009" href="#ftn.id2738009" class="footnote">172</a>]</sup> As these scapegoats
+file sharing was.<sup>[<a name="id3043400" href="#ftn.id3043400" class="footnote">172</a>]</sup> 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.
-</p><a class="indexterm" name="id2738465"></a><p>
+</p><a class="indexterm" name="id3043856"></a><p>
 Wars of prohibition are nothing new in America. This one is just something
 more extreme than anything we've seen before. We experimented with alcohol
 prohibition, at a time when the per capita consumption of alcohol was 1.5
@@ -7699,16 +7699,16 @@ 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.<sup>[<a name="id2738483" href="#ftn.id2738483" class="footnote">173</a>]</sup> We have launched a war
+were criminals.<sup>[<a name="id3043874" href="#ftn.id3043874" class="footnote">173</a>]</sup> We have launched a war
 on drugs aimed at reducing the consumption of regulated narcotics that 7
-percent (or 16 million) Americans now use.<sup>[<a name="id2738502" href="#ftn.id2738502" class="footnote">174</a>]</sup> That is a drop from the high (so to speak) in 1979 of 14 percent of
+percent (or 16 million) Americans now use.<sup>[<a name="id3043892" href="#ftn.id3043892" class="footnote">174</a>]</sup> 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.<sup>[<a name="id2738520" href="#ftn.id2738520" class="footnote">175</a>]</sup> We pride ourselves on our <span class="quote">«<span class="quote">free
+that a majority of cash businesses regularly cheat.<sup>[<a name="id3043910" href="#ftn.id3043910" class="footnote">175</a>]</sup> We pride ourselves on our <span class="quote">«<span class="quote">free
 society,</span>»</span> but an endless array of ordinary behavior is regulated
 within our society. And as a result, a huge proportion of Americans
 regularly violate at least some law.
-</p><a class="indexterm" name="id2738544"></a><p>
+</p><a class="indexterm" name="id3043934"></a><p>
 This state of affairs is not without consequence. It is a particularly
 salient issue for teachers like me, whose job it is to teach law students
 about the importance of <span class="quote">«<span class="quote">ethics.</span>»</span> As my colleague Charlie
@@ -7782,7 +7782,7 @@ copy-protection technologies, I am <span class="quote">
 Apple Corporation went so far as to suggest that <span class="quote">«<span class="quote">freedom</span>»</span> was
 a right: In a series of commercials, Apple endorsed the <span class="quote">«<span class="quote">Rip, Mix,
 Burn</span>»</span> capacities of digital technologies.
-</p><a class="indexterm" name="id2738687"></a><a class="indexterm" name="idxcdsmix"></a><p>
+</p><a class="indexterm" name="id3044078"></a><a class="indexterm" name="idxcdsmix"></a><p>
 This <span class="quote">«<span class="quote">use</span>»</span> of my records is certainly valuable. I have begun a
 large process at home of ripping all of my and my wife's CDs, and storing
 them in one archive. Then, using Apple's iTunes, or a wonderful program
@@ -7811,7 +7811,7 @@ 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 <span class="quote">«<span class="quote">digital rights management</span>»</span> system.
-</p><a class="indexterm" name="id2738758"></a><p>
+</p><a class="indexterm" name="id3044149"></a><p>
 If the only way to assure that artists get paid were the elimination of the
 ability to freely move content, then these technologies to interfere with
 the freedom to move content would be justifiable. But what if there were
@@ -7847,7 +7847,7 @@ 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.
-</p><a class="indexterm" name="id2738822"></a><a class="indexterm" name="idxisps"></a><p>
+</p><a class="indexterm" name="id3044213"></a><a class="indexterm" name="idxisps"></a><p>
 <span class="strong"><strong>There's one more</strong></span> aspect to this
 corruption that is particularly important to civil liberties, and follows
 directly from any war of prohibition.  As Electronic Frontier Foundation
@@ -7855,7 +7855,7 @@ attorney Fred von Lohmann describes, this is the <span class="quote">
 damage</span>»</span> that <span class="quote">«<span class="quote">arises whenever you turn a very large percentage
 of the population into criminals.</span>»</span> This is the collateral damage to
 civil liberties generally.
-</p><a class="indexterm" name="id2738866"></a><p>
+</p><a class="indexterm" name="id3044256"></a><p>
 <span class="quote">«<span class="quote">Hvis du kan behandle noen som en antatt lovbryter</span>»</span>, forklarer
 von Lohmann,
 </p><div class="blockquote"><blockquote class="blockquote"><p>
@@ -7887,12 +7887,12 @@ 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.<sup>[<a name="id2738931" href="#ftn.id2738931" class="footnote">176</a>]</sup>
+these families, just as they had sued Jesse Jordan.<sup>[<a name="id3044322" href="#ftn.id3044322" class="footnote">176</a>]</sup>
 
 </p><p>
 Even this understates the espionage that is being waged by the RIAA. A
 report from CNN late last summer described a strategy the RIAA had adopted
-to track Napster users.<sup>[<a name="id2738992" href="#ftn.id2738992" class="footnote">177</a>]</sup> Using a
+to track Napster users.<sup>[<a name="id3044382" href="#ftn.id3044382" class="footnote">177</a>]</sup> Using a
 sophisticated hashing algorithm, the RIAA took what is in effect a
 fingerprint of every song in the Napster catalog. Any copy of one of those
 MP3s will have the same <span class="quote">«<span class="quote">fingerprint.</span>»</span>
@@ -7906,9 +7906,9 @@ if the college network is <span class="quote">
 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 <span class="quote">«<span class="quote">criminal.</span>»</span> And under the rules
-that universities are beginning to deploy,<sup>[<a name="id2739038" href="#ftn.id2739038" class="footnote">178</a>]</sup> your daughter can lose the right to use the university's computer
+that universities are beginning to deploy,<sup>[<a name="id3044429" href="#ftn.id3044429" class="footnote">178</a>]</sup> your daughter can lose the right to use the university's computer
 network.  She can, in some cases, be expelled.
-</p><a class="indexterm" name="id2739117"></a><a class="indexterm" name="id2739127"></a><p>
+</p><a class="indexterm" name="id3044507"></a><a class="indexterm" name="id3044518"></a><p>
 
 Now, of course, she'll have the right to defend herself. You can hire a
 lawyer for her (at $300 per hour, if you're lucky), and she can plead that
@@ -7943,15 +7943,15 @@ same objective&#8212; securing rights to authors&#8212;without these
 millions being considered <span class="quote">«<span class="quote">criminals,</span>»</span> who is the villain?
 Americans or the law? Which is American, a constant war on our own people or
 a concerted effort through our democracy to change our law?
-</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2736640" href="#id2736640" class="para">157</a>] </sup>
+</p></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3042046" href="#id3042046" class="para">157</a>] </sup>
 
 Se Lynne W. Jeter, <em class="citetitle">Disconnected: Deceit and Betrayal at
 WorldCom</em> (Hoboken, N.J.: John Wiley &amp; Sons, 2003), 176, 204;
 for detaljer om dette forliket, se pressemelding fra MCI, <span class="quote">«<span class="quote">MCI Wins
 U.S. District Court Approval for SEC Settlement</span>»</span> (7. juli 2003),
 tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
-#37</a>.  <a class="indexterm" name="id2736667"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2736681" href="#id2736681" class="para">158</a>] </sup>
+#37</a>.  <a class="indexterm" name="id3042073"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042087" href="#id3042087" class="para">158</a>] </sup>
  The bill, modeled after California's tort reform model, was passed in the
 House of Representatives but defeated in a Senate vote in July 2003. For an
 overview, see Tanya Albert, <span class="quote">«<span class="quote">Measure Stalls in Senate: `We'll Be
@@ -7960,8 +7960,8 @@ Back,' Say Tort Reformers,</span>
 <span class="quote">«<span class="quote">Senate Turns Back Malpractice Caps,</span>»</span> CBSNews.com, 9 July 2003,
 available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #39</a>. President Bush has continued to urge tort reform in recent
-months.  <a class="indexterm" name="id2736712"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2736746" href="#id2736746" class="para">159</a>] </sup>
+months.  <a class="indexterm" name="id3042118"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042152" href="#id3042152" class="para">159</a>] </sup>
 
 
 
@@ -7969,7 +7969,7 @@ Se Danit Lidor, <span class="quote">
 <em class="citetitle">Wired</em>, 7. juli 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #40</a>. For en oversikt over
 utstillingen, se <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #41</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737256" href="#id2737256" class="para">160</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042664" href="#id3042664" class="para">160</a>] </sup>
 
 
 See Joseph Menn, <span class="quote">«<span class="quote">Universal, EMI Sue Napster Investor,</span>»</span>
@@ -7979,32 +7979,32 @@ Janelle Brown, <span class="quote">
 Salon.com, 1 June 2001, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #42</a>.  See also Jon Healey,
 <span class="quote">«<span class="quote">Online Music Services Besieged,</span>»</span> <em class="citetitle">Los Angeles
 Times</em>, 28 May 2001.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2736929" href="#id2736929" class="para">161</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042335" href="#id3042335" class="para">161</a>] </sup>
 
 Rafe Needleman, <span class="quote">«<span class="quote">Driving in Cars with MP3s</span>»</span>,
 <em class="citetitle">Business 2.0</em>, 16. juni 2003, tilgjengelig via <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #43</a>. Jeg er Dr. Mohammad
-Al-Ubaydli takknemlig mot for dette eksemplet.  <a class="indexterm" name="id2737366"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737530" href="#id2737530" class="para">162</a>] </sup>
+Al-Ubaydli takknemlig mot for dette eksemplet.  <a class="indexterm" name="id3042763"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042921" href="#id3042921" class="para">162</a>] </sup>
  
 <span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster World,</span>»</span>
 GartnerG2 and the Berkman Center for Internet and Society at Harvard Law
 School (2003), 33&#8211;35, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737561" href="#id2737561" class="para">163</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042952" href="#id3042952" class="para">163</a>] </sup>
 
 
 GartnerG2, 26&#8211;27.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737593" href="#id2737593" class="para">164</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042984" href="#id3042984" class="para">164</a>] </sup>
 
 
 See David McGuire, <span class="quote">«<span class="quote">Tech Execs Square Off Over Piracy,</span>»</span>
 Newsbytes, February 2002 (Entertainment).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737661" href="#id2737661" class="para">165</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043052" href="#id3043052" class="para">165</a>] </sup>
 
 Jessica Litman, <em class="citetitle">Digital Copyright</em> (Amherst, N.Y.:
-Prometheus Books, 2001).  <a class="indexterm" name="id2737669"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737698" href="#id2737698" class="para">166</a>] </sup>
+Prometheus Books, 2001).  <a class="indexterm" name="id3043060"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043089" href="#id3043089" class="para">166</a>] </sup>
 
-<a class="indexterm" name="id2737701"></a> The only circuit court exception is
+<a class="indexterm" name="id3043092"></a> The only circuit court exception is
 found in <em class="citetitle">Recording Industry Association of America
 (RIAA)</em> v. <em class="citetitle">Diamond Multimedia Systems</em>, 180
 F. 3d 1072 (9th Cir. 1999). There the court of appeals for the Ninth Circuit
@@ -8018,9 +8018,9 @@ Inc</em>. v. <em class="citetitle">Grokster, Ltd</em>., 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.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737742" href="#id2737742" class="para">167</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043133" href="#id3043133" class="para">167</a>] </sup>
 
-<a class="indexterm" name="id2737745"></a> For example, in July 2002,
+<a class="indexterm" name="id3043136"></a> For example, in July 2002,
 Representative Howard Berman introduced the Peer-to-Peer Piracy Prevention
 Act (H.R. 5211), which would immunize copyright holders from liability for
 damage done to computers when the copyright holders use technology to stop
@@ -8032,17 +8032,17 @@ 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,
 <span class="quote">«<span class="quote">Copyright and Digital Media in a Post-Napster World,</span>»</span> 27 June
-2003, 33&#8211;34, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.  <a class="indexterm" name="id2737782"></a> <a class="indexterm" name="id2737788"></a>
-<a class="indexterm" name="id2737795"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737346" href="#id2737346" class="para">168</a>] </sup>
+2003, 33&#8211;34, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #44</a>.  <a class="indexterm" name="id3043173"></a> <a class="indexterm" name="id3043180"></a>
+<a class="indexterm" name="id3043186"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3042743" href="#id3042743" class="para">168</a>] </sup>
 
 
 Lessing, 239.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2737954" href="#id2737954" class="para">169</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043345" href="#id3043345" class="para">169</a>] </sup>
 
 
 Ibid., 229.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738019" href="#id2738019" class="para">170</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043410" href="#id3043410" class="para">170</a>] </sup>
 
 This example was derived from fees set by the original Copyright Arbitration
 Royalty Panel (CARP) proceedings, and is drawn from an example offered by
@@ -8058,39 +8058,39 @@ 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.</span>»</span> <a class="indexterm" name="id2738056"></a>
-<a class="indexterm" name="id2738066"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738394" href="#id2738394" class="para">171</a>] </sup>
+media-neutral way.</span>»</span> <a class="indexterm" name="id3043448"></a>
+<a class="indexterm" name="id3043458"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043785" href="#id3043785" class="para">171</a>] </sup>
  
 Mike Graziano and Lee Rainie, <span class="quote">«<span class="quote">The Music Downloading Deluge,</span>»</span>
 Pew Internet and American Life Project (24 April 2001), available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #46</a>.  The Pew Internet and
 American Life Project reported that 37 million Americans had downloaded
 music files from the Internet by early 2001.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738009" href="#id2738009" class="para">172</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043400" href="#id3043400" class="para">172</a>] </sup>
 
 
 Alex Pham, <span class="quote">«<span class="quote">The Labels Strike Back: N.Y. Girl Settles RIAA
 Case,</span>»</span> <em class="citetitle">Los Angeles Times</em>, 10 September 2003,
 Business.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738483" href="#id2738483" class="para">173</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043874" href="#id3043874" class="para">173</a>] </sup>
 
 
 Jeffrey A. Miron and Jeffrey Zwiebel, <span class="quote">«<span class="quote">Alcohol Consumption During
 Prohibition,</span>»</span> <em class="citetitle">American Economic Review</em> 81,
 no. 2 (1991): 242.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738502" href="#id2738502" class="para">174</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043892" href="#id3043892" class="para">174</a>] </sup>
 
 
 National Drug Control Policy: Hearing Before the House Government Reform
 Committee, 108th Cong., 1st sess. (5 March 2003) (statement of John
 P. Walters, director of National Drug Control Policy).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738520" href="#id2738520" class="para">175</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3043910" href="#id3043910" class="para">175</a>] </sup>
 
 
 See James Andreoni, Brian Erard, and Jonathon Feinstein, <span class="quote">«<span class="quote">Tax
 Compliance,</span>»</span> <em class="citetitle">Journal of Economic Literature</em> 36
 (1998): 818 (survey of compliance literature).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738931" href="#id2738931" class="para">176</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3044322" href="#id3044322" class="para">176</a>] </sup>
 
 
 See Frank Ahrens, <span class="quote">«<span class="quote">RIAA's Lawsuits Meet Surprised Targets; Single
@@ -8105,12 +8105,12 @@ September 2003, 4D; John Schwartz, <span class="quote">
 Snoop Fan, Either,</span>»</span> <em class="citetitle">New York Times</em>, 25
 September 2003, C1; Margo Varadi, <span class="quote">«<span class="quote">Is Brianna a Criminal?</span>»</span>
 <em class="citetitle">Toronto Star</em>, 18 September 2003, P7.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2738992" href="#id2738992" class="para">177</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3044382" href="#id3044382" class="para">177</a>] </sup>
 
 
 Se Nick Brown, <span class="quote">«<span class="quote">Fair Use No More?: Copyright in the Information
 Age</span>»</span>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #49</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2739038" href="#id2739038" class="para">178</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3044429" href="#id3044429" class="para">178</a>] </sup>
 
 
 See Jeff Adler, <span class="quote">«<span class="quote">Cambridge: On Campus, Pirates Are Not
@@ -8186,7 +8186,7 @@ It didn't work&#8212;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.
-</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="id2739391"></a><p>
+</p><a class="indexterm" name="idxdisneywalt5"></a><a class="indexterm" name="id3044781"></a><p>
 
 Eldred's library was not simply a copy of certain public domain works,
 though even a copy would have been of great value to people across the world
@@ -8207,7 +8207,7 @@ successfully (<em class="citetitle">Cinderella</em>), sometimes not
 (<em class="citetitle">The Hunchback of Notre Dame</em>, <em class="citetitle">Treasure
 Planet</em>). These are all commercial publications of public domain
 works.
-</p><a class="indexterm" name="id2739441"></a><a class="indexterm" name="id2739452"></a><p>
+</p><a class="indexterm" name="id3044830"></a><a class="indexterm" name="id3044842"></a><p>
 The Internet created the possibility of noncommercial publications of public
 domain works. Eldred's is just one example. There are literally thousands of
 others. Hundreds of thousands from across the world have discovered this
@@ -8216,7 +8216,7 @@ for the taking. This has produced what we might call the
 <span class="quote">«<span class="quote">noncommercial publishing industry,</span>»</span> 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.<sup>[<a name="id2739479" href="#ftn.id2739479" class="footnote">179</a>]</sup>
+groups dedicated to spreading culture generally.<sup>[<a name="id3044869" href="#ftn.id3044869" class="footnote">179</a>]</sup>
 </p><p>
 As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection
 of poems <em class="citetitle">New Hampshire</em> was slated to pass into the
@@ -8228,13 +8228,13 @@ any works more recent than 1923 to his collection until 2019.  Indeed, no
 copyrighted work would pass into the public domain until that year (and not
 even then, if Congress extends the term again). By contrast, in the same
 period, more than 1 million patents will pass into the public domain.
-</p><a class="indexterm" name="id2739520"></a><a class="indexterm" name="id2739536"></a><p>
+</p><a class="indexterm" name="id3044917"></a><a class="indexterm" name="id3044933"></a><p>
 
 
 This was the Sonny Bono Copyright Term Extension Act (CTEA), enacted in
 memory of the congressman and former musician Sonny Bono, who, his widow,
 Mary Bono, says, believed that <span class="quote">«<span class="quote">copyrights should be
-forever.</span>»</span><sup>[<a name="id2739551" href="#ftn.id2739551" class="footnote">180</a>]</sup>
+forever.</span>»</span><sup>[<a name="id3044948" href="#ftn.id3044948" class="footnote">180</a>]</sup>
 
 </p><p>
 Eldred decided to fight this law. He first resolved to fight it through
@@ -8263,7 +8263,7 @@ something quite specific&#8212;to <span class="quote">
 Progress</span>»</span>&#8212;through means that are also specific&#8212; by
 <span class="quote">«<span class="quote">securing</span>»</span> <span class="quote">«<span class="quote">exclusive Rights</span>»</span> (i.e., copyrights)
 <span class="quote">«<span class="quote">for limited Times.</span>»</span>
-</p><a class="indexterm" name="id2739651"></a><p>
+</p><a class="indexterm" name="id3045048"></a><p>
 
 In the past forty years, Congress has gotten into the practice of extending
 existing terms of copyright protection. What puzzled me about this was, if
@@ -8360,10 +8360,10 @@ In the lobbying that led to the passage of the Sonny Bono Copyright Term
 Extension Act, this <span class="quote">«<span class="quote">theory</span>»</span> 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.<sup>[<a name="id2739872" href="#ftn.id2739872" class="footnote">181</a>]</sup> The RIAA and the MPAA are estimated to have spent
+Senate, eight of the twelve sponsors received contributions.<sup>[<a name="id3045269" href="#ftn.id3045269" class="footnote">181</a>]</sup> 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.<sup>[<a name="id2739891" href="#ftn.id2739891" class="footnote">182</a>]</sup> Disney is estimated to have contributed more than $800,000 to
-reelection campaigns in the cycle.<sup>[<a name="id2739911" href="#ftn.id2739911" class="footnote">183</a>]</sup>
+than $200,000 in campaign contributions.<sup>[<a name="id3045288" href="#ftn.id3045288" class="footnote">182</a>]</sup> Disney is estimated to have contributed more than $800,000 to
+reelection campaigns in the cycle.<sup>[<a name="id3045308" href="#ftn.id3045308" class="footnote">183</a>]</sup>
 
 </p><p>
 <span class="strong"><strong>Constitutional law</strong></span> is not oblivious to
@@ -8396,7 +8396,7 @@ 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.
-</p><a class="indexterm" name="id2739998"></a><p>
+</p><a class="indexterm" name="id3045395"></a><p>
 The Supreme Court, under Chief Justice Rehnquist's command, changed that in
 <em class="citetitle">United States</em> v. <em class="citetitle">Lopez</em>. The
 government had argued that possessing guns near schools affected interstate
@@ -8409,15 +8409,15 @@ activity affects interstate commerce. The Supreme Court, the government
 said, was not in the position to second-guess Congress.
 </p><p>
 <span class="quote">«<span class="quote">We pause to consider the implications of the government's
-arguments,</span>»</span> the Chief Justice wrote.<sup>[<a name="id2740034" href="#ftn.id2740034" class="footnote">184</a>]</sup> If anything Congress says is interstate commerce must therefore be
+arguments,</span>»</span> the Chief Justice wrote.<sup>[<a name="id3045431" href="#ftn.id3045431" class="footnote">184</a>]</sup> If anything Congress says is interstate commerce must therefore be
 considered interstate commerce, then there would be no limit to Congress's
 power. The decision in <em class="citetitle">Lopez</em> was reaffirmed five
 years later in <em class="citetitle">United States</em>
-v. <em class="citetitle">Morrison</em>.<sup>[<a name="id2740063" href="#ftn.id2740063" class="footnote">185</a>]</sup>
+v. <em class="citetitle">Morrison</em>.<sup>[<a name="id3045460" href="#ftn.id3045460" class="footnote">185</a>]</sup>
 </p><p>
 
 If a principle were at work here, then it should apply to the Progress
-Clause as much as the Commerce Clause.<sup>[<a name="id2740087" href="#ftn.id2740087" class="footnote">186</a>]</sup>
+Clause as much as the Commerce Clause.<sup>[<a name="id3045484" href="#ftn.id3045484" class="footnote">186</a>]</sup>
 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 <span class="quote">«<span class="quote">stopping
@@ -8437,7 +8437,7 @@ 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.
-</p><a class="indexterm" name="id2740148"></a><a class="indexterm" name="id2740157"></a><a class="indexterm" name="id2740167"></a><a class="indexterm" name="id2740176"></a><p>
+</p><a class="indexterm" name="id3045545"></a><a class="indexterm" name="id3045554"></a><a class="indexterm" name="id3045564"></a><a class="indexterm" name="id3045573"></a><p>
 <span class="strong"><strong>Now let's pause</strong></span> for a moment to make sure
 we understand what the argument in <em class="citetitle">Eldred</em> was not
 about. By insisting on the Constitution's limits to copyright, obviously
@@ -8453,10 +8453,10 @@ power&#8212;expressed through the power of lobbyists' money&#8212;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.
-</p><a class="indexterm" name="id2740196"></a><p>
+</p><a class="indexterm" name="id3045593"></a><p>
 Some people view the public domain with contempt. In their brief before the
 Supreme Court, the Nashville Songwriters Association wrote that the public
-domain is nothing more than <span class="quote">«<span class="quote">legal piracy.</span>»</span><sup>[<a name="id2740227" href="#ftn.id2740227" class="footnote">187</a>]</sup> But it is not piracy when the law allows it; and in
+domain is nothing more than <span class="quote">«<span class="quote">legal piracy.</span>»</span><sup>[<a name="id3045624" href="#ftn.id3045624" class="footnote">187</a>]</sup> 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.
@@ -8484,7 +8484,7 @@ 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.<sup>[<a name="id2740307" href="#ftn.id2740307" class="footnote">188</a>]</sup>
+generally.<sup>[<a name="id3045696" href="#ftn.id3045696" class="footnote">188</a>]</sup>
 
 </p><p>
 
@@ -8494,7 +8494,7 @@ as a businessperson, and not as a lawyer eager for more legal work. In 1930,
 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?
-</p><a class="indexterm" name="id2740337"></a><p>
+</p><a class="indexterm" name="id3045726"></a><p>
 Well, first, you'd have to determine which of the 9,873 books were still
 under copyright. That requires going to a library (these data are not
 on-line) and paging through tomes of books, cross-checking the titles and
@@ -8550,7 +8550,7 @@ to be used.
 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.
-</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="id2740459"></a><a class="indexterm" name="id2740466"></a><a class="indexterm" name="id2740473"></a><p>
+</p><a class="indexterm" name="idxageemichael"></a><a class="indexterm" name="id3045848"></a><a class="indexterm" name="id3045855"></a><a class="indexterm" name="id3045862"></a><p>
 Consider the story of Michael Agee, chairman of Hal Roach Studios, which
 owns the copyrights for the Laurel and Hardy films. Agee is a direct
 beneficiary of the Bono Act. The Laurel and Hardy films were made between
@@ -8560,7 +8560,7 @@ 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, <span class="quote">«<span class="quote">Roach has sold about 60,000
 videocassettes and 50,000 DVDs of the duo's silent
-films.</span>»</span><sup>[<a name="id2740498" href="#ftn.id2740498" class="footnote">189</a>]</sup>
+films.</span>»</span><sup>[<a name="id3045887" href="#ftn.id3045887" class="footnote">189</a>]</sup>
 </p><p>
 Yet Agee opposed the CTEA. His reasons demonstrate a rare virtue in this
 culture: selflessness. He argued in a brief before the Supreme Court that
@@ -8579,7 +8579,7 @@ 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.<sup>[<a name="id2740555" href="#ftn.id2740555" class="footnote">190</a>]</sup>
+cost as little as $100 to digitize one hour of mm film.<sup>[<a name="id3045944" href="#ftn.id3045944" class="footnote">190</a>]</sup>
 
 </p><p>
 Restoration technology is not the only cost, nor the most important.
@@ -8611,7 +8611,7 @@ 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.
-</p><a class="indexterm" name="id2740637"></a><p>
+</p><a class="indexterm" name="id3046026"></a><p>
 But by the time the copyright for these films expires, the film will have
 expired. These films were produced on nitrate-based stock, and nitrate stock
 dissolves over time. They will be gone, and the metal canisters in which
@@ -8713,7 +8713,7 @@ library is bigger than this&#8212;if you think its role is to archive
 culture, whether there's a demand for any particular bit of that culture or
 not&#8212;then we can't count on the commercial market to do our library
 work for us.
-</p><a class="indexterm" name="id2740836"></a><p>
+</p><a class="indexterm" name="id3046225"></a><p>
 I would be the first to agree that it should do as much as it can: We should
 rely upon the market as much as possible to spread and enable culture. My
 message is absolutely not antimarket. But where we see the market is not
@@ -8721,7 +8721,7 @@ 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.<sup>[<a name="id2740874" href="#ftn.id2740874" class="footnote">191</a>]</sup>
+value, then 6 percent is a failure to provide that value.<sup>[<a name="id3046254" href="#ftn.id3046254" class="footnote">191</a>]</sup>
 
 </p><p>
 <span class="strong"><strong>In January 1999</strong></span>, we filed a lawsuit on
@@ -8752,7 +8752,7 @@ 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 <span class="quote">«<span class="quote">en banc</span>»</span> to hear the case.
-</p><a class="indexterm" name="id2740962"></a><p>
+</p><a class="indexterm" name="id3046342"></a><p>
 
 The Court of Appeals rejected our request to hear the case en banc.  This
 time, Judge Sentelle was joined by the most liberal member of the
@@ -8783,7 +8783,7 @@ Men min klient og disse vennene tok feil. Denne saken kunne v
 burde ha vært vunnet.  Og uansett hvor hardt jeg prøver å fortelle den
 historien til meg selv, kan jeg aldri unnslippe troen på at det er min feil
 at vi ikke vant.
-</p><a class="indexterm" name="id2741026"></a><p>
+</p><a class="indexterm" name="id3046406"></a><p>
 
 <span class="strong"><strong>Feil</strong></span> ble gjort tidlig, skjønt den ble
 først åpenbart på slutten. Vår sak hadde støtte hos en ekstraordinær
@@ -8792,7 +8792,7 @@ 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.
-</p><a class="indexterm" name="id2741056"></a><a class="indexterm" name="id2741063"></a><a class="indexterm" name="id2741069"></a><p>
+</p><a class="indexterm" name="id3046436"></a><a class="indexterm" name="id3046442"></a><a class="indexterm" name="id3046449"></a><p>
 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
@@ -8841,7 +8841,7 @@ views. To show that this claim against the CTEA was grounded in
 widest range of credible critics&#8212;credible not because they were rich
 and famous, but because they, in the aggregate, demonstrated that this law
 was unconstitutional regardless of one's politics.
-</p><a class="indexterm" name="id2741169"></a><a class="indexterm" name="id2741181"></a><p>
+</p><a class="indexterm" name="id3046561"></a><a class="indexterm" name="id3046573"></a><p>
 The first step happened all by itself. Phyllis Schlafly's organization,
 Eagle Forum, had been an opponent of the CTEA from the very beginning.
 Mrs. Schlafly viewed the CTEA as a sellout by Congress. In November 1998,
@@ -8860,7 +8860,7 @@ 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.
-</p><a class="indexterm" name="id2741218"></a><a class="indexterm" name="id2741225"></a><a class="indexterm" name="id2741232"></a><a class="indexterm" name="id2741239"></a><p>
+</p><a class="indexterm" name="id3046610"></a><a class="indexterm" name="id3046617"></a><a class="indexterm" name="id3046624"></a><a class="indexterm" name="id3046631"></a><p>
 
 In the Supreme Court, the briefs on our side were about as diverse as it
 gets. They included an extraordinary historical brief by the Free Software
@@ -8870,17 +8870,17 @@ 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.
-</p><a class="indexterm" name="id2741262"></a><a class="indexterm" name="id2741269"></a><p>
+</p><a class="indexterm" name="id3046654"></a><a class="indexterm" name="id3046661"></a><p>
 Those briefs framed a legal argument. Then to support the legal argument,
 there were a number of powerful briefs by libraries and archives, including
 the Internet Archive, the American Association of Law Libraries, and the
 National Writers Union.
-</p><a class="indexterm" name="id2741284"></a><p>
+</p><a class="indexterm" name="id3046676"></a><p>
 But two briefs captured the policy argument best. One made the argument I've
 already described: A brief by Hal Roach Studios argued that unless the law
 was struck, a whole generation of American film would disappear. The other
 made the economic argument absolutely clear.
-</p><a class="indexterm" name="id2741298"></a><a class="indexterm" name="id2741305"></a><a class="indexterm" name="id2741312"></a><a class="indexterm" name="id2741319"></a><a class="indexterm" name="id2741326"></a><p>
+</p><a class="indexterm" name="id3046690"></a><a class="indexterm" name="id3046697"></a><a class="indexterm" name="id3046704"></a><a class="indexterm" name="id3046711"></a><a class="indexterm" name="id3046718"></a><p>
 This economists' brief was signed by seventeen economists, including five
 Nobel Prize winners, including Ronald Coase, James Buchanan, Milton
 Friedman, Kenneth Arrow, and George Akerlof. The economists, as the list of
@@ -8890,7 +8890,7 @@ terms of existing copyrights would do anything to increase incentives to
 create. Such extensions were nothing more than
 <span class="quote">«<span class="quote">rent-seeking</span>»</span>&#8212;the fancy term economists use to describe
 special-interest legislation gone wild.
-</p><a class="indexterm" name="id2741350"></a><a class="indexterm" name="id2741356"></a><a class="indexterm" name="id2741363"></a><a class="indexterm" name="id2741370"></a><p>
+</p><a class="indexterm" name="id3046742"></a><a class="indexterm" name="id3046748"></a><a class="indexterm" name="id3046755"></a><a class="indexterm" name="id3046762"></a><p>
 
 The same effort at balance was reflected in the legal team we gathered to
 write our briefs in the case. The Jones Day lawyers had been with us from
@@ -8901,7 +8901,7 @@ 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.
-</p><a class="indexterm" name="id2741395"></a><p>
+</p><a class="indexterm" name="id3046787"></a><a class="indexterm" name="id3046793"></a><a class="indexterm" name="id3046803"></a><p>
 Fried was a special victory for our side. Every other former solicitor
 general was hired by the other side to defend Congress's power to give media
 companies the special favor of extended copyright terms. Fried was the only
@@ -8924,17 +8924,17 @@ 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.
-</p><a class="indexterm" name="id2741429"></a><p>
+</p><a class="indexterm" name="id3046840"></a><a class="indexterm" name="id3046856"></a><a class="indexterm" name="id3046862"></a><p>
 
 Dr. Seuss's representatives, for example, argued that it was better for the
 Dr. Seuss estate to control what happened to Dr. Seuss's work&#8212; better
 than allowing it to fall into the public domain&#8212;because if this
 creativity were in the public domain, then people could use it to
-<span class="quote">«<span class="quote">glorify drugs or to create pornography.</span>»</span><sup>[<a name="id2741458" href="#ftn.id2741458" class="footnote">192</a>]</sup> That was also the motive of the Gershwin estate,
+<span class="quote">«<span class="quote">glorify drugs or to create pornography.</span>»</span><sup>[<a name="id3046883" href="#ftn.id3046883" class="footnote">192</a>]</sup> That was also the motive of the Gershwin estate,
 which defended its <span class="quote">«<span class="quote">protection</span>»</span> of the work of George
 Gershwin. They refuse, for example, to license <em class="citetitle">Porgy and
 Bess</em> to anyone who refuses to use African Americans in the
-cast.<sup>[<a name="id2741484" href="#ftn.id2741484" class="footnote">193</a>]</sup> That's their view of how this
+cast.<sup>[<a name="id3046909" href="#ftn.id3046909" class="footnote">193</a>]</sup> 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.
 </p><p>
@@ -8958,7 +8958,7 @@ favorites, through copyright, with who has the right to speak.
 <span class="strong"><strong>Between February</strong></span> and October, there was
 little I did beyond preparing for this case. Early on, as I said, I set the
 strategy.
-</p><a class="indexterm" name="id2741541"></a><a class="indexterm" name="id2741548"></a><p>
+</p><a class="indexterm" name="id3046966"></a><a class="indexterm" name="id3046973"></a><p>
 The Supreme Court was divided into two important camps. One camp we called
 <span class="quote">«<span class="quote">the Conservatives.</span>»</span> The other we called <span class="quote">«<span class="quote">the
 Rest.</span>»</span> The Conservatives included Chief Justice Rehnquist, Justice
@@ -8967,7 +8967,7 @@ had been the most consistent in limiting Congress's power. They were the
 five who had supported the <em class="citetitle">Lopez/Morrison</em> line of
 cases that said that an enumerated power had to be interpreted to assure
 that Congress's powers had limits.
-</p><a class="indexterm" name="id2741578"></a><a class="indexterm" name="idxginsburg"></a><p>
+</p><a class="indexterm" name="id3047002"></a><a class="indexterm" name="idxginsburg"></a><p>
 
 The Rest were the four Justices who had strongly opposed limits on
 Congress's power. These four&#8212;Justice Stevens, Justice Souter, Justice
@@ -8986,13 +8986,13 @@ 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.
-</p><a class="indexterm" name="id2741627"></a><p>
+</p><a class="indexterm" name="id3047061"></a><p>
 Close behind Justice Ginsburg were two justices whom we also viewed as
 unlikely allies, though possible surprises. Justice Souter strongly favored
 deference to Congress, as did Justice Breyer. But both were also very
 sensitive to free speech concerns. And as we strongly believed, there was a
 very important free speech argument against these retrospective extensions.
-</p><a class="indexterm" name="id2741643"></a><p>
+</p><a class="indexterm" name="id3047077"></a><p>
 The only vote we could be confident about was that of Justice
 Stevens. History will record Justice Stevens as one of the greatest judges
 on this Court. His votes are consistently eclectic, which just means that no
@@ -9054,7 +9054,7 @@ 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.
-</p><a class="indexterm" name="id2741780"></a><a class="indexterm" name="id2741787"></a><a class="indexterm" name="id2741794"></a><p>
+</p><a class="indexterm" name="id3047225"></a><a class="indexterm" name="id3047232"></a><a class="indexterm" name="id3047238"></a><p>
 One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He
 had served in the Reagan Justice Department with Solicitor General Charles
 Fried. He had argued many cases before the Supreme Court. And in his review
@@ -9065,7 +9065,7 @@ 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&#8212;passionately get them to see the harm. For if they don't see
 that, then we haven't any chance of winning.</span>»</span>
-</p><a class="indexterm" name="id2741814"></a><p>
+</p><a class="indexterm" name="id3047258"></a><p>
 He may have argued many cases before this Court, I thought, but he didn't
 understand its soul. As a clerk, I had seen the Justices do the right
 thing&#8212;not because of politics but because it was right. As a law
@@ -9098,7 +9098,7 @@ 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.
-</p><a class="indexterm" name="id2741881"></a><p>
+</p><a class="indexterm" name="id3047326"></a><p>
 Justice O'Connor stopped me within one minute of my opening.  The history
 was bothering her.
 </p><div class="blockquote"><blockquote class="blockquote"><p>
@@ -9133,7 +9133,7 @@ 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.
-</p></blockquote></div><a class="indexterm" name="id2741961"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3047406"></a><p>
 That was a correct answer, but it wasn't the right answer. The right answer
 was instead that there was an obvious and profound harm. Any number of
 briefs had been written about it. He wanted to hear it. And here was the
@@ -9157,7 +9157,7 @@ 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.
-</p></blockquote></div><a class="indexterm" name="id2742012"></a><p>
+</p></blockquote></div><a class="indexterm" name="id3047456"></a><p>
 Things went better for us when the government gave its argument; for now the
 Court picked up on the core of our claim. As Justice Scalia asked Solicitor
 General Olson,
@@ -9217,7 +9217,7 @@ principle in this case from the principle in
 <em class="citetitle">Lopez</em>. The argument was nowhere to be found. The case
 was not even cited. The argument that was the core argument of our case did
 not even appear in the Court's opinion.
-</p><a class="indexterm" name="id2742131"></a><p>
+</p><a class="indexterm" name="id3047575"></a><p>
 
 
 
@@ -9248,7 +9248,7 @@ 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.
-</p><a class="indexterm" name="id2742181"></a><p>
+</p><a class="indexterm" name="id3047626"></a><p>
 Justices Breyer and Stevens wrote very strong dissents. Stevens's opinion
 was crafted internal to the law: He argued that the tradition of
 intellectual property law should not support this unjustified extension of
@@ -9258,7 +9258,7 @@ parallel&#8212;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.
-</p><a class="indexterm" name="id2742151"></a><p>
+</p><a class="indexterm" name="id3047595"></a><p>
 
 
 Justice Breyer's opinion, perhaps the best opinion he has ever written, was
@@ -9281,7 +9281,7 @@ Prince.
 <span class="strong"><strong>Defeat brings depression</strong></span>. 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.
-</p><a class="indexterm" name="id2742265"></a><p>
+</p><a class="indexterm" name="id3047710"></a><p>
 It was first anger with the five <span class="quote">«<span class="quote">Conservatives.</span>»</span> It would have
 been one thing for them to have explained why the principle of
 <em class="citetitle">Lopez</em> didn't apply in this case. That wouldn't have
@@ -9310,7 +9310,7 @@ consistent with their own principles.
 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.
-</p><a class="indexterm" name="id2742332"></a><p>
+</p><a class="indexterm" name="id3047776"></a><p>
 Most lawyers, and most law professors, have little patience for idealism
 about courts in general and this Supreme Court in particular.  Most have a
 much more pragmatic view. When Don Ayer said that this case would be won
@@ -9336,7 +9336,7 @@ 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.
-</p><a class="indexterm" name="id2742375"></a><a class="indexterm" name="id2742381"></a><p>
+</p><a class="indexterm" name="id3047819"></a><a class="indexterm" name="id3047826"></a><p>
 Would it have been different if I had argued it differently? Would it have
 been different if Don Ayer had argued it? Or Charles Fried? Or Kathleen
 Sullivan?
@@ -9351,7 +9351,7 @@ 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.
-</p><a class="indexterm" name="id2742410"></a><p>
+</p><a class="indexterm" name="id3047855"></a><p>
 And even if I couldn't, then that doesn't excuse what happened in
 January. For at the start of this case, one of America's leading
 intellectual property professors stated publicly that my bringing this case
@@ -9387,8 +9387,8 @@ creative ferment.
 The best responses were in the cartoons. There was a gaggle of hilarious
 images&#8212;of Mickey in jail and the like. The best, from my view of the
 case, was Ruben Bolling's, reproduced on the next page (<a class="xref" href="#fig-18" title="Figur 13.1. Tom the Dancing Bug cartoon">Figur 13.1, &#8220;Tom the Dancing Bug cartoon&#8221;</a>). The <span class="quote">«<span class="quote">powerful and wealthy</span>»</span> line is a bit
-unfair. But the punch in the face felt exactly like that.  <a class="indexterm" name="id2742497"></a>
-</p><div class="figure"><a name="fig-18"></a><p class="title"><b>Figur 13.1. Tom the Dancing Bug cartoon</b></p><div class="figure-contents"><div><img src="images/18.png" alt="Tom the Dancing Bug cartoon"></div><a class="indexterm" name="id2742520"></a></div></div><br class="figure-break"><p>
+unfair. But the punch in the face felt exactly like that.  <a class="indexterm" name="id3047950"></a>
+</p><div class="figure"><a name="fig-18"></a><p class="title"><b>Figur 13.1. Tom the Dancing Bug cartoon</b></p><div class="figure-contents"><div><img src="images/18.png" alt="Tom the Dancing Bug cartoon"></div><a class="indexterm" name="id3047974"></a></div></div><br class="figure-break"><p>
 The image that will always stick in my head is that evoked by the quote from
 <em class="citetitle">The New York Times</em>. That <span class="quote">«<span class="quote">grand
 experiment</span>»</span> we call the <span class="quote">«<span class="quote">public domain</span>»</span> is over? When I
@@ -9397,56 +9397,56 @@ Constitution.</span>
 Constitution a commitment to free culture. In the case that I fathered, the
 Supreme Court effectively renounced that commitment. A better lawyer would
 have made them see differently.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2739479" href="#id2739479" class="para">179</a>] </sup>
-
-
-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&#8212;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.</p></div><div class="footnote"><p><sup>[<a id="ftn.id2739551" href="#id2739551" class="para">180</a>] </sup>
-
-<a class="indexterm" name="id2739557"></a> <a class="indexterm" name="id2739566"></a> The full text is: <span class="quote">«<span class="quote">Sonny [Bono] wanted the term of copyright
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3044869" href="#id3044869" class="para">179</a>] </sup>
+
+<a class="indexterm" name="id3044872"></a> There's a parallel here with
+pornography that is a bit hard to describe, but it's a strong one. One
+phenomenon that the Internet created was a world of noncommercial
+pornographers&#8212;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.</p></div><div class="footnote"><p><sup>[<a id="ftn.id3044948" href="#id3044948" class="para">180</a>] </sup>
+
+<a class="indexterm" name="id3044954"></a> <a class="indexterm" name="id3044963"></a> The full text is: <span class="quote">«<span class="quote">Sonny [Bono] wanted the term of copyright
 protection to last forever. I am informed by staff that such a change would
 violate the Constitution. I invite all of you to work with me to 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,</span>»</span> 144
 Cong. Rec. H9946, 9951-2 (October 7, 1998).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2739872" href="#id2739872" class="para">181</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045269" href="#id3045269" class="para">181</a>] </sup>
  
 Associated Press, <span class="quote">«<span class="quote">Disney Lobbying for Copyright Extension No Mickey
 Mouse Effort; Congress OKs Bill Granting Creators 20 More Years</span>»</span>,
 <em class="citetitle">Chicago Tribune</em>, 17. oktober 1998, 22.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2739891" href="#id2739891" class="para">182</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045288" href="#id3045288" class="para">182</a>] </sup>
  
 Se Nick Brown, <span class="quote">«<span class="quote">Fair Use No More?: Copyright in the Information
 Age</span>»</span>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #49</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2739911" href="#id2739911" class="para">183</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045308" href="#id3045308" class="para">183</a>] </sup>
 
 
 Alan K. Ota, <span class="quote">«<span class="quote">Disney in Washington: The Mouse That Roars</span>»</span>,
 <em class="citetitle">Congressional Quarterly This Week</em>, 8. august 1990,
 tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link
 #50</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740034" href="#id2740034" class="para">184</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045431" href="#id3045431" class="para">184</a>] </sup>
  
 <em class="citetitle">United States</em> v. <em class="citetitle">Lopez</em>, 514
 U.S. 549, 564 (1995).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740063" href="#id2740063" class="para">185</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045460" href="#id3045460" class="para">185</a>] </sup>
 
 
 <em class="citetitle">United States</em> v. <em class="citetitle">Morrison</em>, 529
 U.S. 598 (2000).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740087" href="#id2740087" class="para">186</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045484" href="#id3045484" class="para">186</a>] </sup>
 
 
 If it is a principle about enumerated powers, then the principle carries
@@ -9458,19 +9458,19 @@ the context of the Copyright Clause. Here, too, the government's
 interpretation would allow the government unending power to regulate
 copyrights&#8212;the limitation to <span class="quote">«<span class="quote">limited times</span>»</span>
 notwithstanding.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740227" href="#id2740227" class="para">187</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045624" href="#id3045624" class="para">187</a>] </sup>
 
 
 Brief of the Nashville Songwriters Association,
 <em class="citetitle">Eldred</em> v. <em class="citetitle">Ashcroft</em>, 537 U.S.
 186 (2003) (No. 01-618), n.10, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #51</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740307" href="#id2740307" class="para">188</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045696" href="#id3045696" class="para">188</a>] </sup>
  
 The figure of 2 percent is an extrapolation from the study by the
 Congressional Research Service, in light of the estimated renewal
 ranges. See Brief of Petitioners, <em class="citetitle">Eldred</em>
 v. <em class="citetitle">Ashcroft</em>, 7, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #52</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740498" href="#id2740498" class="para">189</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045887" href="#id3045887" class="para">189</a>] </sup>
 
 
 See David G. Savage, <span class="quote">«<span class="quote">High Court Scene of Showdown on Copyright
@@ -9478,7 +9478,7 @@ Law,</span>
 Streitfeld, <span class="quote">«<span class="quote">Classic Movies, Songs, Books at Stake; Supreme Court
 Hears Arguments Today on Striking Down Copyright Extension,</span>»</span>
 <em class="citetitle">Orlando Sentinel Tribune</em>, 9 October 2002.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740555" href="#id2740555" class="para">190</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045944" href="#id3045944" class="para">190</a>] </sup>
 
 
 Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the
@@ -9487,17 +9487,17 @@ v. <em class="citetitle">Ashcroft</em>, 537 U.S. 186 (2003) (No. 01- 618),
 12. See also Brief of Amicus Curiae filed on behalf of Petitioners by the
 Internet Archive, <em class="citetitle">Eldred</em>
 v. <em class="citetitle">Ashcroft</em>, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #53</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2740874" href="#id2740874" class="para">191</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3046254" href="#id3046254" class="para">191</a>] </sup>
 
 
 Jason Schultz, <span class="quote">«<span class="quote">The Myth of the 1976 Copyright `Chaos' Theory</span>»</span>,
 20 December 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #54</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2741458" href="#id2741458" class="para">192</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3046883" href="#id3046883" class="para">192</a>] </sup>
 
 
 Brief of Amici Dr. Seuss Enterprise et al., <em class="citetitle">Eldred</em>
 v. <em class="citetitle">Ashcroft</em>, 537 U.S.  (2003) (No. 01-618), 19.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2741484" href="#id2741484" class="para">193</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3046909" href="#id3046909" class="para">193</a>] </sup>
 
 
 Dinitia Smith, <span class="quote">«<span class="quote">Immortal Words, Immortal Royalties? Even Mickey Mouse
@@ -9512,7 +9512,7 @@ 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.
-</p><a class="indexterm" name="id2742592"></a><p>
+</p><a class="indexterm" name="id3048046"></a><p>
 It was an act of contrition. During the whole of the flight from San
 Francisco to Washington, I had heard over and over again in my head the same
 advice from Don Ayer: You need to make them see why it is important. And
@@ -9540,7 +9540,7 @@ 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.
-</p><a class="indexterm" name="id2742653"></a><p>
+</p><a class="indexterm" name="id3048107"></a><p>
 The reaction to this idea was amazingly strong. Steve Forbes endorsed it in
 an editorial. I received an avalanche of e-mail and letters expressing
 support. When you focus the issue on lost creativity, people can see the
@@ -9559,11 +9559,11 @@ 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.
-</p><a class="indexterm" name="id2742687"></a><a class="indexterm" name="id2742694"></a><p>
+</p><a class="indexterm" name="id3048141"></a><a class="indexterm" name="id3048148"></a><p>
 
 As I described in chapter <a class="xref" href="#property-i" title="Kapittel ti: «Eiendom»">10</a>, formalities in copyright law were removed in 1976,
 when Congress followed the Europeans by abandoning any formal requirement
-before a copyright is granted.<sup>[<a name="id2742714" href="#ftn.id2742714" class="footnote">194</a>]</sup> The
+before a copyright is granted.<sup>[<a name="id3048168" href="#ftn.id3048168" class="footnote">194</a>]</sup> The
 Europeans are said to view copyright as a <span class="quote">«<span class="quote">natural right.</span>»</span>
 Natural rights don't need forms to exist. Traditions, like the
 Anglo-American tradition that required copyright owners to follow form if
@@ -9576,7 +9576,7 @@ copyright policy. It is absurd especially for authors, because a world
 without formalities harms the creator. The ability to spread <span class="quote">«<span class="quote">Walt
 Disney creativity</span>»</span> is destroyed when there is no simple way to know
 what's protected and what's not.
-</p><a class="indexterm" name="id2742785"></a><p>
+</p><a class="indexterm" name="id3048239"></a><p>
 The fight against formalities achieved its first real victory in Berlin in
 1908. International copyright lawyers amended the Berne Convention in 1908,
 to require copyright terms of life plus fifty years, as well as the
@@ -9638,7 +9638,7 @@ 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, <span class="emphasis"><em>lawyer</em></span> transactions
-take their place.  <a class="indexterm" name="id2742894"></a>
+take their place.  <a class="indexterm" name="id3048348"></a>
 </p><p>
 This was the understanding of the problem with the Sonny Bono Act that we
 tried to demonstrate to the Court. This was the part it didn't
@@ -9688,13 +9688,13 @@ 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?
-</p><a class="indexterm" name="id2742990"></a><p>
+</p><a class="indexterm" name="id3048444"></a><p>
 <span class="strong"><strong>Da Steve Forbes</strong></span> støttet idéen, begynte
 enkelte i Washington å følge med. Mange kontaktet meg med tips til
 representanter som kan være villig til å introdusere en Eldred-lov. og jeg
 hadde noen få som foreslo direkte at de kan være villige til å ta det første
 skrittet.
-</p><a class="indexterm" name="id2743014"></a><p>
+</p><a class="indexterm" name="id3048468"></a><p>
 En representant, Zoe Lofgren fra California, gikk så langt som å få
 lovforslaget utarbeidet. Utkastet løste noen problemer med internasjonal
 lov. Det påla de enklest mulige forutsetninger på innehaverne av
@@ -9763,7 +9763,7 @@ 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.
-</p><a class="indexterm" name="id2743146"></a><p>
+</p><a class="indexterm" name="id3048599"></a><p>
 But when the copyright owners oppose a proposal such as the Eldred Act,
 then, finally, there is an example that lays bare the naked selfinterest
 driving this war. This act would free an extraordinary range of content that
@@ -9797,7 +9797,7 @@ 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.
-</p><a class="indexterm" name="id2743219"></a><a class="indexterm" name="id2743226"></a><p>
+</p><a class="indexterm" name="id3048673"></a><a class="indexterm" name="id3048679"></a><p>
 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
@@ -9811,9 +9811,9 @@ the Internet. The consequence will be an increasing <span class="quote">
 society.</span>»</span> The past can be cultivated only if you can identify the
 owner and gain permission to build upon his work. The future will be
 controlled by this dead (and often unfindable) hand of the past.
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2742714" href="#id2742714" class="para">194</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3048168" href="#id3048168" class="para">194</a>] </sup>
 
-<a class="indexterm" name="id2742721"></a> Until the 1908 Berlin Act of the
+<a class="indexterm" name="id3048174"></a> Until the 1908 Berlin Act of the
 Berne Convention, national copyright legislation sometimes made protection
 depend upon compliance with formalities such as registration, deposit, and
 affixation of notice of the author's claim of copyright. However, starting
@@ -9850,7 +9850,7 @@ av dem $25
 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.<sup>[<a name="id2743362" href="#ftn.id2743362" class="footnote">195</a>]</sup>
+utilgjengelig.<sup>[<a name="id3048816" href="#ftn.id3048816" class="footnote">195</a>]</sup>
 </p><p>
 
 
@@ -9883,12 +9883,12 @@ 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 <span class="quote">«<span class="quote">parallellimport</span>»</span> og er generelt
 tillatt i internasjonal handelslovgivning, og spesifikt tillatt i den
-europeiske union.<sup>[<a name="id2743456" href="#ftn.id2743456" class="footnote">196</a>]</sup>
+europeiske union.<sup>[<a name="id3048909" href="#ftn.id3048909" class="footnote">196</a>]</sup>
 </p><p>
 Men USA var imot lovendringen.  Og de nøyde seg ikke med å være imot. Som
 International Intellectual Property Association karakteriserte det,
 <span class="quote">«<span class="quote">Myndighetene i USA presset Sør-Afrika &#8230; til å ikke tillate
-tvungen lisensiering eller parallellimport</span>»</span><sup>[<a name="id2739635" href="#ftn.id2739635" class="footnote">197</a>]</sup> Gjennom kontoret til USAs handelsrepresentant
+tvungen lisensiering eller parallellimport</span>»</span><sup>[<a name="id3045032" href="#ftn.id3045032" class="footnote">197</a>]</sup> Gjennom kontoret til USAs handelsrepresentant
 (USTR), ba myndighetene Sør-Afrika om å endre loven&#8212;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
@@ -9899,7 +9899,7 @@ ved 
 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.<sup>[<a name="id2743527" href="#ftn.id2743527" class="footnote">198</a>]</sup>
+Sør-Afrika.<sup>[<a name="id3048981" href="#ftn.id3048981" class="footnote">198</a>]</sup>
 </p><p>
 Vi bør sette intervensjonen til USA i sammenheng.  Det er ingen tvil om at
 patenter ikke er den viktigste årsaken til at Afrikanere ikke har tilgang
@@ -9926,7 +9926,7 @@ selskapene betydelig.
 </p><p>
 I stedet var argumentet til fordel for restriksjoner på denne flyten av
 informasjon, som var nødvendig for å redde millioner av liv, et argument om
-eiendoms ukrenkelighet.<sup>[<a name="id2743622" href="#ftn.id2743622" class="footnote">199</a>]</sup>  Det var på
+eiendoms ukrenkelighet.<sup>[<a name="id3049075" href="#ftn.id3049075" class="footnote">199</a>]</sup>  Det var på
 grunn av at <span class="quote">«<span class="quote">intellektuell eiendom</span>»</span> ville bli krenket at disse
 medisinene ikke skulle flomme inn til Afrika.  Det var prinsippet om
 viktigheten av <span class="quote">«<span class="quote">intellektuell eiendom</span>»</span> som fikk disse
@@ -9991,7 +9991,7 @@ ekstremisme.  En slags eiendomsfundamentalisme, uten grunnlag i v
 tradisjon, hersker nå i vår kultur&#8212;sært, og med konsekvenser mer
 alvorlig for spredningen av idéer og kultur enn nesten enhver annen politisk
 enkeltavgjørelse vi som demokrati kan fatte.
-</p><a class="indexterm" name="id2743847"></a><a class="indexterm" name="id2743858"></a><a class="indexterm" name="id2743869"></a><p>
+</p><a class="indexterm" name="id3049233"></a><a class="indexterm" name="id3049311"></a><a class="indexterm" name="id3049322"></a><p>
 
 <span class="strong"><strong>En enkel idé</strong></span> blender oss, og under dekke
 av mørket skjer mye som de fleste av oss ville avvist hvis vi hadde fulgt
@@ -10016,10 +10016,10 @@ innholdskrigen selv hadde fordeler av et mer balansert ideal.  Hykleriet
 rår.  Men i en by som Washington blir ikke hykleriet en gang lagt merke
 til.  Mektige lobbyister, kompliserte problemer og MTV-oppmerksomhetsspenn
 gir en <span class="quote">«<span class="quote">perfekt storm</span>»</span> for fri kultur.
-</p><a class="indexterm" name="id2743955"></a><a class="indexterm" name="id2743965"></a><a class="indexterm" name="id2743972"></a><a class="indexterm" name="id2743979"></a><a class="indexterm" name="id2743986"></a><a class="indexterm" name="id2743993"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
+</p><a class="indexterm" name="id3049408"></a><a class="indexterm" name="id3049418"></a><a class="indexterm" name="id3049425"></a><a class="indexterm" name="id3049432"></a><a class="indexterm" name="id3049439"></a><a class="indexterm" name="id3049446"></a><a class="indexterm" name="idxbiomedicalresearch"></a><p>
 <span class="strong"><strong>I august 2003</strong></span> brøt en kamp ut i USA om en
 avgjørelse fra World Intellectual Property Organiation om å avlyse et
-møte.<sup>[<a name="id2744026" href="#ftn.id2744026" class="footnote">200</a>]</sup> På forespørsel fra en lang rekke
+møte.<sup>[<a name="id3049478" href="#ftn.id3049478" class="footnote">200</a>]</sup> På forespørsel fra en lang rekke
 med interressenter hadde WIPO bestemt å avholde et møte for å diskutere
 <span class="quote">«<span class="quote">åpne og samarbeidende prosjekter for å skape goder for
 felleskapet</span>»</span>.  Disse prosjektene som hadde lyktes i å produsere goder
@@ -10036,8 +10036,8 @@ Amersham Biosciences, AstraZeneca, Aventis, Bayer, Bristol-Myers Squibb,
 Hoffmann-La Roche, Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, og
 Searle.)  Det inkluderte Globalt posisjonssystem (GPS) som Ronald Reagen
 frigjorde tidlig på 1980-tallet.  Og det inkluderte <span class="quote">«<span class="quote">åpen kildekode og
-fri programvare</span>»</span>. <a class="indexterm" name="id2744123"></a> <a class="indexterm" name="id2744133"></a> <a class="indexterm" name="id2744140"></a>
-</p><a class="indexterm" name="id2744148"></a><p>
+fri programvare</span>»</span>. <a class="indexterm" name="id3049576"></a> <a class="indexterm" name="id3049586"></a> <a class="indexterm" name="id3049592"></a>
+</p><a class="indexterm" name="id3049601"></a><p>
 Formålet med møtet var å vurdere denne rekken av prosjekter fra et felles
 perspektiv: at ingen av disse prosjektene hadde som grunnlag immateriell
 ekstremisme. I stedet, hos alle disse, ble immaterielle rettigheter
@@ -10045,12 +10045,12 @@ balansert med avtaler om 
 begrensninger på hvordan proprietære krav kan bli brukt.
 </p><p>
 Dermed var, fra perspektivet i denne boken, denne konferansen
-ideell.<sup>[<a name="id2744176" href="#ftn.id2744176" class="footnote">201</a>]</sup> Prosjektene innenfor temaet var
+ideell.<sup>[<a name="id3049630" href="#ftn.id3049630" class="footnote">201</a>]</sup> 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.
-</p><p>
+</p><a class="indexterm" name="idxworldsummitontheinformationsocietywsis"></a><p>
 
 Faktisk fikk jeg en gang offentlig kjeft for å ikke anerkjenne dette faktum
 om WIPO.  I februar 2003 leverte jeg et nøkkelforedrag på en forberedende
@@ -10076,7 +10076,7 @@ S
 så hadde jeg trodd det var tatt for gitt at WIPO kunne og burde.  Og dermed
 møtet om <span class="quote">«<span class="quote">åpne og samarbeidende prosjekter for å skape
 fellesgoder</span>»</span> virker å passe perfekt for WIPOs agenda.
-</p><a class="indexterm" name="id2744264"></a><p>
+</p><a class="indexterm" name="id3049732"></a><a class="indexterm" name="id3049744"></a><p>
 Men det er ett prosjekt i listen som er svært kontroversielt, i hvert fall
 blant lobbyister. Dette prosjektet er <span class="quote">«<span class="quote">åpen kildekode og fri
 programvare</span>»</span>. Microsoft spesielt er skeptisk til diskusjon om
@@ -10087,7 +10087,7 @@ Microsofts programvare.  Og internasjonalt har mange myndigheter begynt 
 utforske krav om at de skal bruke åpen kildekode eller fri programvare, i
 stedet for <span class="quote">«<span class="quote">proprietær programvare</span>»</span>, til sine egne interne
 behov.
-</p><a class="indexterm" name="id2744300"></a><a class="indexterm" name="id2744310"></a><a class="indexterm" name="id2744316"></a><a class="indexterm" name="id2744323"></a><p>
+</p><a class="indexterm" name="id3049781"></a><a class="indexterm" name="id3049790"></a><a class="indexterm" name="id3049797"></a><a class="indexterm" name="id3049804"></a><p>
 Jeg mener ikke å gå inn i den debatten her.  Det er viktig kun for å gjøre
 det klart at skillet ikke er mellom kommersiell og ikke-kommersiell
 programvare.  Det er mange viktige selskaper som er fundamentalt avhengig av
@@ -10096,8 +10096,8 @@ grad skiftet sitt fokus til GNU/Linux-operativsystemet, det mest ber
 biten av <span class="quote">«<span class="quote">fri programvare</span>»</span>&#8212;og IBM er helt klart en
 kommersiell aktør. Dermed er det å støtte <span class="quote">«<span class="quote">fri programvare</span>»</span>
 ikke å motsette seg kommersielle aktører.  Det er i stedet å støtte en måte
-å drive programvareutvikling som er forskjellig fra Microsofts.<sup>[<a name="id2744358" href="#ftn.id2744358" class="footnote">202</a>]</sup>
-</p><a class="indexterm" name="id2744419"></a><a class="indexterm" name="id2744426"></a><p>
+å drive programvareutvikling som er forskjellig fra Microsofts.<sup>[<a name="id3049838" href="#ftn.id3049838" class="footnote">202</a>]</sup>
+</p><a class="indexterm" name="id3049900"></a><a class="indexterm" name="id3049907"></a><p>
 
 Mer viktig for våre formål, er at å støtte <span class="quote">«<span class="quote">åpen kildekode og fri
 programvare</span>»</span> ikke er å motsette seg opphavsrett. <span class="quote">«<span class="quote">Åpen
@@ -10114,14 +10114,14 @@ opphavsrett r
 programvare, så kunne ikke fri programvare pålegge slike krav på de som tar
 i bruk programvaren.  Den er dermed like avhengig av åndsverksloven som
 Microsoft.
-</p><a class="indexterm" name="id2744481"></a><a class="indexterm" name="id2744488"></a><p>
+</p><a class="indexterm" name="id3049962"></a><a class="indexterm" name="id3049968"></a><p>
 Det er dermed forståelig at Microsoft, som utviklere av proprietær
 programvare, gikk imot et slikt WIPO-møte, og like fullt forståelig at de
 bruker sine lobbyister til å få USAs myndigheter til å gå imot møtet.  Og
 ganske riktig, det er akkurat dette som i følge rapporter hadde skjedd.  I
 følge Jonathan Krim i <em class="citetitle">Washington Post</em>, lyktes
 Microsofts lobbyister i å få USAs myndigheter til å legge ned veto mot et
-slikt møte.<sup>[<a name="id2744517" href="#ftn.id2744517" class="footnote">203</a>]</sup> Og uten støtte fra USA ble
+slikt møte.<sup>[<a name="id3049998" href="#ftn.id3049998" class="footnote">203</a>]</sup> Og uten støtte fra USA ble
 møtet avlyst.
 </p><p>
 Jeg klandrer ikke Microsoft for å gjøre det de kan for å fremme sine egne
@@ -10129,7 +10129,7 @@ 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.
-</p><a class="indexterm" name="id2744552"></a><p>
+</p><a class="indexterm" name="id3050033"></a><p>
 Det som var overraskende var USAs regjerings begrunnelse for å være imot
 møtet.  Igjen, sitert av Krim, forklarte Lois Boland, direktør for
 internasjonale forbindelser ved USAs patent og varemerkekontor, at
@@ -10149,7 +10149,7 @@ at de <span class="quote">
 å avsløre en ekstraordinær mangel på forståelse&#8212;den type feil som er
 tilgivelig hos en førsteårs jusstudent, men pinlig fra en høyt plassert
 statstjenestemann som håndterer utfordringer rundt immaterielle rettigheter.
-</p><a class="indexterm" name="id2744610"></a><p>
+</p><a class="indexterm" name="id3050091"></a><a class="indexterm" name="id3050109"></a><a class="indexterm" name="id3050118"></a><a class="indexterm" name="id3050125"></a><p>
 For det andre, hvem har noen gang hevdet at WIPOs eksklusive mål var å
 <span class="quote">«<span class="quote">fremme</span>»</span> immaterielle rettigheter maksimalt?  Som jeg fikk
 kjeft om på den forberedende konferansen til WSIS, skal WIPO vurdere ikke
@@ -10161,7 +10161,7 @@ balansen.  Men at det skulle v
 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?
-</p><a class="indexterm" name="id2744649"></a><p>
+</p><a class="indexterm" name="id3050156"></a><p>
 For det tredje, selv om en tror at formålet med WIPO var å maksimere
 immaterielle rettigheter, så innehas immaterielle rettigheter, i vår
 tradisjon, av individer og selskaper.  De får bestemme hva som skal gjøres
@@ -10191,9 +10191,9 @@ sikre at landeier i systemet ikke svekke f
 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.
-</p><a class="indexterm" name="id2744761"></a><a class="indexterm" name="id2744767"></a><p>
+</p><a class="indexterm" name="id3050269"></a><a class="indexterm" name="id3050276"></a><p>
 Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget
-vi nå gjør om immaterielle rettigheter.<sup>[<a name="id2744781" href="#ftn.id2744781" class="footnote">204</a>]</sup>
+vi nå gjør om immaterielle rettigheter.<sup>[<a name="id3050289" href="#ftn.id3050289" class="footnote">204</a>]</sup>
 Vi kommer til å få et informasjonssamfunn.  Så mye er sikkert.  Vårt eneste
 valg nå er hvorvidt dette informasjonssamfunnet skal være
 <span class="emphasis"><em>fritt</em></span> eller <span class="emphasis"><em>føydalt</em></span>.  Trenden er
@@ -10222,7 +10222,7 @@ avsl
 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.)
-</p><a class="indexterm" name="id2744871"></a><p>
+</p><a class="indexterm" name="id3050380"></a><p>
 Det var derimot åpenbart at den som postet meldingen ikke støttet idéen.  I
 stedet latterliggjorde forfatteren selve idéen om at i den virkelig verden
 skulle <span class="quote">«<span class="quote">målet</span>»</span> til myndighetene være <span class="quote">«<span class="quote">å fremme den
@@ -10253,7 +10253,7 @@ for 
 mesteparten av vår historie&#8212;fri kultur.
 </p><p>
 Hvis dette er galskap, så la det være mer gærninger.  Snart.
-</p><a class="indexterm" name="id2744962"></a><a class="indexterm" name="id2744969"></a><a class="indexterm" name="id2744975"></a><p>
+</p><a class="indexterm" name="id3050470"></a><a class="indexterm" name="id3050476"></a><a class="indexterm" name="id3050483"></a><p>
 <span class="strong"><strong>Det finnes øyeblikk</strong></span> av håp i denne
 kampen. Og øyeblikk som overrasker. Da FCC vurderte mindre strenge
 eierskapsregler, som ville ytterligere konsentrere medieeierskap, dannet det
@@ -10299,13 +10299,13 @@ evnen til 
 </p><p>
 Hvis vi var Akilles, så ville dette være vår hæl. Dette ville være stedet
 for våre tragedie.
-</p><a class="indexterm" name="id2745104"></a><p>
+</p><a class="indexterm" name="id3050612"></a><p>
 <span class="strong"><strong>Mens jeg skriver</strong></span> disse avsluttende
 ordene, er nyhetene fylt med historier om at RIAA saksøker nesten tre hundre
-individer.<sup>[<a name="id2745122" href="#ftn.id2745122" class="footnote">205</a>]</sup>  Eminem har nettopp blitt
-saksøkt for å ha <span class="quote">«<span class="quote">samplet</span>»</span> noen andres musikk.<sup>[<a name="id2745191" href="#ftn.id2745191" class="footnote">206</a>]</sup>  Historien om hvordan Bob Dylan har
+individer.<sup>[<a name="id3050630" href="#ftn.id3050630" class="footnote">205</a>]</sup>  Eminem har nettopp blitt
+saksøkt for å ha <span class="quote">«<span class="quote">samplet</span>»</span> noen andres musikk.<sup>[<a name="id3050699" href="#ftn.id3050699" class="footnote">206</a>]</sup>  Historien om hvordan Bob Dylan har
 <span class="quote">«<span class="quote">stjålet</span>»</span> fra en japansk forfatter har nettopp gått verden
-over.<sup>[<a name="id2745216" href="#ftn.id2745216" class="footnote">207</a>]</sup>  En på innsiden i
+over.<sup>[<a name="id3050724" href="#ftn.id3050724" class="footnote">207</a>]</sup>  En på innsiden i
 Hollywood&#8212;som insisterer på at han må forbli anonym&#8212;rapporterer
 <span class="quote">«<span class="quote">en utrolig samtale med disse studiofolkene.  De har fantastisk
 [gammelt] innhold som de ville elske å bruke, men det kan de ikke på grunn
@@ -10315,14 +10315,14 @@ med advokater for 
 snakker om å gi datavirus politimyndighet for å ta ned datamaskiner som
 antas å bryte loven.  Universiteter truer med å utvise ungdommer som bruker
 en datamaskin for å dele innhold.
-</p><a class="indexterm" name="id2745263"></a><a class="indexterm" name="id2745270"></a><a class="indexterm" name="id2745276"></a><a class="indexterm" name="id2745283"></a><a class="indexterm" name="id2745290"></a><a class="indexterm" name="id2745297"></a><a class="indexterm" name="id2745304"></a><p>
+</p><a class="indexterm" name="id3050770"></a><a class="indexterm" name="id3050777"></a><a class="indexterm" name="id3050784"></a><a class="indexterm" name="id3050791"></a><a class="indexterm" name="id3050798"></a><a class="indexterm" name="id3050805"></a><a class="indexterm" name="id3050812"></a><p>
 
 I mens på andre siden av Atlanteren har BBC nettopp annonsert at de vil
 bygge opp et <span class="quote">«<span class="quote">kreativt arkiv</span>»</span> som britiske borgere kan laste
-ned BBC-innhold fra, og rippe, mikse og brenne det ut.<sup>[<a name="id2745327" href="#ftn.id2745327" class="footnote">208</a>]</sup> Og i Brasil har kulturministeren, Gilberto Gil, i
+ned BBC-innhold fra, og rippe, mikse og brenne det ut.<sup>[<a name="id3050834" href="#ftn.id3050834" class="footnote">208</a>]</sup> 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.<sup>[<a name="id2745352" href="#ftn.id2745352" class="footnote">209</a>]</sup>  Jeg har fortalt en mørk
+landet.<sup>[<a name="id3050860" href="#ftn.id3050860" class="footnote">209</a>]</sup>  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
@@ -10336,7 +10336,7 @@ snart, hvis dette potensialet skal noen gang bli realisert.
 
 
 
-</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2743362" href="#id2743362" class="para">195</a>] </sup>
+</p><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3048816" href="#id3048816" class="para">195</a>] </sup>
  
 Commission on Intellectual Property Rights, <span class="quote">«<span class="quote">Final Report: Integrating
 Intellectual Property Rights and Development Policy</span>»</span> (London, 2002),
@@ -10344,12 +10344,12 @@ tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_
 #55</a>. 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&#8212;og halvparten av dem er i Brasil.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2743456" href="#id2743456" class="para">196</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3048909" href="#id3048909" class="para">196</a>] </sup>
 
 Se Peter Drahos og John Braithwaite, Information Feudalism: <em class="citetitle">Who
 Owns the Knowledge Economy?</em> (New York: The New Press, 2003),
-37.  <a class="indexterm" name="id2743465"></a> <a class="indexterm" name="id2743475"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2739635" href="#id2739635" class="para">197</a>] </sup>
+37.  <a class="indexterm" name="id3048919"></a> <a class="indexterm" name="id3048928"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3045032" href="#id3045032" class="para">197</a>] </sup>
 
 
 International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
@@ -10360,13 +10360,13 @@ 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&#8211;57 (statement of James Love).
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2743527" href="#id2743527" class="para">198</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3048981" href="#id3048981" class="para">198</a>] </sup>
 
 
 International Intellectual Property Institute (IIPI), <em class="citetitle">Patent
 Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en
 rapport forberedt for the World Intellectual Property
-Organization</em> (Washington, D.C., 2000), 15.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id2743622" href="#id2743622" class="para">199</a>] </sup>
+Organization</em> (Washington, D.C., 2000), 15.  </p></div><div class="footnote"><p><sup>[<a id="ftn.id3049075" href="#id3049075" class="para">199</a>] </sup>
 
 
 
@@ -10383,7 +10383,7 @@ the HIV/AIDS Crisis: Finding the Proper Balance Between Intellectual
 Property Rights and Compassion, a Synopsis,</span>»</span> <em class="citetitle">Widener Law
 Symposium Journal</em> (Spring 2001): 175.
 
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2744026" href="#id2744026" class="para">200</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3049478" href="#id3049478" class="para">200</a>] </sup>
  
 Jonathan Krim, <span class="quote">«<span class="quote">The Quiet War over Open-Source</span>»</span>,
 <em class="citetitle">Washington Post</em>, august 2003, E1, tilgjengelig fra
@@ -10394,10 +10394,10 @@ tilgjengelig  fra <a class="ulink" href="http://free-culture.cc/notes/" target="
 #60</a>; William New, <span class="quote">«<span class="quote">U.S. Official Opposes `Open Source' Talks
 at WIPO</span>»</span>, <em class="citetitle">National Journal's Technology Daily</em>,
 19. august 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #61</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2744176" href="#id2744176" class="para">201</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3049630" href="#id3049630" class="para">201</a>] </sup>
  
 Jeg bør nevne at jeg var en av folkene som ba WIPO om dette møtet.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2744358" href="#id2744358" class="para">202</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3049838" href="#id3049838" class="para">202</a>] </sup>
 
 
 Microsofts posisjon om åpen kildekode og fri programvare er mer
@@ -10414,15 +10414,15 @@ Public Policy Research, 2002), 69, tilgjengelig fra <a class="ulink" href="http:
 Microsoft senior vice president, <em class="citetitle">The Commercial Software
 Model</em>, diskusjon ved New York University Stern School of
 Business (3. mai 2001), tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #63</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2744517" href="#id2744517" class="para">203</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3049998" href="#id3049998" class="para">203</a>] </sup>
 
 
 Krim, <span class="quote">«<span class="quote">The Quiet War over Open-Source</span>»</span>, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #64</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2744781" href="#id2744781" class="para">204</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3050289" href="#id3050289" class="para">204</a>] </sup>
 
 Se Drahos with Braithwaite, <em class="citetitle">Information Feudalism</em>,
-210&#8211;20.  <a class="indexterm" name="id2743521"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2745122" href="#id2745122" class="para">205</a>] </sup>
+210&#8211;20.  <a class="indexterm" name="id3048975"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3050630" href="#id3050630" class="para">205</a>] </sup>
 
 
 John Borland, <span class="quote">«<span class="quote">RIAA Sues 261 File Swappers</span>»</span>, CNET News.com,
@@ -10437,23 +10437,23 @@ Calif., 12-Year-Old Girl in N.Y. Among Defendants</span>
 <em class="citetitle">Washington Post</em>, 10. september 2003, E1; Katie Dean,
 <span class="quote">«<span class="quote">Schoolgirl Settles with RIAA</span>»</span>, <em class="citetitle">Wired
 News</em>, 10. september 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #67</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2745191" href="#id2745191" class="para">206</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3050699" href="#id3050699" class="para">206</a>] </sup>
 
 
 Jon Wiederhorn, <span class="quote">«<span class="quote">Eminem Gets Sued &#8230; by a Little Old
 Lady</span>»</span>, mtv.com, 17. september 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #68</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2745216" href="#id2745216" class="para">207</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3050724" href="#id3050724" class="para">207</a>] </sup>
 
 
 
 Kenji Hall, Associated Press, <span class="quote">«<span class="quote">Japanese Book May Be Inspiration for
 Dylan Songs</span>»</span>, Kansascity.com, 9. juli 2003, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #69</a>.
 
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2745327" href="#id2745327" class="para">208</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3050834" href="#id3050834" class="para">208</a>] </sup>
  
 <span class="quote">«<span class="quote">BBC Plans to Open Up Its Archive to the Public</span>»</span>, pressemelding
 fra BBC, 24. august 2003, tilgjengelig  fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #70</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2745352" href="#id2745352" class="para">209</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3050860" href="#id3050860" class="para">209</a>] </sup>
 
 
 <span class="quote">«<span class="quote">Creative Commons and Brazil</span>»</span>, Creative Commons Weblog,
@@ -10490,24 +10490,24 @@ rundt ekstremitetene&#8212;som en stor entel/eller: enten eiendom eller
 anarki, enten total kontroll eller så får ikke kunstnerne betalt.  Hvis
 dette virkelig var valget så burde krigerne vinne.
 </p><p>
-Tabben her er feilen med å eksludere midten.  Det er ekstremer i denne
-debatten, men ekstremene er ikke det hele.  Det er de som tror på maksimal
-opphavsrett&#8212;<span class="quote">«<span class="quote">Alle rettigheter reservert</span>»</span>&#8212;og de som
-avviser opphavsrett&#8212;<span class="quote">«<span class="quote">Ingen rettigheter
-reservert</span>»</span>. <span class="quote">«<span class="quote">Alle rettigheter reserver</span>»</span>-typen mener du
-bør spørre om tillatelse før du <span class="quote">«<span class="quote">bruker</span>»</span> et
-opphavsrettsbeskyttet verk på noe vis.  <span class="quote">«<span class="quote">Ingen rettigheter
-reservert</span>»</span>-typen mener du bør kunne gjøre med innhold som du selv
-ønsker uavhengig av om du har tillatelse eller ikke.
-</p><p>
-
-When the Internet was first born, its initial architecture effectively
-tilted in the <span class="quote">«<span class="quote">no rights reserved</span>»</span> 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 <span class="quote">«<span class="quote">no rights reserved.</span>»</span>
-Content was <span class="quote">«<span class="quote">taken</span>»</span> regardless of the rights. Any rights were
-effectively unprotected.
+Tabben her er feilen med å utelukke den gyldne middelvei.  Det er ekstremer
+i denne debatten, men ekstremene er ikke det hele.  Det er de som tror på
+maksimal opphavsrett&#8212;<span class="quote">«<span class="quote">Alle rettigheter
+reservert</span>»</span>&#8212;og de som avviser opphavsrett&#8212;<span class="quote">«<span class="quote">Ingen
+rettigheter reservert</span>»</span>. <span class="quote">«<span class="quote">Alle rettigheter
+reservert</span>»</span>-typen mener du bør spørre om tillatelse før du
+<span class="quote">«<span class="quote">bruker</span>»</span> et opphavsrettsbeskyttet verk på noe vis.
+<span class="quote">«<span class="quote">Ingen rettigheter reservert</span>»</span>-typen mener du bør kunne gjøre
+med innhold som du selv ønsker uavhengig av om du har tillatelse eller ikke.
+</p><p>
+
+Da internettet ble skapt, ga dets arkitektur i effekt en helning mot
+<span class="quote">«<span class="quote">ingen rettigheter reservert</span>»</span>.  Innhold kunne kopieres billig
+og uten kvalitetstap og rettigheter kunne ikke enkelt kontrolleres.  Dermed
+var, uavhengig av hva noen ønsket, det effektive regimet for opphavsrett
+under den originale utformingen av internettet <span class="quote">«<span class="quote">ingen rettigheter
+reservert</span>»</span>.  Innhold ble <span class="quote">«<span class="quote">tatt</span>»</span> uavhengig av
+rettighetene.  Alle rettigheter var effektivt ubeskyttet.
 </p><p>
 This initial character produced a reaction (opposite, but not quite equal)
 by copyright owners. That reaction has been the topic of this book. Through
@@ -10522,20 +10522,20 @@ and paste</span>
 <span class="quote">«<span class="quote">get permission to cut and paste</span>»</span> world that is a creator's
 nightmare.
 </p><p>
-What's needed is a way to say something in the middle&#8212;neither
-<span class="quote">«<span class="quote">all rights reserved</span>»</span> nor <span class="quote">«<span class="quote">no rights reserved</span>»</span> but
-<span class="quote">«<span class="quote">some rights reserved</span>»</span>&#8212; 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.
+Det som trengs er en måte å si noe i midten&#8212;hverken <span class="quote">«<span class="quote">alle
+rettigheter reservert</span>»</span> eller <span class="quote">«<span class="quote">ingen rettigheter
+reservert</span>»</span> men <span class="quote">«<span class="quote">noen rettigheter reservert</span>»</span>&#8212;og
+dermed en måte å respektere opphavsretter mens en gjør det mulig for
+skaperne å frigjøre innhold når de ønsker det.  Med andre ord, vi trenger en
+måte å gjeninnføre settet med friheter som vi kunne ta for gitt tidligere.
 </p><div class="section" title="16.1.1. Gjenoppbygging av friheter som tidligere var antatt: Eksempler"><div class="titlepage"><div><div><h3 class="title"><a name="examples"></a>16.1.1. Gjenoppbygging av friheter som tidligere var antatt: Eksempler</h3></div></div></div><a class="indexterm" name="browsing"></a><p>
-If you step back from the battle I've been describing here, you will
-recognize this problem from other contexts. Think about privacy. Before the
-Internet, most of us didn't have to worry much 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
-<span class="quote">«<span class="quote">privacy</span>»</span> of your browsing habits was assured.
+Hvis du trer tilbake fra slaget jeg har beskrevet her, så vil du kjenne
+igjen dette problemet fra andre omgivelser.  Tenk på personvern.  Før
+internettet trengte ikke de fleste av oss å bekymre oss over hvor mye data
+om våre liv som vi kringkastet til verden. Hvis du gikk inn i en bokhandlet
+og tittet på verkene til Karl Marx, så trente du ikke bekymre deg for å
+måtte forklare hva du tittet på for dine naboer eller din sjef.
+<span class="quote">«<span class="quote">Personvernet</span>»</span> rundt hva du tittet på var sikret.
 </p><p>
 Hva gjorde at det var sikret?
 </p><p>
@@ -10551,7 +10551,7 @@ amount of privacy. That privacy is guaranteed to us by friction. Not by law
 (there is no law protecting <span class="quote">«<span class="quote">privacy</span>»</span> in public places), and in
 many places, not by norms (snooping and gossip are just fun), but instead,
 by the costs that friction imposes on anyone who would want to spy.
-</p><a class="indexterm" name="id2745674"></a><a class="indexterm" name="id2745681"></a><p>
+</p><a class="indexterm" name="id3051202"></a><a class="indexterm" name="id3051208"></a><p>
 Enter the Internet, where the cost of tracking browsing in particular has
 become quite tiny. If you're a customer at Amazon, then as you browse the
 pages, Amazon collects the data about what you've looked at. You know this
@@ -10568,12 +10568,12 @@ 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.
-</p><a class="indexterm" name="id2745721"></a><p>
+</p><a class="indexterm" name="id3051249"></a><p>
 
 It is this reality that explains the push of many to define
 <span class="quote">«<span class="quote">privacy</span>»</span> on the Internet. It is the recognition that
 technology can remove what friction before gave us that leads many to push
-for laws to do what friction did.<sup>[<a name="id2745745" href="#ftn.id2745745" class="footnote">210</a>]</sup> And
+for laws to do what friction did.<sup>[<a name="id3051272" href="#ftn.id3051272" class="footnote">210</a>]</sup> 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
@@ -10585,8 +10585,8 @@ movement. When computers with software were first made available
 commercially, the software&#8212;both the source code and the
 binaries&#8212; 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.  <a class="indexterm" name="id2745787"></a>
-</p><a class="indexterm" name="id2745799"></a><p>
+about controlling their software.  <a class="indexterm" name="id3051314"></a>
+</p><a class="indexterm" name="id3051326"></a><p>
 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
@@ -10617,13 +10617,13 @@ Thus, the practice of proprietary code began to spread, and by the early
 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.
-</p><a class="indexterm" name="id2745867"></a><p>
+</p><a class="indexterm" name="id3051384"></a><p>
 Derfor, i 1984, startet Stallmann på et prosjekt for å bygge et fritt
 operativsystem, slik i hvert fall en flik av fri programvare skulle
 overleve.  Dette var starten på GNU-prosjektet, som
 <span class="quote">«<span class="quote">Linux</span>»</span>-kjernen til Linus Torvalds senere ble lagt til i for å
-produsere GNU/Linux-operativsystemet. <a class="indexterm" name="id2745889"></a>
-<a class="indexterm" name="id2745896"></a>
+produsere GNU/Linux-operativsystemet. <a class="indexterm" name="id3051406"></a>
+<a class="indexterm" name="id3051413"></a>
 </p><p>
 Stallman's technique was to use copyright law to build a world of software
 that must be kept free. Software licensed under the Free Software
@@ -10696,7 +10696,7 @@ 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.  <a class="indexterm" name="id2746029"></a>
+inhibit the right of anyone to redistribute the work for free.  <a class="indexterm" name="id3051538"></a>
 </p><p>
 This is one of many such efforts to restore a freedom taken for granted
 before, but now threatened by changing technology and markets.  There's no
@@ -10704,10 +10704,10 @@ 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&#8212;especially when
 it helps spread knowledge and science.
-</p><a class="indexterm" name="id2746041"></a></div><div class="section" title="16.1.2. Gjenoppbygging av fri kultur: En idé"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>16.1.2. Gjenoppbygging av fri kultur: En idé</h3></div></div></div><a class="indexterm" name="idxcc"></a><p>
+</p><a class="indexterm" name="id3051550"></a></div><div class="section" title="16.1.2. Gjenoppbygging av fri kultur: En idé"><div class="titlepage"><div><div><h3 class="title"><a name="oneidea"></a>16.1.2. Gjenoppbygging av fri kultur: En idé</h3></div></div></div><a class="indexterm" name="idxcc"></a><p>
 Den samme strategien kan brukes på kultur, som et svar på den økende
 kontrollen som gjennomføres gjennom lov og teknologi.
-</p><a class="indexterm" name="id2746092"></a><p>
+</p><a class="indexterm" name="id3051600"></a><p>
 Enter the Creative Commons. The Creative Commons is a nonprofit corporation
 established in Massachusetts, but with its home at Stanford University. Its
 aim is to build a layer of <span class="emphasis"><em>reasonable</em></span> copyright on top
@@ -10751,7 +10751,7 @@ 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.
-</p><a class="indexterm" name="id2746175"></a><p>
+</p><a class="indexterm" name="id3051684"></a><p>
 
 This is just one project among many within the Creative Commons.  And of
 course, Creative Commons is not the only organization pursuing such
@@ -10793,7 +10793,7 @@ will probably <span class="emphasis"><em>increase</em></span> sales of Cory's bo
 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.
-</p><a class="indexterm" name="id2746282"></a><a class="indexterm" name="id2746289"></a><p>
+</p><a class="indexterm" name="id3051780"></a><a class="indexterm" name="id3051787"></a><p>
 
 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
@@ -10802,7 +10802,7 @@ All</em>, 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.
-</p><a class="indexterm" name="id2746313"></a><a class="indexterm" name="id2746325"></a><a class="indexterm" name="id2746332"></a><a class="indexterm" name="id2746338"></a><p>
+</p><a class="indexterm" name="id3051812"></a><a class="indexterm" name="id3051823"></a><a class="indexterm" name="id3051830"></a><a class="indexterm" name="id3051836"></a><p>
 These are examples of using the Commons to better spread proprietary
 content. I believe that is a wonderful and common use of the Commons. There
 are others who use Creative Commons licenses for other reasons. Many who use
@@ -10815,7 +10815,7 @@ others. Because the <span class="emphasis"><em>legal</em></span> costs of sampli
 (Walter Leaphart, manager of the rap group Public Enemy, which was born
 sampling the music of others, has stated that he does not
 <span class="quote">«<span class="quote">allow</span>»</span> Public Enemy to sample anymore, because the legal costs
-are so high<sup>[<a name="id2746372" href="#ftn.id2746372" class="footnote">211</a>]</sup>), these artists release
+are so high<sup>[<a name="id3051870" href="#ftn.id3051870" class="footnote">211</a>]</sup>), these artists release
 into the creative environment content that others can build upon, so that
 their form of creativity might grow.
 </p><p>
@@ -10850,7 +10850,7 @@ 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.
-</p><a class="indexterm" name="id2746449"></a></div></div><div class="section" title="16.2. Dem, snart"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>16.2. Dem, snart</h2></div></div></div><p>
+</p><a class="indexterm" name="id3051947"></a></div></div><div class="section" title="16.2. Dem, snart"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="themsoon"></a>16.2. Dem, snart</h2></div></div></div><p>
 <span class="strong"><strong>We will</strong></span> not reclaim a free culture by
 individual action alone. It will also take important reforms of laws. We
 have a long way to go before the politicians will listen to these ideas and
@@ -10895,7 +10895,7 @@ the scope of copyright's rule, getting permission is a necessary step for
 any work that builds upon our past. And thus, the <span class="emphasis"><em>lack</em></span>
 of formalities forces many into silence where they otherwise could speak.
 </p><p>
-The law should therefore change this requirement<sup>[<a name="id2746574" href="#ftn.id2746574" class="footnote">212</a>]</sup>&#8212;but it should not change it by going back to the old, broken
+The law should therefore change this requirement<sup>[<a name="id3052071" href="#ftn.id3052071" class="footnote">212</a>]</sup>&#8212;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.
 </p><p>
@@ -10971,7 +10971,7 @@ 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.<sup>[<a name="id2746712" href="#ftn.id2746712" class="footnote">213</a>]</sup> The meaning of an unmarked
+permission.<sup>[<a name="id3052201" href="#ftn.id3052201" class="footnote">213</a>]</sup> The meaning of an unmarked
 work would therefore be <span class="quote">«<span class="quote">use unless someone complains.</span>»</span> If
 someone does complain, then the obligation would be to stop using the work
 in any new work from then on though no penalty would attach for existing
@@ -10983,7 +10983,7 @@ 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.
-</p><a class="indexterm" name="id2746749"></a><p>
+</p><a class="indexterm" name="id3052247"></a><p>
 For example, if a recording industry association devises a method for
 marking CDs, it would propose that to the Copyright Office. The Copyright
 Office would hold a hearing, at which other proposals could be made. The
@@ -11022,7 +11022,7 @@ of renewal every five years.  That seemed radical enough at the time. But
 after we lost <em class="citetitle">Eldred</em>
 v. <em class="citetitle">Ashcroft</em>, the proposals became even more
 radical. <em class="citetitle">The Economist</em> endorsed a proposal for a
-fourteen-year copyright term.<sup>[<a name="id2746845" href="#ftn.id2746845" class="footnote">214</a>]</sup> Others
+fourteen-year copyright term.<sup>[<a name="id3052344" href="#ftn.id3052344" class="footnote">214</a>]</sup> Others
 have proposed tying the term to the term for patents.
 </p><p>
 I agree with those who believe that we need a radical change in copyright's
@@ -11052,14 +11052,14 @@ klar og aktiv <span class="quote">
 <span class="quote">«<span class="quote">rimelig bruk</span>»</span> og <span class="quote">«<span class="quote">idé/uttrykk</span>»</span> mindre nødvendig å
 håndtere.
 
-</p></li><li class="listitem"><a class="indexterm" name="id2746955"></a><p>
+</p></li><li class="listitem"><a class="indexterm" name="id3052454"></a><p>
 
 <span class="emphasis"><em>Keep it alive:</em></span> Copyright should have to be renewed.
 Especially if the maximum term is long, the copyright owner 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.<sup>[<a name="id2746974" href="#ftn.id2746974" class="footnote">215</a>]</sup>
+for a veteran to apply for a pension.<sup>[<a name="id3052473" href="#ftn.id3052473" class="footnote">215</a>]</sup>
 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.
 </p></li><li class="listitem"><p>
@@ -11088,7 +11088,7 @@ Uten tvil vil ekstremistene kalle disse id
 enn vernetiden under Richard Nixon. hvor <span class="quote">«<span class="quote">radikalt</span>»</span> kan det
 være å be om en mer sjenerøs opphavsrettighet enn da Richard Nixon var
 president?
-</p></div><div class="section" title="16.2.3. 3. Fri Bruk vs. rimelig bruk"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>16.2.3. 3. Fri Bruk vs. rimelig bruk</h3></div></div></div><a class="indexterm" name="id2747071"></a><a class="indexterm" name="id2747078"></a><p>
+</p></div><div class="section" title="16.2.3. 3. Fri Bruk vs. rimelig bruk"><div class="titlepage"><div><div><h3 class="title"><a name="freefairuse"></a>16.2.3. 3. Fri Bruk vs. rimelig bruk</h3></div></div></div><a class="indexterm" name="id3052569"></a><a class="indexterm" name="id3052576"></a><p>
 As I observed at the beginning of this book, property law originally granted
 property owners the right to control their property from the ground to the
 heavens. The airplane came along. The scope of property rights quickly
@@ -11103,10 +11103,10 @@ 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 <span class="quote">«<span class="quote">my writing.</span>»</span>
-</p><a class="indexterm" name="id2747121"></a><p>
+</p><a class="indexterm" name="id3052620"></a><p>
 Congress granted the beginnings of this right in 1870, when it expanded the
 exclusive right of copyright to include a right to control translations and
-dramatizations of a work.<sup>[<a name="id2747133" href="#ftn.id2747133" class="footnote">216</a>]</sup> The courts
+dramatizations of a work.<sup>[<a name="id3052632" href="#ftn.id3052632" class="footnote">216</a>]</sup> 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.
@@ -11114,7 +11114,7 @@ Benjamin Kaplan.
 So inured have we become to the extension of the monopoly to a large range
 of so-called derivative works, that we no longer sense the oddity of
 accepting such an enlargement of copyright while yet intoning the
-abracadabra of idea and expression.<sup>[<a name="id2747158" href="#ftn.id2747158" class="footnote">217</a>]</sup>
+abracadabra of idea and expression.<sup>[<a name="id3052657" href="#ftn.id3052657" class="footnote">217</a>]</sup>
 </p></blockquote></div><p>
 I think it's time to recognize that there are airplanes in this field and
 the expansiveness of these rights of derivative use no longer make
@@ -11128,7 +11128,7 @@ 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.  <a class="indexterm" name="id2747190"></a>
+after the creative work is done.  <a class="indexterm" name="id3052688"></a>
 </p><p>
 <span class="emphasis"><em>Scope:</em></span> Likewise should the scope of derivative rights
 be narrowed.  Again, there are some cases in which derivative rights are
@@ -11140,7 +11140,7 @@ 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.
-</p><a class="indexterm" name="id2747229"></a><p>
+</p><a class="indexterm" name="id3052720"></a><p>
 This was the point that Alben made when describing the making of the Clint
 Eastwood CD. While it makes sense to require negotiation for foreseeable
 derivative rights&#8212;turning a book into a movie, or a poem into a
@@ -11149,7 +11149,7 @@ unforeseeable. Here, a statutory right would make much more sense.
 </p><p>
 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.<sup>[<a name="id2747252" href="#ftn.id2747252" class="footnote">218</a>]</sup> His view is that the law should be written so that
+reverse of the recommendation of my colleague Paul Goldstein.<sup>[<a name="id3052743" href="#ftn.id3052743" class="footnote">218</a>]</sup> His view is that the law should be written so that
 expanded protections follow expanded uses.
 </p><p>
 Goldstein's analysis would make perfect sense if the cost of the legal
@@ -11211,7 +11211,7 @@ ha v
 Det er mange som bruker fildelingsnettverk for å få tilgang til innhold som
 ikke er opphavsrettsbeskyttet, eller for å få tilgang som
 opphavsrettsinnehaveren åpenbart går god for.
-</p></li></ol></div><a class="indexterm" name="id2747413"></a><a class="indexterm" name="id2747422"></a><p>
+</p></li></ol></div><a class="indexterm" name="id3052906"></a><a class="indexterm" name="id3052915"></a><p>
 Any reform of the law needs to keep these different uses in focus. It must
 avoid burdening type D even if it aims to eliminate type A. The eagerness
 with which the law aims to eliminate type A, moreover, should depend upon
@@ -11249,7 +11249,7 @@ essentially on the Net; where everywhere you are&#8212;except maybe the
 desert or the Rockies&#8212;you can instantaneously be connected to the
 Internet. Imagine the Internet as ubiquitous as the best cell-phone service,
 where with the flip of a device, you are connected.
-</p><a class="indexterm" name="id2747483"></a><p>
+</p><a class="indexterm" name="id3052975"></a><p>
 In that world, it will be extremely easy to connect to services that give
 you access to content on the fly&#8212;such as Internet radio, content that
 is streamed to the user when the user demands. Here, then, is the critical
@@ -11265,7 +11265,7 @@ 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
 <span class="quote">«<span class="quote">free</span>»</span> content is available in the form of MP3s across the
-Web.<sup>[<a name="id2747538" href="#ftn.id2747538" class="footnote">219</a>]</sup>
+Web.<sup>[<a name="id3053030" href="#ftn.id3053030" class="footnote">219</a>]</sup>
 
 </p><p>
 
@@ -11298,7 +11298,7 @@ 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.
-</p><a class="indexterm" name="id2747617"></a><a class="indexterm" name="id2747626"></a><p>
+</p><a class="indexterm" name="id3053115"></a><a class="indexterm" name="id3053124"></a><p>
 Again, the model here is the used book store. Once a book goes out of print,
 it may still be available in libraries and used book stores. But libraries
 and used book stores don't pay the copyright owner when someone reads or
@@ -11365,7 +11365,7 @@ eller p2p-teknologien som i dag skader innholdsleverand
 bør vi finne en relativt enkel måte å kompensere de som blir skadelidende.
 </p><a class="indexterm" name="idxpromisestokeepfisher"></a><p>
 The idea would be a modification of a proposal that has been floated by
-Harvard law professor William Fisher.<sup>[<a name="id2747757" href="#ftn.id2747757" class="footnote">220</a>]</sup>
+Harvard law professor William Fisher.<sup>[<a name="id3053254" href="#ftn.id3053254" class="footnote">220</a>]</sup>
 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
@@ -11387,7 +11387,7 @@ 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.
-</p><a class="indexterm" name="id2747975"></a><a class="indexterm" name="id2747987"></a><p>
+</p><a class="indexterm" name="id3053482"></a><a class="indexterm" name="id3053494"></a><p>
 
 Fisher would balk at the idea of allowing the system to lapse. His aim is
 not just to ensure that artists are paid, but also to ensure that the system
@@ -11397,7 +11397,7 @@ described were accomplished&#8212;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.
-</p><a class="indexterm" name="id2748009"></a><a class="indexterm" name="id2748022"></a><a class="indexterm" name="id2748029"></a><a class="indexterm" name="id2748036"></a><p>
+</p><a class="indexterm" name="id3053516"></a><a class="indexterm" name="id3053529"></a><a class="indexterm" name="id3053536"></a><a class="indexterm" name="id3053543"></a><p>
 No doubt it would be difficult to calculate the proper measure of
 <span class="quote">«<span class="quote">harm</span>»</span> to an industry. But the difficulty of making that
 calculation would be outweighed by the benefit of facilitating
@@ -11411,7 +11411,7 @@ 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.
-</p><a class="indexterm" name="id2748070"></a><a class="indexterm" name="id2748076"></a><a class="indexterm" name="id2748085"></a><a class="indexterm" name="id2748093"></a><a class="indexterm" name="id2748102"></a><p>
+</p><a class="indexterm" name="id3053577"></a><a class="indexterm" name="id3053583"></a><a class="indexterm" name="id3053592"></a><a class="indexterm" name="id3053600"></a><a class="indexterm" name="id3053609"></a><p>
 This competition has already occurred against the background of
 <span class="quote">«<span class="quote">free</span>»</span> music from p2p systems. As the sellers of cable
 television have known for thirty years, and the sellers of bottled water for
@@ -11493,7 +11493,7 @@ min oppfatning av v
 en verden der rike klienter har sterke synspunkter vil uviljen hos vår
 yrkesgruppe til å stille spørsmål med eller protestere mot dette sterke
 synet ødelegge loven.
-</p><a class="indexterm" name="id2748321"></a><a class="indexterm" name="id2748328"></a><p>
+</p><a class="indexterm" name="id3053829"></a><a class="indexterm" name="id3053835"></a><p>
 Indisiene for slik bøyning er overbevisene.  Jeg er angrepet som en
 <span class="quote">«<span class="quote">radikal</span>»</span> av mange innenfor yrket, og likevel er meningene jeg
 argumenterer for nøyaktig de meningene til mange av de mest moderate og
@@ -11501,7 +11501,7 @@ 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.<sup>[<a name="id2748359" href="#ftn.id2748359" class="footnote">221</a>]</sup>
+åpenbar.<sup>[<a name="id3053866" href="#ftn.id3053866" class="footnote">221</a>]</sup>
 
 </p><p>
 Min kritikk av rollen som advokater har spilt i denne debatten handler
@@ -11511,7 +11511,7 @@ om v
 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.<sup>[<a name="id2748397" href="#ftn.id2748397" class="footnote">222</a>]</sup>  De ser et system som har
+lav.<sup>[<a name="id3053904" href="#ftn.id3053904" class="footnote">222</a>]</sup>  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.
 </p><p>
@@ -11542,7 +11542,7 @@ og dermed radikalt mer rettferdig.
 Men inntil en slik reform er gjennomført, bør vi som samfunn holde lover
 unna områder der vi vet den bare vil skade.  Og det er nettopp det loven
 altfor ofte vil gjøre hvis for mye av vår kultur er lovregulert.
-</p><a class="indexterm" name="id2748499"></a><p>
+</p><a class="indexterm" name="id3054006"></a><p>
 Tenk på de fantastiske tingene ditt barn kan gjøre eller lage med digital
 teknologi&#8212;filmen, musikken, web-siden, bloggen. Eller tenk på de
 fantastiske tingene ditt fellesskap kunne få til med digital
@@ -11562,7 +11562,7 @@ ikke?</span>
 Vi burde spørre: <span class="quote">«<span class="quote">Hvorfor?</span>»</span>. Vis meg hvorfor din regulering av
 kultur er nødvendig og vis meg hvordan reguleringen bidrar positivt.  Før du
 kan vise meg begge, holde advokatene din unna.
-</p></div></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id2745745" href="#id2745745" class="para">210</a>] </sup>
+</p></div></div><div class="footnotes"><br><hr width="100" align="left"><div class="footnote"><p><sup>[<a id="ftn.id3051272" href="#id3051272" class="para">210</a>] </sup>
 
 
 
@@ -11573,54 +11573,54 @@ par. 6&#8211;18, available at <a class="ulink" href="http://free-culture.cc/note
 which technology defines privacy policy). See also Jeffrey Rosen,
 <em class="citetitle">The Naked Crowd: Reclaiming Security and Freedom in an Anxious
 Age</em> (New York: Random House, 2004) (mapping tradeoffs between
-technology and privacy).</p></div><div class="footnote"><p><sup>[<a id="ftn.id2746372" href="#id2746372" class="para">211</a>] </sup>
+technology and privacy).</p></div><div class="footnote"><p><sup>[<a id="ftn.id3051870" href="#id3051870" class="para">211</a>] </sup>
 
 
 <em class="citetitle">Willful Infringement: A Report from the Front Lines of the Real
 Culture Wars</em> (2003), produced by Jed Horovitz, directed by Greg
 Hittelman, a Fiat Lucre production, available at <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #72</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2746574" href="#id2746574" class="para">212</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052071" href="#id3052071" class="para">212</a>] </sup>
 
 
 The proposal I am advancing here would apply to American works only.
 Obviously, I believe it would be beneficial for the same idea to be adopted
-by other countries as well.</p></div><div class="footnote"><p><sup>[<a id="ftn.id2746712" href="#id2746712" class="para">213</a>] </sup>
+by other countries as well.</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052201" href="#id3052201" class="para">213</a>] </sup>
 
 
 There would be a complication with derivative works that I have not solved
 here. In my view, the law of derivatives creates a more complicated system
 than is justified by the marginal incentive it creates.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2746845" href="#id2746845" class="para">214</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052344" href="#id3052344" class="para">214</a>] </sup>
 
 
 
 <span class="quote">«<span class="quote">A Radical Rethink</span>»</span>, <em class="citetitle">Economist</em>, 366:8308
 (25. januar 2003): 15, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #74</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2746974" href="#id2746974" class="para">215</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052473" href="#id3052473" class="para">215</a>] </sup>
 
 
 Department of Veterans Affairs, Veteran's Application for Compensation
 and/or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig
 fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #75</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2747133" href="#id2747133" class="para">216</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052632" href="#id3052632" class="para">216</a>] </sup>
 
 
 Benjamin Kaplan, <em class="citetitle">An Unhurried View of Copyright</em> (New
 York: Columbia University Press, 1967), 32.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2747158" href="#id2747158" class="para">217</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052657" href="#id3052657" class="para">217</a>] </sup>
  
 Ibid., 56.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2747252" href="#id2747252" class="para">218</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3052743" href="#id3052743" class="para">218</a>] </sup>
 
 Paul Goldstein, <em class="citetitle">Copyright's Highway: From Gutenberg to the
 Celestial Jukebox</em> (Stanford: Stanford University Press, 2003),
-187&#8211;216.  <a class="indexterm" name="id2745760"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2747538" href="#id2747538" class="para">219</a>] </sup>
+187&#8211;216.  <a class="indexterm" name="id3051287"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3053030" href="#id3053030" class="para">219</a>] </sup>
 
 
 For eksempel, se, <span class="quote">«<span class="quote">Music Media Watch</span>»</span>, The J@pan
 Inc. Newsletter, 3 April 2002, tilgjengelig fra <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #76</a>.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2747757" href="#id2747757" class="para">220</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3053254" href="#id3053254" class="para">220</a>] </sup>
 
 <a class="indexterm" name="idxartistspayments3"></a> William Fisher, <em class="citetitle">Digital
 Music: Problems and Possibilities</em> (sist revidert: 10. oktober
@@ -11650,16 +11650,16 @@ er ganske likt forslaget til Richard Stallman n
 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 <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #85</a>. <a class="indexterm" name="id2747911"></a> <a class="indexterm" name="id2747918"></a>
-<a class="indexterm" name="id2747925"></a>
-<a class="indexterm" name="id2747932"></a>
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2748359" href="#id2748359" class="para">221</a>] </sup>
+forslag omtrent ti år før dagens debatt. Se <a class="ulink" href="http://free-culture.cc/notes/" target="_top">link #85</a>. <a class="indexterm" name="id3053408"></a> <a class="indexterm" name="id3053415"></a>
+<a class="indexterm" name="id3053422"></a>
+<a class="indexterm" name="id3053430"></a>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3053866" href="#id3053866" class="para">221</a>] </sup>
 
 
 Lawrence Lessig, <span class="quote">«<span class="quote">Copyright's First Amendment</span>»</span> (Melville
 B. Nimmer Memorial Lecture), <em class="citetitle">UCLA law Review</em> 48
 (2001): 1057, 1069&#8211;70.
-</p></div><div class="footnote"><p><sup>[<a id="ftn.id2748397" href="#id2748397" class="para">222</a>] </sup>
+</p></div><div class="footnote"><p><sup>[<a id="ftn.id3053904" href="#id3053904" class="para">222</a>] </sup>
 
 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
@@ -11674,7 +11674,7 @@ Industry?</span>
 Liebowitz er ekstremt verdifull i sin estimering av effekten av
 fildelingsteknologi.  Etter mitt syn underestimerer han forøvrig kostnaden
 til det juridiske system.  Se, for eksempel,
-<em class="citetitle">Rethinking</em>, 174&#8211;76.  <a class="indexterm" name="id2748374"></a>
+<em class="citetitle">Rethinking</em>, 174&#8211;76.  <a class="indexterm" name="id3053881"></a>
 </p></div></div></div><div class="chapter" title="Notater"><div class="titlepage"><div><div><h2 class="title"><a name="c-notes"></a>Notater</h2></div></div></div><p>
 I denne teksten er det referanser til lenker på verdensveven.  Og som alle
 som har forsøkt å bruke nettet vet, så vil disse lenkene være svært
@@ -11690,7 +11690,7 @@ Denne boken er produktet av en lang og s
 da jeg leste om Eric Eldreds krig for å sørge for at bøker forble
 frie. Eldreds innsats bidro til å lansere en bevegelse, fri
 kultur-bevegelsen, og denne boken er tilegnet ham.
-</p><a class="indexterm" name="id2748650"></a><p>
+</p><a class="indexterm" name="id3054159"></a><p>
 Jeg fikk veiledning på ulike steder fra venner og akademikere, inkludert
 Glenn Brown, Peter DiCola, Jennifer Mnookin, Richard Posner, Mark Rose og
 Kathleen Sullivan. Og jeg fikk korreksjoner og veiledning fra mange
@@ -11741,4 +11741,4 @@ 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.
-</p></div><div class="index" title="Indeks"><div class="titlepage"><div><div><h2 class="title"><a name="id2748782"></a>Indeks</h2></div></div></div><div class="index"><div class="indexdiv"><h3>Symboler</h3><dl><dt>11. september 2001, terrorangrep den, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Africa, medications for HIV patients in, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Aibo robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>akademiske tidsskrifter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>alcohol prohibition, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Alice's Adventures in Wonderland (Carroll), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>allemannseie (public domain)</dt><dd><dl><dt>definert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>public projects in, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>traditional term for conversion to, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>American Association of Law Libraries, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Americans with Disabilities Act (1990), <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>åndsverkslov</dt><dd><dl><dt>Engelsk, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>Japansk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>kreativitet hindret av, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>on republishing vs. transformation of original work, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>som beskyttelse for skapere, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>antiretroviral drugs, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dd><dl><dt>(se også Internett-arkivet)</dt></dl></dd><dt>Aristoteles, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>arkitektur, begrensninger med opphav i, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>arkiver, digitale, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>publicity rights on images of, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>retrospective compilations on, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>Asia, kommersiell piratvirksomhet i, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>AT&amp;T, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>automatiske piano, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>avledede verker</dt><dd><dl><dt>piratvirksomhet vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Ayer, Don, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Barnes &amp; Noble, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Berlin Act (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>bilder, eierskap til, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>biler, MP3-lydsystem i, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>biomedisinsk forskning, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bitiske parlamentet, det, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>blogger (Web-logger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>bøker</dt><dd><dl><dt>bruktsalg av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Engelsk åndsverkslov utviklet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>gratis online-utgivelser av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>på internet, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tre typer bruk av, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>utsolgt fra forlaget, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>bokselgere, Engelske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>bot-er, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>browsing, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>Camp Chaos, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CARP (Copyright Arbitration Royalty Panel), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>CD-ROMer, filmklipp brukt i, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CDer</dt><dd><dl><dt>mix technology and, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>opphavsrettsmerking av, <a class="indexterm" href="#marking">Merking</a></dt><dt>preference data on, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>priser på, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>salgsnivå for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utenlands piratvirksomhet mot, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>CodePink Women in Peace, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>cookies, Internet, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>copyleft licenses, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Copyright infringement lawsuits</dt><dd><dl><dt>kommersiell kreativitet som hovedformål for, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>dataspill, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>demokrati</dt><dd><dl><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>public discourse in, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>doujinshi-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>Eagle Forum, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>eiendomsrettigheter</dt><dd><dl><dt>lufttrafikk mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt></dl></dd><dt>Elektronisk forpost-stiftelsen (EFF), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>ephemeral films, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>epost, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>fantasifoster/chimera, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>FCC</dt><dd><dl><dt>om FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>filmer</dt><dd><dl><dt>animert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>arkiv av, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>filmindustri</dt><dd><dl><dt>luksuskinoer mot video-piratvirksomhet i, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Florida, Richard, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Første grunnlovstillegg, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verker basert på, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt> tillatelseskultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>fri programvare/åpen kildekode-programvare (FS/OSS), <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>generiske medisiner, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Globalt posisjoneringssystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>GNU/Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Grunnloven i USA</dt><dd><dl><dt>copyright purpose established in, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Første tillegg til, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hacks, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>handguns, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>HIV/AIDS therapies, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Høyesterett, USA</dt><dd><dl><dt>om luftrom mot landrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>hvis verdi, så rettighet-teorien, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>innovasjon, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>intellectual property rights, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>internet</dt><dd><dl><dt>blogger om, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt> effektiv innholdsdistribusjon på, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>public discourse conducted on, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>utviklingen av, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internett-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISPer (Internet-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jentespeidere, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>jernbaneindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>kabel-TV, <a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>kamerateknologi, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>kassettopptak, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>Videospillere/opptakere, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>Keaton, Buster, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>kjørehastighet, begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>kreativ eiendel</dt><dd><dl><dt>hvis verdi, så rettighet-teorien om, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt></dl></dd><dt>kreativitet</dt><dd><dl><dt>juridiske begrensninger på, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>ved å endre tidligere verker, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>kringkastingsflagg, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>kultur</dt><dd><dl><dt>kommersiell vs. ikke-kommersiell, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>kunst, undergrunns, <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>landbrukspatenter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>landeierskap, lufttrafikk og, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>Laurel and Hardy Films, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>law schools, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>legal realist movement, <a class="indexterm" href="#together">Sammen</a></dt><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>libraries</dt><dd><dl><dt>arkiveringsfunksjon for, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>Library of Congress, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>lovbestemte skader, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>loven</dt><dd><dl><dt>databaser med saksrapporter om, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>lufttrafikk, landeierskap mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>makt, konsentrasjon av, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>manga, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Marijuana Policy Project, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>markedsføring, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>markedskonsentrasjon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Marx Brothers, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>media</dt><dd><dl><dt>eierskapskonsentrasjon i, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Mehra, Salil, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>government case against, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>international software piracy of, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>konkurransemessige strategier for, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Windows-operativsystemet til, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>WIPO meeting opposed by, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mikke Mus, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>mobiltelefoner, musikk streamet via, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>musikkpublisering, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Nashville Songwriters Association, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>newspapers</dt><dd><dl><dt>arkiver av, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>Nimmer, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>normer, reguleringspåvirkning fra, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>noteark, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>opphavsrett</dt><dd><dl><dt>constitutional purpose of, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>varighet til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>originalism, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>peer-to-peer(p2p)-fildeling</dt><dd><dl><dt>effektiviteten til, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt></dl></dd><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>piratvirksomhet</dt><dd><dl><dt>avledede verk vas., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>i Asia, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>PLoS (Public Library of Science), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#preface">Forord</a></dt><dt>political discourse, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Politikk, (Aristotles), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>protection of artists vs. business interests, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Public Enemy, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM-spektrum for, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>rap music, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#c-acknowledgments">Takk til</a></dt><dt>RPI (Se Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Silent Sprint (Carson), <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</dt><dd><dl><dt>Supreme Court challenge of, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robothund produsert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>stålindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Supermann-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Television Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>televisjon</dt><dd><dl><dt>kabel-TV mot kringkasting, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>tillatelseskultur</dt><dd><dl><dt> fri kultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Tysk åndsverkslov, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>United Kingdom</dt><dd><dl><dt>public creative archive in, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#together">Sammen</a></dt><dt>Valenti, Jack</dt><dd><dl><dt> on creative property rights, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>valg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>veteranpensjoner, <a class="indexterm" href="#shortterms">2. Kortere vernetid</a></dt><dt>Videospillere/opptakere, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Warner Brothers, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Web-logger (blogger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Worldcom, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Wright-brødrene, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#id2716678">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a></dt></dl></div></div></div></div></body></html>
+</p></div><div class="index" title="Indeks"><div class="titlepage"><div><div><h2 class="title"><a name="id3054291"></a>Indeks</h2></div></div></div><div class="index"><div class="indexdiv"><h3>Symboler</h3><dl><dt>11. september 2001, terrorangrep den, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>60 Minutes, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>A</h3><dl><dt>ABC, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Adobe eBook Reader, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Afrika, medisinering for HIV-pasienter i, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Agee, Michael, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Aibo robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>akademiske tidsskrifter, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Akerlof, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Alben, Alex, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>alcohol prohibition, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Alice i Eventyrland (Carroll), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>All in the Family, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>allemannseie (public domain)</dt><dd><dl><dt>definert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>ebok-begrensninger på, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>public projects in, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>traditional term for conversion to, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Allen, Paul, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Amazon, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>American Association of Law Libraries, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>American Graphophone Company, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Americans with Disabilities Act (1990), <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Andromeda, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>åndsverkslov</dt><dd><dl><dt>copies as core issue of, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Engelsk, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>Japansk, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>kreativitet hindret av, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>om musikkinnspillinger, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>on republishing vs. transformation of original work, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>som beskyttelse for skapere, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>statutory licenses in, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Anello, Douglas, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>animasjonsfilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>antiretroviral medisin, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Apple Corporation, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>archive.org, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dd><dl><dt>(se også Internett-arkivet)</dt></dl></dd><dt>Aristoteles, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>arkitektur, begrensninger med opphav i, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>arkiver, digitale, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#together">Sammen</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Armstrong, Edwin Howard, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Arrow, Kenneth, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>artister</dt><dd><dl><dt>musikkindustriens betaling til, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>publicity rights on images of, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>retrospective compilations on, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></dd><dt>ASCAP, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>Asia, kommersiell piratvirksomhet i, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>AT&amp;T, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>automatiske piano, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>avledede verker</dt><dd><dl><dt>piratvirksomhet vs., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>technological developments and, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Ayer, Don, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>B</h3><dl><dt>Bacon, Francis, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Barish, Stephanie, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Barlow, Joel, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Barnes &amp; Noble, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>Barry, Hank, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>BBC, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Beatles, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Beckett, Thomas, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Bell, Alexander Graham, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Berlin Act (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Berman, Howard L., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Bern-konvensjonen (1908), <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Bernstein, Leonard, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Betamax, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>bilder, eierskap til, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>biler, MP3-lydsystem i, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>biomedisinsk forskning, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bitiske parlamentet, det, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Black, Jane, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>blogger (Web-logger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>BMG, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>BMW, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Boies, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>bøker</dt><dd><dl><dt>bruktsalg av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Engelsk åndsverkslov utviklet for, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>gratis online-utgivelser av, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>på internet, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>totalt antall, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>tre typer bruk av, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>utsolgt fra forlaget, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawduration">Loven: Varighet</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>bokselgere, Engelske, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Boland, Lois, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Bolling, Ruben, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Mary, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bono, Sonny, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Boswell, James, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>bot-er, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Boyle, James, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Braithwaite, John, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Branagh, Kenneth, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Brandeis, Louis D., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Brasil, fri kultur i, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Breyer, Stephen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brezhnev, Leonid, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Bromberg, Dan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Brown, John Seely, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>browsing, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Buchanan, James, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Bunyan, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Burdick, Quentin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Bush, George W., <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>C</h3><dl><dt>Camp Chaos, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CARP (Copyright Arbitration Royalty Panel), <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Carson, Rachel, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Casablanca, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Causby, Thomas Lee, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Causby, Tinie, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#harms">Kapittel tolv: Skader</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>CBS, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>CD-ROMer, filmklipp brukt i, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a>, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>CDer</dt><dd><dl><dt>mix technology and, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>opphavsrettsmerking av, <a class="indexterm" href="#marking">Merking</a></dt><dt>preference data on, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>priser på, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>salgsnivå for, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>utenlands piratvirksomhet mot, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>Christensen, Clayton M., <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Clark, Kim B., <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>CNN, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Coase, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>CodePink Women in Peace, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Coe, Brian, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Comcast, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>commercials, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Commons, John R., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>composer's rights vs. producers' rights in, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>composers, copyright protections of, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Conrad, Paul, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Conyers, John, Jr., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>copyleft licenses, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Copyright infringement lawsuits</dt><dd><dl><dt>kommersiell kreativitet som hovedformål for, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Country of the Blind, The (Wells), <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>Creative Commons, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a>, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Crichton, Michael, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Crosskey, William W., <a class="indexterm" href="#lawduration">Loven: Varighet</a></dt></dl></div><div class="indexdiv"><h3>D</h3><dl><dt>Daguerre, Louis, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Daley, Elizabeth, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>dataspill, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Day After Trinity, The, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>DDT, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Dean, Howard, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>demokrati</dt><dd><dl><dt>i teknologier for å uttrykke seg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>offentlig diskusjon i, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>Diller, Barry, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Disney, Inc., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Disney, Walt, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Douglas, William O., <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>doujinshi-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Drahos, Peter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Dreyfuss, Rochelle, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>Drucker, Peter, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Dryden, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Duck and Cover film, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Dylan, Bob, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></div><div class="indexdiv"><h3>E</h3><dl><dt>Eagle Forum, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Eastman, George, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Edison, Thomas, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>eiendomsrettigheter</dt><dd><dl><dt>lufttrafikk mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt></dl></dd><dt>Elektronisk forpost-stiftelsen (EFF), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>EMI, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>enkeltnukleotidforskjeller (SNPs), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>ephemeral films, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>epost, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Erskine, Andrew, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt></dl></div><div class="indexdiv"><h3>F</h3><dl><dt>Fallows, James, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Fanning, Shawn, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>fantasifoster/chimera, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>Faraday, Michael, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>FCC</dt><dd><dl><dt>om FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>filmer</dt><dd><dl><dt>animert, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>arkiv av, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>filmindustri</dt><dd><dl><dt>luksuskinoer mot video-piratvirksomhet i, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>Fisher, William, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Florida, Richard, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>FM-radio, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Forbes, Steve, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Første grunnlovstillegg, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>fotografering, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Fourneaux, Henri, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>Fox, William, <a class="indexterm" href="#film">Film</a></dt><dt>Free for All (Wayner), <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>fri kultur</dt><dd><dl><dt>avledede verker basert på, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt> tillatelseskultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>fri programvare/åpen kildekode-programvare (FS/OSS), <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Fried, Charles, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Friedman, Milton, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Future of Ideas, The (Lessig), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></div><div class="indexdiv"><h3>G</h3><dl><dt>Garlick, Mia, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Gates, Bill, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>General Film Company, <a class="indexterm" href="#film">Film</a></dt><dt>General Public License (GPL), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>generiske medisiner, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gershwin, George, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Gil, Gilberto, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Ginsburg, Ruth Bader, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Globalt posisjoneringssystem, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>GNU/Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Goldstein, Paul, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>GPL (General Public License), <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Gracie Films, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Grimm-eventyr, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Grisham, John, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>Grokster, Ltd., <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Grunnloven i USA</dt><dd><dl><dt>Commerce Clause of, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>copyright purpose established in, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Første tillegg til, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>H</h3><dl><dt>hacks, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hal Roach Studios, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Hand, Learned, <a class="indexterm" href="#radio">Radio</a></dt><dt>handguns, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Hawthorne, Nathaniel, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Henry V, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Henry VIII, Konge av England, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Herrera, Rebecca, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Heston, Charlton, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>history, records of, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>HIV/AIDS-behandlinger, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Hollings, Fritz, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Høyesterett, USA</dt><dd><dl><dt>om luftrom mot landrettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Hummer Winblad, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Hummer, John, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>hvis verdi, så rettighet-teorien, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#pirates">Kapittel fire: «Pirater»</a></dt><dt>Hyde, Rosel H., <a class="indexterm" href="#cabletv">Kabel-TV</a></dt></dl></div><div class="indexdiv"><h3>I</h3><dl><dt>IBM, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>immaterielle rettigheter, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>informasjonskapsler, internett, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>innovasjon, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Intel, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>internet</dt><dd><dl><dt>blogger om, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>copyright applicability altered by technology of, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt> effektiv innholdsdistribusjon på, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>offentlig diskusjon gjennomført på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>utviklingen av, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Internet Exporer, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Internett-arkivet, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Irak-krigen, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>ISPer (Internet-tilbydere), brukeridentiteter avslørt av, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#constrain">Constraining Creators</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a>, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Iwerks, Ub, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></div><div class="indexdiv"><h3>J</h3><dl><dt>Japanske tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Jaszi, Peter, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Jentespeidere, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>jernbaneindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Johnson, Lyndon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Johnson, Samuel, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Jonson, Ben, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>jurysystem, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></div><div class="indexdiv"><h3>K</h3><dl><dt>kabel-TV, <a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#cabletv">Kabel-TV</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>kamerateknologi, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Kaplan, Benjamin, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>kassettopptak, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dd><dl><dt>Videospillere/opptakere, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>Keaton, Buster, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Kelly, Kevin, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Kennedy, John F., <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Kittredge, Alfred, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>kjørehastighet, begrensninger på, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Kodak Primer, The (Eastman), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Kodak-kamera, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Kongressen i USA</dt><dd><dl><dt>constitutional powers of, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>om åndsverkslover, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>on recording industry, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Kozinski, Alex, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>kreativ eiendel</dt><dd><dl><dt>hvis verdi, så rettighet-teorien om, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt></dl></dd><dt>kreativitet</dt><dd><dl><dt>juridiske begrensninger på, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>ved å endre tidligere verker, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt></dl></dd><dt>Krim, Jonathan, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>kringkastingsflagg, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>kultur</dt><dd><dl><dt>kommersiell vs. ikke-kommersiell, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>kunst, undergrunns, <a class="indexterm" href="#constrain">Constraining Creators</a></dt></dl></div><div class="indexdiv"><h3>L</h3><dl><dt>landbrukspatenter, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>landeierskap, lufttrafikk og, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#freefairuse">3. Fri Bruk vs. rimelig bruk</a></dt><dt>Laurel and Hardy Films, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>law schools, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt><dt>Leaphart, Walter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Lear, Norman, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>legal realist movement, <a class="indexterm" href="#together">Sammen</a></dt><dt>Lessig, Lawrence, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Lessing, Lawrence, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>libraries</dt><dd><dl><dt>arkiveringsfunksjon for, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>Library of Congress, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Licensing Act (1662), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Liebowitz, Stan, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>Linux-operativsystemet, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Litman, Jessica, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Lofgren, Zoe, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lott, Trent, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>lovbestemte skader, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>loven</dt><dd><dl><dt>databaser med saksrapporter om, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt></dl></dd><dt>Lovett, Lyle, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt><dt>Lucas, George, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Lucky Dog, The, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>lufttrafikk, landeierskap mot, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>M</h3><dl><dt>Madonna, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>makt, konsentrasjon av, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>manga, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Mansfield, William Murray, Lord, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Marijuana Policy Project, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>markedsføring, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>markedskonsentrasjon, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Marx Brothers, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>McCain, John, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>media</dt><dd><dl><dt>eierskapskonsentrasjon i, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>medisiner</dt><dd><dl><dt>pharmaceutical, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mehra, Salil, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>MGM, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Michigan Technical University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Microsoft, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dd><dl><dt>government case against, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>internasjonal piratkopiering av, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>konkurransemessige strategier for, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Windows-operativsystemet til, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>WIPO-møte motarbeidet av, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Mikke Mus, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a></dt><dt>Milton, John, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>mobiltelefoner, musikk streamet via, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Morrison, Alan, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Movie Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Moyers, Bill, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>MTV, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Müller, Paul Hermann, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>MusicStore, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>musikkpublisering, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt></dl></div><div class="indexdiv"><h3>N</h3><dl><dt>Napster, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Nashville Songwriters Association, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>National Writers Union, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>NBC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Needleman, Rafe, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Netanel, Neil Weinstock, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Netscape, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>newspapers</dt><dd><dl><dt>arkiver av, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></dd><dt>Nimmer, David, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt><dt>Nimmer, Melville, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt><dt>normer, reguleringspåvirkning fra, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>noteark, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>nyhetsdekning, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>O</h3><dl><dt>O'Connor, Sandra Day, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Olafson, Steve, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Olson, Theodore B., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Oppenheimer, Matt, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>opphavsrett</dt><dd><dl><dt>constitutional purpose of, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>varighet til, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt></dl></dd><dt>originalism, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Orwell, George, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a>, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>P</h3><dl><dt>Paramount Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>patenter</dt><dd><dl><dt>on pharmaceuticals, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Patterson, Raymond, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>peer-to-peer(p2p)-fildeling</dt><dd><dl><dt>effektiviteten til, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt></dl></dd><dt>Picker, Randal C., <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#radio">Radio</a>, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>piratvirksomhet</dt><dd><dl><dt>avledede verk vas., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt><dt>i Asia, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt></dl></dd><dt>PLoS (Public Library of Science), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Pogue, David, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#preface">Forord</a></dt><dt>Politikk, (Aristotles), <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>politisk diskusjon, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Porgy and Bess, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>pornografi, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Prelinger, Rick, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Princeton University, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Promises to Keep (Fisher), <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>protection of artists vs. business interests, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Public Citizen, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Public Enemy, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt></dl></div><div class="indexdiv"><h3>Q</h3><dl><dt>Quayle, Dan, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt></dl></div><div class="indexdiv"><h3>R</h3><dl><dt>radio</dt><dd><dl><dt>FM-spektrum for, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>music recordings played on, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>rap music, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>RCA, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Reagan, Ronald, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Real Networks, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>recording industry</dt><dd><dl><dt>artist remuneration in, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>copyright protections in, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>radio broadcast and, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt></dl></dd><dt>Rehnquist, William H., <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Rensselaer Polytechnic Institute (RPI), <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a>, <a class="indexterm" href="#catalogs">Kapittel tre: Kataloger</a></dt><dt>Rise of the Creative Class, The (Florida), <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a></dt><dt>Roberts, Michael, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>robothund, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rogers, Fred, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Rose, Mark, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#c-acknowledgments">Takk til</a></dt><dt>RPI (Se Rensselaer Polytechnic Institute (RPI))</dt><dt>Rubenfeld, Jeb, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a></dt><dt>Russel, Phil, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt></dl></div><div class="indexdiv"><h3>S</h3><dl><dt>Safire, William, <a class="indexterm" href="#preface">Forord</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>San Francisco Opera, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Sarnoff, David, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Schlafly, Phyllis, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Seasons, The (Thomson), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Shakespeare, William, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>Silent Sprint (Carson), <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</dt><dd><dl><dt>Supreme Court challenge of, <a class="indexterm" href="#firelawyers">5. Spark en masse advokater</a></dt></dl></dd><dt>Sony</dt><dd><dl><dt>Aibo robothund produsert av, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt></dl></dd><dt>Sony Pictures Entertainment, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Sousa, John Philip, <a class="indexterm" href="#recordedmusic">Innspilt musikk</a></dt><dt>stålindustri, <a class="indexterm" href="#hollywood">Hvorfor Hollywood har rett</a></dt><dt>Stallman, Richard, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Stanford University, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Star Wars, <a class="indexterm" href="#recorders">Kapittel sju: Innspillerne</a></dt><dt>Statute of Monopolies (1656), <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>statutory licenses, <a class="indexterm" href="#piracy-ii">Piratvirksomhet II</a></dt><dt>Steamboat Bill, Jr., <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Steamboat Willie, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Stevens, Ted, <a class="indexterm" href="#preface">Forord</a></dt><dt>Steward, Geoffrey, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Storbritannia</dt><dd><dl><dt>public creative archive in, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt></dl></dd><dt>Supermann-tegneserier, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>Sutherland, Donald, <a class="indexterm" href="#transformers">Kapittel åtte: Omformerne</a></dt></dl></div><div class="indexdiv"><h3>T</h3><dl><dt>Talbot, William, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Tatel, David, <a class="indexterm" href="#eldred">Kapittel tretten: Eldred</a></dt><dt>Tauzin, Billy, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Taylor, Robert, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a></dt><dt>tegnefilmer, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>tegneserier, japanske, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>teknologi</dt><dd><dl><dt>copyright intent altered by, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a>, <a class="indexterm" href="#lawreach">Lov og arkitektur: Rekkevidde</a></dt></dl></dd><dt>Television Archive, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>televisjon</dt><dd><dl><dt>kabel-TV mot kringkasting, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>markedsføring på, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>Thurmond, Strom, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>tillatelser</dt><dd><dl><dt>fotografering som ikke trenger, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd><dt>tillatelseskultur</dt><dd><dl><dt> fri kultur mot, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>Tocqueville, Alexis de, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Torvalds, Linus, <a class="indexterm" href="#examples">Gjenoppbygging av friheter som tidligere var antatt: Eksempler</a></dt><dt>Turner, Ted, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Twentieth Century Fox, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>Tysk åndsverkslov, <a class="indexterm" href="#eldred-ii">Kapittel fjorten: Eldred II</a></dt></dl></div><div class="indexdiv"><h3>U</h3><dl><dt>Universal Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>Universal Pictures, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a></dt><dt>uttrykke seg, teknologier for å</dt><dd><dl><dt>demokratisk, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></dd></dl></div><div class="indexdiv"><h3>V</h3><dl><dt>Vaidhyanathan, Siva, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#film">Film</a>, <a class="indexterm" href="#founders">Kapittel seks: Grunnleggerne</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#together">Sammen</a></dt><dt>Valenti, Jack</dt><dd><dl><dt> on creative property rights, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></dd><dt>valg, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Vanderbilt University, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>veteranpensjoner, <a class="indexterm" href="#shortterms">2. Kortere vernetid</a></dt><dt>Videospillere/opptakere, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#liberatemusic">4. Frigjør musikken&#8212;igjen</a></dt><dt>Vivendi Universal, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a>, <a class="indexterm" href="#innovators">Constraining Innovators</a></dt><dt>von Lohmann, Fred, <a class="indexterm" href="#corruptingcitizens">Corrupting Citizens</a></dt></dl></div><div class="indexdiv"><h3>W</h3><dl><dt>Warner Brothers, <a class="indexterm" href="#property-i">Kapittel ti: «Eiendom»</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a>, <a class="indexterm" href="#lawforce">Arkitektur og lov: Makt</a></dt><dt>Warner Music Group, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Warren, Samuel D., <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Way Back Machine, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Wayner, Peter, <a class="indexterm" href="#oneidea">Gjenoppbygging av fri kultur: En idé</a></dt><dt>Web-logger (blogger), <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Webster, Noah, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt><dt>Wellcome Trust, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Wells, H. G., <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a>, <a class="indexterm" href="#chimera">Kapittel elleve: Fantasifoster</a></dt><dt>White House press releases, <a class="indexterm" href="#collectors">Kapittel ni: Samlere</a></dt><dt>Windows, <a class="indexterm" href="#piracy-i">Piratvirksomhet I</a></dt><dt>Winer, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a>, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>Winick, Judd, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a>, <a class="indexterm" href="#creators">Kapittel en: Skaperne</a></dt><dt>WJOA, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>World Summit on the Information Society (WSIS), <a class="indexterm" href="#c-conclusion">Konklusjon</a>, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>World Trade Center, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt><dt>World Wide Web, <a class="indexterm" href="#c-conclusion">Konklusjon</a></dt><dt>Worldcom, <a class="indexterm" href="#constrain">Constraining Creators</a></dt><dt>WRC, <a class="indexterm" href="#marketconcentration">Marked: Konsentrasjon</a></dt><dt>Wright-brødrene, <a class="indexterm" href="#c-introduction">Introduksjon</a>, <a class="indexterm" href="#c-introduction">Introduksjon</a></dt></dl></div><div class="indexdiv"><h3>Y</h3><dl><dt>Yanofsky, Dave, <a class="indexterm" href="#mere-copyists">Kapittel to: «Kun etter-apere»</a></dt></dl></div><div class="indexdiv"><h3>Z</h3><dl><dt>Zimmerman, Edwin, <a class="indexterm" href="#cabletv">Kabel-TV</a></dt><dt>Zittrain, Jonathan, <a class="indexterm" href="#id3021467">«Piratvirksomhet»</a>, <a class="indexterm" href="#lawscope">Loven: Virkeområde</a></dt></dl></div></div></div></div></body></html>
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diff --git a/stats.txt b/stats.txt
index 97a89f1..d70564b 100644
--- a/stats.txt
+++ b/stats.txt
@@ -269,3 +269,13 @@
 2012-08-29T2105 1251 oversatte meldinger, 625 antatte oversettelser, 227 uoversatte meldinger.
 2012-08-29T2156 1252 oversatte meldinger, 624 antatte oversettelser, 227 uoversatte meldinger.
 2012-08-29T2257 1252 oversatte meldinger, 734 antatte oversettelser, 117 uoversatte meldinger.
+2012-08-30T0801 1258 oversatte meldinger, 729 antatte oversettelser, 116 uoversatte meldinger.
+2012-08-30T0946 1259 oversatte meldinger, 729 antatte oversettelser, 116 uoversatte meldinger.
+2012-08-30T1237 1261 oversatte meldinger, 727 antatte oversettelser, 116 uoversatte meldinger.
+2012-08-30T1243 1272 oversatte meldinger, 717 antatte oversettelser, 115 uoversatte meldinger.
+2012-08-30T1248 1276 oversatte meldinger, 713 antatte oversettelser, 115 uoversatte meldinger.
+2012-08-30T1857 1279 oversatte meldinger, 713 antatte oversettelser, 120 uoversatte meldinger.
+2012-08-30T1945 1282 oversatte meldinger, 710 antatte oversettelser, 120 uoversatte meldinger.
+2012-08-30T2046 1286 oversatte meldinger, 711 antatte oversettelser, 130 uoversatte meldinger.
+2012-08-30T2122 1289 oversatte meldinger, 712 antatte oversettelser, 134 uoversatte meldinger.
+2012-08-30T2225 1290 oversatte meldinger, 730 antatte oversettelser, 115 uoversatte meldinger.
-- 
2.51.0